On visiting the Tate Modern over the New Year, the one piece of art that truly struck a chord and has remained with me was the ominous work of Miroslaw Balka. Walking unawares down the ramp of the Turbine Hall in the Tate Modern, debating whether to donate the recommended £2, and wistfully looking at the gorgeous array of art books in the subterranean gift store I was stopped in my tracks by a big black box. Resembling a giant steel shipment container ‘How It Is’ is undoubtedly an attention-grabbing piece of modern art. Descending to get near to the piece, one is inextricably drawn and repulsed at the same time by its immense gravity and imposing structure. From the front you cannot see nor conceive the possibility of entering the space, but on reaching the far side, the steel crate offers an entrance up into the box via a large ramp. Visible is only a vast black square 13 metres square, to which other visitors are approaching, contemplating, and disappearing into the darkness.
Forced by curiosity, but held back by fear, you are drawn into the darkness. As you enter you lose all concept of space, the walls could be inches or miles, the box seems to stretch for infinity until you reach the reassurance of the velvety wall at the end of the box. Reaching the far side feels like an accomplishment, and from the back you can finally turn around to look out at the intense light square, of the outside world, an inverse view of that which you faced on entrance to the box.
The box provokes fear for some, and freedom for others. It’s a matter of mindset. The Polish artist suggests some allusions to the trucks involved in removal of Jews to Auschwitz or Treblinka, adding a more sinister twist on the darkened space within.
The Box stands until the 5th of April in the Tate Modern, London.
