“In Real Life”, a new show Tate, is filled with works which explore the unsteady link between perception and reality
“ENJOY YOURSELF,” the gallery attendant says, smiling, “and be careful.” She opens a white door and lets a few people into a narrow passageway thick with fog. It smells unpleasantly artificial. No one can see more than a metre or so ahead, and a strange kind of intimacy ensues. People search for someone close in front to lead the way; friends place a guiding hand on each other’s shoulders; strangers offer advice .
A similar trick is at work in “Beauty” , where a punctured hose sprays out a fine mist of water. The room is dark and the drizzle lit by a spotlight: depending on where a visitor stands, a rainbow dances and disappears. Elsewhere the Danish-Icelandic artist builds on his theme with deception, as in “Regenfester” . A window looking out of the museum indicates miserable weather, as the glass spatters with raindrops.
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