Summarize this content to 2000 words in 6 paragraphs in Arabic It opened its doors one minute early and in that instant, defying formality, a step ahead, warmly welcoming, the world\u2019s most popular modern art museum announced its aims.\u00a0At 9.59am on May 12 2000, the first crowds poured down the shiny concrete slope to the Turbine Hall to be greeted by a giant bronze spider. A quarter century later, the sweeping entrance to Tate Modern still gives visitors a thrill of anticipation.\u00a0There is much to celebrate, though also causes for lament.The biggest pleasure of Tate Modern\u2019s 25th birthday festivities is that the original occupant of that vast gallery, Louise Bourgeois\u2019s disquieting\/protective arachnid \u201cMaman\u201d, returns. As Tate owns it, it should stay forever, icon for a museum that surprisingly doesn\u2019t have one as MoMA has \u201cLes Demoiselles d\u2019Avignon\u201d, or the National Gallery \u201cThe Ambassadors\u201d.But Tate Modern showed from the start that it was about more than collections of objects. The Turbine Hall\u2019s early installations especially \u2014 Olafur Eliasson\u2019s mirror-sun \u201cThe Weather Project\u201d, Carsten H\u00f6ller\u2019s slides \u2014 helped turn the museum into something unprecedented: an open, free, unintimidating civic space where people gathered, danced, laughed, cried, picnicked, slid, lay on the floor. We became performers ourselves in these joyous spectacles, as immersive as they were awe-striking.Visitor numbers quickly soared to nearly 6mn, and just as people enlivened the building, so the museum transformed London, bringing regeneration, global clout, confidence and money.Tate Modern\u2019s anti-painting bias is part of a narrow curatorial ideology privileging content and messaging over the ambiguities, emotional depth and nuanced questioning stirred by great artTate Modern remains the best embodiment of the capital\u2019s economic transition from the 20th to 21st century. Bankside\u2019s electricity generating station which once fuelled the city is now its cultural powerhouse, attracting audiences, artists, expensive foreign dealers (Gagosian, Hauser, Zwirner, Ropac) and lavish international donors. Last month Argentine-American real estate mogul Jorge M P\u00e9rez donated \u201cIva\u201d by Joan Mitchell, a key abstract expressionist until now unrepresented here. Her lush mauve-blue triptych looks stunning opposite Mark Rothko\u2019s \u201cSeagram\u201d murals.Museums commemorate history, but Tate Modern looks forward. Its anniversary display is \u201cA Year in Art: 2050\u201d, juxtaposing failed Utopias with imagined future dystopias. Umberto Boccioni\u2019s aerodynamic figure hurtling towards progress \u201cUnique Forms of Continuity in Space\u201d, and El Lissitzky\u2019s rarely seen, fragile, abstracted personages \u2014 \u201cNew Man\u201d, \u201cGravediggers\u201d \u2014 designed as lithographs for the futurist opera Victory over the Sun, meet Ayoung Kim\u2019s lurid video animation \u201cDelivery Dancer\u2019s Sphere\u201d (2022), a dance algorithm controlling a gig-economy worker.Next weekend\u2019s birthday festival includes futuristic performances in diverse guises: Lawrence Lek\u2019s video games about sentient AI \u201cNOX\u201d, live tarot readings in Meschac Gaba\u2019s \u201cMuseum of Contemporary African Art\u201d.The late curator Achim Borchardt-Hume thought Tate Modern a living entity, a cross between \u201ca covered street and a public park\u201d, from the subterranean Tanks to the top floor viewing platform, the building marvellously inviting fresh interaction with familiar works. Just relocated for the birthday weekend, Giacometti is glorious in the raw gloom of the Tanks: we wander around \u201cMan Pointing\u201d casting long shadows, and come face to face with the caged wood and steel forms of \u201cHour of the Traces\u201d poignantly alone in the steel-lined \u201cDrum\u201d gallery, still reeking of oil. The setting returns the sculptures to the rough urban context of their creation.Lars Nittve, Tate Modern\u2019s inaugural director, believes that \u201cthe architecture, and how it felt to enter the space\u2009.\u2009.\u2009.