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Lynette Yiadom-Boakye: Fly In League With the Night at Tate Britain Photo: Tate (Seraphina Neville)
The acclaimed exhibition of works by the British artist Lynette Yiadom-Boakye closes at Tate Britain this week (until 31 May) after a run punctuated by Covid-related delays. However, the mid-career survey will be coming back. “It will return to Tate Britain 2022-23 after its international tour,” a spokesman says.
The show is due to travel to Stockholm’s Moderna Museet (3 July-19 September); K20 in Düsseldorf (16 October-13 February 2022); and Mudam in Luxembourg (dates to be announced).
The show opened in London last December after being delayed twice due to coronavirus lockdowns. Tate Britain closed again on 15 December after London was put under Tier 3 lockdown restrictions. Museums and galleries re-opened on 17 May, leaving the show with only two weeks left to run (some time slots are available later this week at Tate Britain).
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Artist duo Ackroyd and Harvey have planted 100 oak trees outside Tate Modern Ackroyd & Harvey, Beuys’ Acorns, 2021. (c) Tate Photography (Seraphina Neville) A forest of 100 young oaks has taken root on the terrace outside Tate Modern, where it will remain throughout the summer until 14 November. But these are no ordinary trees. They are the direct progeny of 7,000 oak trees planted by the artist, environmental activist and German Green Party founder Joseph Beuys in and around the city of Kassel in Germany between 1982-87.
This now-seminal work was called
7,000 Oaks City Forestation Instead of City Administration and the introduction of these multiple trees, each one accompanied by its own basalt standing stone, permanently altered the local cityscape and connected art to the emerging environmental movement.
Lynette Yiadom-Boakye: Fly In League With The Night at Tate Britain 2020. Photo: Tate. (Seraphina Neville).
After leaving Lynette Yiadom-Boakye’s blockbuster mid-career Tate Britain retrospective, “Fly In League With The Night,” I rushed to post my thoughts about the show on Instagram. My own impassioned views were swiftly swallowed by others, as the often-touted “art-world darling” met almost unrelenting praise from critics.
Indeed, this is the exhibition we needed. We needed to see Black people Black joy, angst, trouble, and all its complexities. We needed painting that hits at the soul like this.
For all its merits in contributing to depictions of Black people in art, and the poignancy of filling Tate Britain with proud Black figures, the exhibition cements how Yiadom-Boakye triumphs as a figurative painter, irrespective of her chosen subject.