Music for the children of our time

The Edukators

The angry man of sculpture

Attack on artistic freedom in Russia

Pushing at the edges

The secret life of objects

Porcelain that challenged the world

Bill Brandt

Heaven on Earth: Art from Islamic Lands


The inspiration of Italian cinema


Pissarro in London

Of Villains and Villeins

Piazzas on the eve of destruction

Modernism resurgent

Wilkie - Painter of everyday life

Techno-gothic fusion


Gagarin Way


Vietnam behind the lines

Romney - mirroring the gentry

Caspar David Friedrich - the essential Romantic

The awesome effects of the sublime

Earth & fire

Paul Klee: The nature of creation

John Pilger's Great Eyewitness Photographers

Sarah Medway: In the Realm of the Senses

A glimpse of the Hermitage

Vermeer at the National Gallery

Paul Signac: Travels in France

The other story of British abstract art

Breaking the silence

Century City

Digitising the Hermitage

Ghosts of christmas past

The disasters of war

Picturing the people's game

Picasso as political icon

An art world Schindler

British modernism reclaimed

Brush Power

The modern bronze age

The first museum of modern art

Six women who shook the world

Frances Aviva Blane

Caro's challenge

Ellsworth Kelly at the Tate

Magnum resists the lure of the dollar

Rebel behind the American movement

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Tasting Century City
@ the Tate Modern

By Corinna Lotz

A group of contemporary British artists occupy the central Turbine Hall space, offering up a mix of photography and Tracey Emin's knickers plus school-boy pranks involving an upside down bicycle adorned with photos of bananas and dicks.

Each piece on its own seems an entirely personal view, but taken together we are presented with "artworks" solely preoccupied with the entanglements of image, sex and power. It seems an expression of today's world in which the human body and its intimate moments are things something to be sold and be displayed in exchange for money to gawkers.

This part of the Tate's current displays has no admission charge but how many people will go for the "City experience" offered by the Tate Modern, when the real city of London lies waiting for them outside?

Is Century City more than a taster, a pointer to a multitude of things which might better be pursued elsewhere? Take for example, Tziga Vertov's brilliant film Man with a Camera made in 1929. It is projected on to the wall in the Moscow 1916-1930 section of the show. One of the great films of all times, it really does deserve concentrated viewing, and yet it becomes simply another impression, because who has got the stamina to stand up watching it for well over an hour?

Moscow 1916 - 1930

The revolutionary decade and a half depicted here is a powerful illustration of history in the making. Curator Lutz Becker brings together work by Tatlin, Rodchenko, Popova, El Lissitsky and architects such as the Vesnin brothers to recreate the years of political and cultural transformation in the USSR.

The timeline indicates how the bold spirit of the early 1920s was followed by the cruel destruction of the avantgarde in the 1930s.

The Moscow section is only one of nine cities, so be prepared to spend at least a day and come armed with a form of seating, flask of coffee and sandwiches, because you'll be travelling through 100 years and nine world cities.In that way you can make it worth your 8.50/6.50 admission price.

Tate Modern until April 29