Abstract
Abstract
This is an accepted article with a DOI pre-assigned that is not yet published. Since its life as Bankside Power Station, the Turbine Hall has been the site of the production of power for generations. Now the heart of Tate Modern, it is also where the spatial configuration of institutional power can be closely observed. This article considers the Turbine Hall in the context of Tony Bennett’s ‘The Exhibitionary Complex’ (1988) which explores how exhibitionary institutions incorporate spectacle and surveillance. Through this lens, I argue that by navigating its architecture, visitors to the Turbine Hall move between seeing and being seen: a spectacle of surveillance. I highlight that the past three Hyundai Commissions (2023-2025) have provided opportunities to emphasise or interfere with a spectacle of surveillance. Through the use of narrative description, I lead us through the Turbine Hall and these artworks in in effort to reveal the existence of a frame through which visitors see and are seen.
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@article{Popple2026Title,
title = {Title Pending 253},
author = {Abigail Popple},
journal = {Brief Encounters},
year = {2026},
doi = {10.24134/be.253},
url = {https://doi.org/10.24134/be.253}
}
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