The Sámi artist Máret Ánne Sara has unveiled a new installation in the Turbine Hall at Tate Modern, but critics argue it fails to make an impact in the vast space. The work, consisting of spiralling wooden fences and reindeer skulls, has been described as 'slight' and 'skimpy', lacking the epic scale expected of the venue.
Sara’s installation includes a maze of wooden stakes and a column of reindeer hides suspended from the ceiling. While the artist aims to highlight Sámi culture and the challenges of reindeer herding in a changing climate, the piece has been criticised for being too tame and decorative, with one reviewer noting it 'would suit a hotel lobby'.
The audio recordings that accompany the installation, featuring stories about Arctic life, have been described as 'miserable rather than eye-opening'. Critics argue that the work tells rather than shows, relying on headphones to convey its message instead of creating a visceral, immersive experience.
Some have questioned why Tate Modern did not push Sara to create something more ambitious, given the hall’s history of monumental works by artists such as Ai Weiwei and Rachel Whiteread. The installation has been compared unfavourably to land art by Andy Goldsworthy, who recently succeeded in bringing the outdoors inside at his Edinburgh retrospective.
The Turbine Hall commission is one of the most prestigious in contemporary art, but Sara’s contribution has left many underwhelmed. The work runs until [date not provided], but early reviews suggest it may struggle to captivate audiences.