\u2009not the strength of the Tate collection\u201d determined its popularity. That seems right: I know no Londoner over the age of five who hasn\u2019t visited and enjoyed Tate Modern, but few have opinions on the permanent collection, partly because its non-chronological, bafflingly arranged thematic hang \u2014 Degas\u2019 \u201cLittle Dancer\u201d in \u201cMedia Networks\u201d! \u2014 confuses even regular visitors.This matters, because long term a beloved collection \u2014 for example Centre Pompidou\u2019s Matisses, Mir\u00f3s, Mondrians \u2014 is a museum\u2019s lifeblood. So it is significant that instead of a blockbuster birthday exhibition, Tate Modern\u2019s anniversary showcase is a 25-work trail (re)discovering the collection.It features six pivotal pieces: Duchamp\u2019s \u201cFountain\u201d, Dali\u2019s \u201cLobster Telephone\u201d, Matisse\u2019s \u201cThe Snail\u201d, Rothko\u2019s \u201cSeagrams\u201d, Dorothea Tanning\u2019s dream scene \u201cEine Kleine Nachtmusik\u201d, Warhol\u2019s newly conserved, gleaming \u201cMarilyn Diptych\u201d. Everything else was acquired, and much of it made, in the last 25 years. It gives fascinating and alarming insight into Tate\u2019s current values.Masterpieces include Ibrahim El-Salahi\u2019s \u201cReborn Sounds of Childhood Dreams I\u201d (1961-5), mask-headed calligraphic figures fusing African imagery, Arab ornamentation and modernist references, and Cildo Meireles\u2019 \u201cBabel\u201d (2001), an eerie blue-lit tower composed of hundreds of blaring radios, recasting the biblical story of failed communication as an allegory of sonic overload.But there are also idiocies, the most asinine \u201cA Tax Haven Run by Women\u201d (2010-11), Monster Chetwynd\u2019s soft-play props sprawling around a goofy fabric \u201cCatbus\u201d, considering \u201cthe similarity between cults and tax havens\u201d.Michael Wellen, senior curator of international art, explains the choices as \u201cpopular requests\u201d plus \u201cthings across geographies\u201d, reflecting the policy of \u201cacquisitions according to regional specialisms feeding into a global collection, and redressing the gender balance by collecting women artists\u201d.\u00a0This confirms trends across all the Tates of putting social activism before aesthetics, geography before history, netting a global trawl of risibly dull local pieties, justified to audiences in entirely sociopolitical terms. On the trail, Outi Pieski\u2019s multicoloured hanging threads, \u201cSpell On You\u201d (2020), handwoven with women duoj\u00e1rs, \u201cis a nomadic monument inspired by the gathering of S\u00e1mi people\u201d which \u201craises important questions around ancestral return\u201d. Kaqchikel artist Edgar Calel\u2019s rotting vegetables on rocks \u201cThe Echo of an Ancient Form of Knowledge\u201d (2021) is about \u201ccreating space for Indigenous knowledges to be acknowledged and respected\u201d. Ming Wong\u2019s interminable film \u201cLife of Imitation\u201d (2009) explores \u201cintersections of race and sexuality through drag and impersonation\u201d in Singapore.It is not to deny that minority rights matter to deplore this overemphasis in a modern art museum that makes no room for a single de Kooning or Brancusi \u2014 just two of many major white European male painters and sculptors represented in the collection but no longer exhibited.Before the pandemic, MoMA curator Stuart Comer dared joke to a Tate Modern colleague: \u201cI inquired if Tate was still trying to reclaim the Empire through its global mission\u201d. That scenario is happening \u2014 as farce rather than tragedy. It is doubly patronising: Tate Modern looks increasingly like a museum of anthropology, even ethnography \u2014 precisely the colonial attitudes it critiques \u2014 yet visitors feel hectored (and bored) by guilt-trip language, for example the \u201cpost-colonial hangover\u201d explaining Farah Al Qasimi\u2019s photographs of life in the United Arab Emirates, also on the trail. Tate Modern director Karin Hindsbo says \u201cI want us to take real risks\u201d, but forthcoming solo shows for Emily Kame Kngwarreye, Tracey Emin and Ana Mendieta continue the run of indigenous or politically engaged female artists that is now Tate\u2019s predictable terrain. True risk