After doing Shakespeare’s Globe, we thought that 15:00ish would be a good time to see the New Tate – after the lunchtime crowd and before the “knock off work a little early” crowd. We were right; a bit of a queue, but not too bad.
We started at the bottom and worked our way up slowly, having been warned that the lifts would be a long wait. At the very bottom, a few small exhibitions in The Tanks, such as a weird video room where you lie on cushions and look at videos of naked young women screaming and shouting. Another was supposed to react to the noises we made but seemed unresponsive to our noises. Also down there, a musical event (see picture above) of musical instruments powered by air tanks and other geeky-looking gadgetry.
Then we wended our way up, having a quick look at the new exhibits. We were a bit disappointed that we couldn’t see the macaws in the Brazilian exhibit for “animal welfare” reasons, which clearly don’t extend to keeping the birds cooped up regularly per se.
We were especially taken by one exhibit with “lie down in a cage” potential – in my case because I liked the idea of a lie down at that stage; in Janie’s case because she saw it as a big-time photo opportunity.
Then we carried on to the top, taking a quick look at the restaurant (which looked a bit “uti” for its price) and then the stunning viewing gallery.
After the Tate, we went on to one of Helen Baker’s Mousse wine tastings. This one was fairly impromptu and well-timed for us as her place is just around the corner from the Tate Modern.
It was mostly roses: Les Mille Vignes Rose 2014 and Domaine Malmont Rose 2015. But actually the highlight was a most unusual white: Les Mille Vignes Muscat Sec 2014 – the most interesting dry muscat I have ever tasted.
As usual some really nice interesting people there – mostly the firm of architects who work in the building. Naturally the conversation turned to the referendum at times. We were unquestionably in with an in crowd.