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The latest work to go on show at Tate Modern, in London, has depth. It also has considerable length.
A 548ft fissure (167m) has been installed the length of the Turbine Hall, starting as a hairline crack in the concrete floor and widening to a few inches in breadth and a depth of perhaps 2ft. Neither the artist, Doris Salcedo, from Colombia, nor the Tate management would say yesterday exactly how it had been created.
The gallery declined to disclose whether Salcedo had drilled down into the floor or whether the crack had been created by digging into a “false” floor that sits on top of the original.
A spokeswoman said that Shibboleth had been created by the artist “opening up the floor” and inserting a concrete cast of a Colombian rockface. “She’s not specifying how it’s been done. What she wants is for people to think about what’s real and what’s not,” the spokeswoman said.
According to the artist – whose previous works have included filling a wardrobe with cement “to suggest the violation of domestic space and the human body” – it is a statement about racism, with the crack representing the gap between white Europeans and the rest of humanity.
The work has health and safety implications for Tate Modern. Staff are on hand at the front door to advise visitors on the potential danger that they may trip over a work of art.
They will be handed a leaflet that reads: “Warning. Please watch your step in the Turbine Hall. Please keep children under supervision.”
Salcedo said of Shibboleth: “It represents borders, the experience of immigrants, the experience of segregation, the experience of racial hatred.
“It is the experience of a Third World person coming into the heart of Europe. For example, the space which illegal immigrants occupy is a negative space. And so this piece is a negative space.”
Salcedo’s previous works have involved filling a derelict building in Istanbul with 1,550 chairs to evoke the faceless migrants who underpin our globalised economy, and tying two bedsteads together with animal intestines.
As for the new work, “it clearly represents a tear in the fabric of society”, said one visitor, Robyn Menzel, a teacher from Australia. “But my husband would look at it and say, ‘It’s just a crack’.”
Christine Beluriee, a market researcher from Paris, likened the work to “the frontier between a lot of things – between modern life and ancient life, the young and the elderly, ugliness and beauty”.
John Knights, a photo-illustrator who lives near the gallery, which is on the South Bank, remarked: “I rather liked the floor as it was. I’m not overly impressed.”
Achim Borchardt-Hume, the Tate’s curator, said: “It is so important for the work not to focus on the making and how it got here.”
Sir Nicholas Serota, the Tate director, said: “There is a crack, there is a line, and eventually there will be a scar. It will remain as a memory of the work and also as a memorial to the issues Doris touches on.”

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Why is it that some artists seem to be more talented at dreaming up 'meaning' behind their artwork than actually creating it?!?! Pretentious rubbish
Kelly, manchester, uk
A Glimpse through The Crack
People stepping over a crack; in a concrete floor; in an enclosed space/skull/mirror of the scientific mind and its hard and fast ideas, pondering the meaning of this monumental Crack of Doom and Dawn.
The tearing of the veil in the temple of Industry? Or a thunderbolt of illumination from Zeus, heralding in the birth of a new species of consciousness when men mate with the gods.
âHomo Deusâ emerging from the concrete and steel eggshell called civilization.
Crack!
Itâs wakey-wakey time.
500 is the number of the child.
Ian Keildson, High Wycombe, Bucks
"The artist should take a closer look at her own back yard.
The farc, the paramilitaries, the drugs, the failed state, the death squads, the cartels, shanty towns, corruption, et al.
That makes a nice little fissure to fall into, the turbine hall would not be big enough. Shame she fails to make any mention of it. Or is she avoiding badmouthing the cartels . . . you guess why?"
Halo you're a fool if you think she has never examined Colombia in her work. She is best known for filling items of furniture with cement - items of furniture from the homes of those "disappeared" by the civil conflicts within her own country. As for what that means, you can take it literally or figuratively - as her killing the object just as the people who owned it were killed, as burying their memories, as preserving the only physical remains of their existence for all to see, or whatever.
Why are people angry about this work? Is it that hard to look at it as more than a crack in the floor?
matt, Pittsburgh, PA, USA
I thought it was a great visual joke until I read the perpetrator's rationale. Good joke ruined by pretentious punch line. Pseud's Corner best place for it now.
