Ben Quinn
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Art rarely carries a public health warning even when the likes of Damien Hirst and Tracey Emin try to push the boundaries of taste.
However, the casualties have been mounting up at Tate Modern in London, where 15 people were hurt viewing Shibboleth 2007in the first four weeks after its opening.
Beginning as a crack, Shibbolethwidens and deepens as it snakes across the gallery’s Turbine Hall, until in some places it is large enough for a toddler to fall into. Staff have been detailed to monitor visitors wandering around the hall, but a Freedom of Information request by The Times has revealed that their efforts have not been entirely successful.
Four of the 15 accidents, some of which resulted in minor injuries, have been reported to the Health and Safety Executive. The museum has considered using Perspex glass to cover Shibboleth 2007, which opened on October 8 runs the full 167 metres (548 feet) of the cavernous hall.
Doris Salcedo, the Colombian artist behind the work, has said that her installation is intended to symbolise racial hatred and division in society.
Dennis Ahern, the Tate’s head of safety and security, told colleagues in an internal e-mail before the opening of the exhibit, that the primary risks associated with it were “obvious and quite simple” – the unwary could trip and fall “with the potential for significant leg injury”.
He added: “With Shibboleththis hazard differs from equitable ones in that physical protection measures which would normally be applied to a gap of this nature are not deemed appropriate due to its artistic nature.”
Nevertheless, while measures such as staffing, signage and lighting could reduce the likelihood of an accident occurring, Mr Ahern added that further options should be considered if it appeared that the existing measures were not enough.
He also advised that agreement should be obtained with the artist stating that the museum retained the right to apply the extra measures.
“Such options could include, but are not limited to, higher levels of control of entry, barrier or demarcation lines, Perspex bridging over certain sections or other physical interventions which may become required,” he added.
According to the same correspondence, Tate Modern is facing four other legal claims arising from other incidents, mostly related to the giant slides that last year occupied the hall.
Record numbers flocked to try out the five corkscrewing slides, the biggest of which was 55½ metres (182ft) long and had a drop of 27 metres.
In his e-mail, sent in July, Mr Ahern said that while the overall record of accidents and injuries at Tate Modern was low, pro rata to the visitor figures, the gallery reported eight accidents since February. They included one fatality, which was determined by a coroner to have been an accident.
In a risk assessment by Tate staff, the Shibboleth exhibit was given a score of two when it came to the likelihood of an accident, meaning that accidents were possible. But it also achieved a “severity score” of four, associated with severe accidents that could result in serious injuries, time in hospital and an HSE investigation.
A Tate spokesperson said that the museum took safety issues very seriously. There were warning signs in the gallery and leaflets were being handed out. She added that there were no plans to barrier off or cover the work.
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Art defined: Class of objects subject to aesthetic criteria; A field, genre, or category of art; A field using the skills or techniques of art; Illustrative or decorative material; Using methods governing any craft or branch of learning; Skill in conducting any human activity.
Shibboleth, which I wouldn't mind seeing, fits the "art criteria" especially conducting human activity. People's unawareness and their resulting injuries can be seen as reflecting the racism and division in society that Salcedo meant to symbolize with the crack. Some choose not to see or stand against racist acts and there's a consequence.
It also makes a comment on how people need to be coddled with safety warnings and guard rails everywhere. Common sense severely lacks today. If adults can't be responsible for themselves or their children, they shouldn't leave the house- where injuries can still happen.
Art and society change. DaVinci was brilliant, but he's long dead. The brush is continually passed down.
Misha, Montreal, Canada
Surely the fact that there is a man stood at the door handing out leaflets reminding visitors to 'watch their step', along with the fact that these people have turned up specifically to see the crack, is enough of a safety measure. The leaflet also asks parents to keep children under control. Anyone who then suffers injury as a result of some kind of negative interaction with the art should really not be allowed out in public.
And as far as the work itself is concerned, it's very nice but I wouldn't have it in the house.
