Turbine Hall Collection Display 2002: The Upright Figure

22 April - 26 August 2002

The Upright Figure was launched as a special display of sculpture in the Turbine Hall. Drawing together Tate works from the last one hundred years, it focused on sculptures of life-size standing figures, setting examples of classic realism alongside more totemic abstract pieces. Tracing the history of modern sculpture, the exhibition included artists such as Rodin, Giacometti, William Turnbull, Germaine Richier, Reg Butler, Barbara Hepworth, and Antony Gormley. Curated by Frances Morris and Matthew Gale, assisted by Toby Treves with installation design by Jamie Fobert.

Live Culture

27-30 March 2003

Supported by the Arts Council of England, the Live Art Development Agency, London Arts, The Felix Trust for Art, and The Henry Moore Foundation.

As part of Tate's commitment to supporting diverse forms of contemporary artistic practice, Tate Modern collaborated with the Live Art Development Agency to present Live Culture. The initiative provided a timely opportunity to engage with the shifting nature of live art practice in relation to the visual arts, placing contemporary performance within the context of the Tate Collection for the first time. Distinguished artists, theorists and curators were invited to examine the expansion of performance art across broader artistic and social arenas. Live Culture comprised four days of live actions, performances, presentations and debates curated by Lois Keidan and Daniel Brine of the Live Art Development Agency and Adrian Heathfield and co-ordinated for Tate Modern by Juliet Bingham and Sheena Wagstaff. Participants included Marina Abramovic, Ron Athey, Franko B, Carol Becker, Ansuman Biswas, Blast Theory, Oron Catts, Ricardo Dominguez, Forced Entertainment, Tim Etchells, Jean Fisher, RoseLee Goldberg, Matthew Goulish, Guillermo Gómez-Peña, Leslie Hill, Lin Hixson, Kazuko Hohki, Amelia Jones, John Jordan, Keith Khan, Yu Yeon Kim, Oleg Kulik, La Pocha Nostra, Rona Lee, Andre Lepecki, Alastair MacLennan, Hayley Newman, Peggy Phelan, Pope & Guthrie, William Pope. L, Andrew Quick, Alan Read, La Ribot, Henry M Sayre, Aaron Williamson.

Turbine Hall Collection Display 2003: Henry Moore

12 May - 3 August 2003

Henry Moore is the best known British sculptor of the twentieth century. This display in the Turbine Hall focused on the large-scale public sculptures that built his national and international reputation from the 1940s onwards. It included a small number of loans, but was primarily drawn from Tate's own holdings, which benefited from a substantial gift from the artist in 1978. Curated by Matthew Gale and Toby Treves.

Paul McCarthy: Blockhead and Daddies Bighead

19 May - 26 October 2003

Commissioned by the Henry Moore Foundation Contemporary Projects in partnership with Tate Modern, Paul McCarthy's massive inflatable sculptures cast an imposing presence over the north landscape of Tate Modern during the summer of 2003. The thirty-five metre tall Blockhead was based on the classic representation of Pinocchio, mutated into a form bordering on the grotesque. Daddies Bighead, based on a ketchup bottle, stood approximately half the height of Blockhead at sixteen metres tall.

The Unilever Series: Anish Kapoor: Marsyas

9 October 2002 - 6 April 2003

The third in the annual Unilever Series, Kapoor's Marsyas engaged with the entire space of Tate Modern's massive Turbine Hall, spanning its full height, width and depth. The complicated structure was assembled from 7000 square metres of blood-red fabric and thirty tonnes of steel rings, to create an installation that challenged the boundaries of architecture, art and engineering. The name Marsyas refers to the satyr in Greek mythology, who was flayed alive by the god Apollo exposing his blood red skin. Curated by Donna De Salvo assisted by Sophie Clark.

The Unilever Series: Olafur Eliasson: The Weather Project

11 September - 21 March 2004

In The Weather Project, the fourth in the annual Unilever Series of commissions for the Turbine Hall, Olafur Eliasson took the ubiquitous subject of the weather as a basis for exploring ideas about perception, experience and representation. The installation comprised three elements: a large sun made up of over two hundred mono-frequency lamps, mist machines and a mirror covering the roof of the Turbine Hall. Linked to his fascination with the way museums mediate the reception of art, Eliasson's project sought to bring a part of London into the building, and through the experience and memory of the work, allow a part of it to be taken back out into the city by the viewer. Curated by Susan May, assisted by Maeve Polkinhorn.