Reactor Halls E15: You can't win them all, ladies & gentlemen
The first time I met artist Jenny Moore, we were stomach-down, on the floor of Tate Britain, silently dragging ourselves in choreographed movement toward the flight of stairs she had planned for us to ‘fall’ down, our descent overseen by an entire gallery-full of ‘Late At Tate’ visitors. This was just part one of her residency, ‘Disrupt’, at Tate Britain. I’d experienced some of her work before, as the stage-presence ‘Charismatic Megafauna’, a sort of hybrid cheerleader-come-all-girls-drum-band with impressive down beats and sinister costumes. But this performance trafficked something other. Designed to interrupt a conventional gallery experience, it realised itself as a contemporary institutional critique gone ‘cultural’ and there was a reckless loudness to it. The public space had been, for a while, Moore’s studio. And in just a few unprescribed movements, she had articulated and undone the tensions its austere façade had accrued over centuries.