Matthew Gay, London,
So a big crack has appeared at the Tate between the traditional and the new aged artists over what exhibits should be displayed there. Certainly the gap between them is huge and the level of dissent runs very deep. The fault line started when some unconventional artists were commissioned to produce art work which would give people ground breaking experience. Since then the opinions of the general public have become split over what is art and what is a pile of rubbish. The seismic change in the way people appreciate art is a pretty modern phenomenon. It seems the new aged artists have managed to wipe the floor with the traditionalist because recently controversial work of art has succeeded in gaining ground in popularity and acceptance. Perhaps the newest exhibit at the Tate should be rename with the title of the song 'I feel earth move under my feet" because no one can possibly crack the meaning of Shibboleth. Understandably the older generation still prefer to see artifacts unearthed from historical sites.
Wing, Poole, UK
I consider myself to be wary most of the time but I still fell in this last weekend. And I still have the bruses to prove it...
If you haven't seen it, do not make to smart comments; it is realy long and its easy to get distracted, f ex. when you are leaving the ATM as I was (the crack was approx. 3meters from it)
Karen, Oslo, Norway
If you fall into this, you have no business to be in the Tate to start with. Get out and get back to Alton Towers where you belong.
Leave the Tate to those of us who don't want safety bannisters up every staircase, don't want Health and Safety warnings everywhere, don't want barriers guiding our every move (my brain can do that thank you very much). Well behaved children, intelligent, bright, polite and curious - welcome to the Tate. Stupid little idiotic brats with parents who don't control them and have brought them up with no respect for adults or objects - go away.
James , London, UK
I was walking round the Tate the other day and overheard a member of staff, on his walkie talkie, reporting that he'd found an earing on the floor. He'd kicked said earing to the side of the gallery but was refusing to pick it up as he didn't have any protective gloves! If staff members can be so ridiculous about a lost earing how on earth can they be expected to guide people around the hazards of this "artwork"?
Mark, London,
It's difficult to say what is art and what isn't.. this is NOT art though.... my fav reminder of this is the muppets show.. where one of the little dudes comes out on the stage with a brick and a hammer and starts hitting the brick shouting over and over again.. "it's art, it's art, it's art.." before getting whisked off the stage!! haha
Adam Webb, MK, UK
I see it is quite normal now to blame somebody esle for any silly mistakes we make
The Piece is very distinct and only Very stupid or Very Blind people will not notice it and if you have children with you who are not fully under your control, you have no business inside the Tate
I hate this slow but sure Americanizing of the UK.
Obi Mgbatogu, London, UK
The "unwary"? If they're unwary, what on earth are they doing in the Tate to begin with then? Art has a lot to do about people's interaction with the piece. If they fall in, so be it - that's their interaction. If they don't mind their children in the presence of it - that's the parent's responsibility. If a silly woman puts her foot in it to see how deep it is, that's her choice to interact with the art directly. Cover it in perspex? Rope it off? Oh for goodness sake, stop this nonsense. It's a crack in the floor. Live with it, and if you can't get over yourself, at least get over the crack.
Laura Roberts, London, UK
This is sad on two counts; firstly that anyone could consider this to be art, secondly, that people who see it do not realise that the crack is real and fall down it.
Sureal!
Dodi, Carnforth, uk
quote: 'physical protection measures which would normally be applied to a gap of this nature are not deemed appropriate due to its artistic nature.'
This really made me smile. Just make sure everyone's been forewarned of the 'artistic nature' of this earthquake crack, so they can gush accordingly over its artistic merits eh?
What next though? Well, how about: 'Radiation Leak' . That's the title I'll be giving to my forthcoming masterpiece. The entire gallery will be sprayed inside with Strontium-90 and visitors will be encouraged to marvel at the artistic merits of the piece, while their hair falls out and they collapse on the floor in agony.
Tony Pritchard, Cancun, Mexico