would be exhibiting a significant but under-the-radar historic male artist, comparable to 2024-25\u2019s shows of Hans Josephsohn in Paris, Medardo Rosso in Basel, or Chaim Soutine in Milan.Tate\u2019s 21st century collection, too, is varied, terrific \u2014\u00a0and invisible. It owns, but currently does not display, Christian Marclay\u2019s 24-hour film-clip timepiece \u201cThe Clock\u201d (2010), the century\u2019s most original work so far, plus important paintings of beauty and trauma speaking for our times: Luc Tuyman\u2019s cinematic \u201cThe Shore\u201d (2014), distant\u00a0figures gesturing from a dark maroon ground; Adrian Ghenie\u2019s gestural war canvas \u201cBlack Flag\u201d (2015); Kerry James Marshall\u2019s epic \u201cUntitled (London Bridge)\u201d (2017); Cy Twombly\u2019s \u201cUntitled (Bacchus)\u201d (2008).\u00a0Tate Modern\u2019s anti-painting bias \u2014 apart from Lubaina Himid, primarily an activist-conceptualist, no living painter has had a solo show here since 2015 \u2014 is part of a narrow curatorial ideology privileging content and messaging over the ambiguities, emotional depth and nuanced questioning stirred by great art. The approach diminishes the permanent display \u2014 even Picasso\u2019s seminal \u201cThree Dancers\u201d, \u201cNude Woman in a Red Armchair\u201d and \u201cWeeping Woman\u201d aren\u2019t on the walls. \u00a0If this is the price for Tate Modern forging a youthful, rebellious identity, let\u2019s hope maturity brings balance. Paying exhibition figures suggest audiences mostly love painting: the majority of its dozen best-attended shows were devoted to painters, as were all the others reaching 300,000 visitors (Rothko, Lichtenstein, Klee). But Kusama\u2019s immersive \u201cMirror Room\u201d tops the list, and though it\u2019s not a level field \u2014 her exhibition ran three years instead of a show\u2019s usual few months \u2014 that is remarkable, as is Eliasson\u2019s position at number three.Before 2000, large-scale, participatory, experiential exhibitions such as Eliasson\u2019s In Real Life were almost unknown in museums. Tate Modern changed how we experience art, staging both memorable traditional and innovative exhibitions, from Picasso and Matisse to Eliasson\u2019s \u201cWeather Project\u201d. When the BBC broadcast the weather forecast from that show, ending \u201cand here at the Tate the sun is still shining\u201d, Tate Modern seemed to bathe the nation in an optimistic glow.Today clouds loom: budget deficit, staff cuts, audiences down from 6.1mn in 2019 to 4.6mn in 2024, probably due to rising living costs and declining tourism. But the first 25 years have established foundations: mesmerising architecture, weighty collection, eager visitors. If its curators remember that they lead an art museum lucky enough to inhabit a sensational building, rather than a destination building which happens to have some art, the next quarter century beams bright.\u2018A Year in Art: 2050\u2019 opens May 5. \u2018Tate Modern Turns 25\u2019, May 9-12Find out about our latest stories first \u2014 follow FT Weekend on Instagram and X, and sign up to receive the FT Weekend newsletter every Saturday morning<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic It opened its doors one minute early and in that instant, defying formality, a step ahead, warmly welcoming, the world\u2019s most popular modern art museum announced its aims.\u00a0At 9.59am on May 12 2000, the first crowds poured down the shiny concrete slope to the<\/p>\n","protected":false},"author":1,"featured_media":300095,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-300094","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/300094","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=300094"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/300094\/revisions"}],"predecessor-version":[{"id":300096,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/300094\/revisions\/300096"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/300095"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=300094"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=300094"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=300094"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}