‘Is this the year’s most Instagrammable exhibition?’ asked Hettie Judah in her review of our new Hayward Gallery show, Space Shifters, for the i. Two weeks in, and with our Instagram notifications pinging away like an office microwave at lunchtime, there certainly seems to be a strong argument for answering Judah’s question in the affirmative.
Bringing together the work of 20 different artists, Space Shifters features innovative, minimalist sculpture from the 1960s, as well as recent works that extend the legacy of this ‘optical’ minimalism in different ways, and a number of commissions which have been made in response to the architecture of the Hayward Gallery. With many of the artworks constructed from translucent or reflective materials - enabling us to see our surroundings in new and unexpected ways - it’s not hard to see why so many people visiting the exhibition have been reaching for their smartphones to capture their experience.
So, instead of sharing more of our own images of this remarkable exhibition, we thought why not let you convey its appeal for us? Here, for your visual enjoyment, are some of our favourites from your Instagram images of Space Shifters so far.
Fred Eversley Untitled (Parabolic Lens) (1971)
The violet, amber and blue Untitled (Parabolic Lens) (1971) was made by Aerospace engineer turned artist, Eversley, using a repurposed turntable originally used by the American military.
Ann Veronica Janssens Magic Mirrors (Pink #2 and Blue) (2013-2017)
Janssens's Magic Mirrors (Pink #2 and Blue) consist of shattered panes of 'safety glass' held between sheets of intact glass. A filter between the panes allows light to pass through the panes selectively, with the result that the light they cast and the reflections on their surfaces are different to what we expect.
Anish Kapoor Sky Mirror, Blue (2016)
Situated on one of Hayward Gallery's outdoor sculpture terraces, this concave mirror achieves the contradictory feat of bringing the sky down to the ground.
Monika Sosnowska Handrail (2016-18)
Sosnowska’s Handrail (2016–18) is first encountered by the visitor two-thirds of the way up Hayward Gallery’s back staircase, where it wraps itself, vine-like, around the existing rail before taking off across the gallery wall in an energetic dance.
Richard Wilson 20:50 (1987)
For this installation, first presented in Matt’s Gallery, London, Wilson floods an entire room with used engine oil, leaving only a narrow passageway through the centre.
Jeppe Hein 360° Illusion V (2018)
For 360° Illusion V (2018), Hein placed two large mirrored panels at right-angles to one another. As well as reflecting the surrounding environment, each mirror also reflects its twin.
Felix Gonzalez-Torres "Untitled" (Golden) (1995)
Exhibited floor-to-ceiling, Gonzalez-Torres’s "Untitled" (Golden) creates a shimmering threshold through which every visitor must pass.
Alicja Kwade WeltenLinie (2017)
In WeltenLinie, Kwade creates the impression of sudden and surprising material transformations through the use of double-sided mirrors and the careful placement of objects.
Yayoi Kusama, Narcissus Garden (1966-2018)
First staged as a large-scale, unofficial intervention at the 1966 Venice Biennale, Narcissus Garden (1966–2018), consists of hundreds of stainless steel reflective orbs.