Peter, Ockley, Surrey
I thought this piece was satire until I started reading the comments. Now I think they should take Jim from Bath's offer to fix it for them for a couple of hundred quid. You should probably double that if you want an invoice.
Dave_D, Newport, NC/USA
Sorry Dr Law, what this is proving is that you can fool all of the art establishment all of the time. Ordinary people have more inteligence.
FEF, Cheltenham, UK
Best thing I saw this week.How was it done?And no,I didn't fall in as expected!
H.D., WsM,
I was ready accept this "crack" as an artwork, until I read her simplistic and oh-so literal racial-political reasoning behind it (yawn). If this kind of student angst is what's burning her up she should just go and throw some stones at the next G8 Summit.....and save us having to get out the Polyfilla.
Sedgwick Morrison, London,
As an artist coming from Antwerp , we had the Master Rubens. His paintings voluptious in muscle and bravoure, which I always stood in awe for the old masters. But rethinking that he was an ambassador and travelled a lot to Italy and back, there are not that many paintings who could be fully attibuted to him. It was a factory school and his pupils masters in a certain discipline, landscapes, trees , I think he sketched an idea which was excecuted and the final touch was him. You see so many famous Flemish artists who have been a scholar from Rubens going in what they were good at. Which could be have happened to Michael Angelo.
Zaki Knapen, Glen Ellyn, IL
Yet another pretentious case of the Emperor's new Clothes!
Andrew, Copenhagen, Denmark
ah, the grand canyon, now that's a crack in the world. how about tumbling serota, saatchi, miro, gag on sin, and all their purchases and pronouncements into that crack. .. now that would be a vanishing act worth the price of deconstruction...
nancy, london,
The artist should take a closer look at her own back yard.
The farc, the paramilitaries, the drugs, the failed state, the death squads, the cartels, shanty towns, corruption, et al.
That makes a nice little fissure to fall into, the turbine hall would not be big enough. Shame she fails to make any mention of it. Or is she avoiding badmouthing the cartels . . . you guess why?
And too bad the is no "British Imperialism" in Colombia to blame. But the Spanish may do, just as long as they can blame it on some one else.
Halo DS, London,
Modern art has long been a joke, see Data-ist's Duchamp's toilet. Said by a Tate's committee to be the most influential work of modern art. This has been influenced by said toilet, not the Tate's copy but the one cracked with a hammer by another artist. (Who by the way also went to Columbia and axed off his finger.)
Quentin, Reading, UK
Shibboleth is very cool, but the best part that no one mentions is watching people interact with the crack. Kids were down on their knees peering deep into it (some were examining with small binoculars), adults were straddling it and being photographed with it in various positions, and at the end of the crack, people were down on ground level trying to look under the crack to see where it dissapeared to through the wall. Everyone was commenting on what it reminded them of (the Grand Canyon, a Georgia O'Keefe painting). Never have I seen such interaction and curiosity and conversation over something like this. That human interaction and curiosity is ultimately, in my opinion, what makes a piece of art successful, outside the original explanation from the artist of what she intended it to be about.
Catherine , London, UK
I'm nervous before I even get there ! (about falling down the crack,I mean.)Is this nervy anticipation part of the installation's message,perhaps?
H.D., WsM,
I see your problem, the humidity in the halll was too low and the temperature too high, causing the concrete to dry too fast. A couple of hundred quid and I'll fix it for you. Cash, no questions, right?
Jim, Bath, UK
What is needed is a metal grill placed over the crack. I amsure a local builder could do this overnight when the Tate is closed.
Surely safety is more important than art.
D Stephens, Birmingham, UK
'Ere ... ow long will it be before " Elf an Safety " get involved an shut the show dahn?
David
David Michael, London, UK
This important work highlights an issue of concern to many people - shoddy builders.
Charles Thomson, London,
Modern art is at the point where it is to be considered a rather expensive joke rather than anything worth, well, anything. One wonders why we fund the arts sometimes, if this is the best it can manage. I would suggest that Salcedo is talentless and trying to gain notoriety using obvious sillness. Cracks in the floor, empty chairs, by this measure, even I could become a renowned artist. But I have rather more taste and rather more self-respect, so I would never dare to try and con the public in this fashion.
Jennifer Hynes, Plymouth, England
Who says you cant fool most of the people most of the time.
Dr Kevin Law, Dundee, UK