The Ghanaian artist creates a monumental installation that reflects on the history and impact of the transatlantic slave trade.
El Anatsui, one of the most influential contemporary artists in Africa, has unveiled his latest work at Tate Modern’s Turbine Hall. The installation, titled Behind the Red Moon, consists of three massive sculptures made from thousands of metal bottle tops and fragments that have been stitched together with wire. The sculptures, which are the artist’s largest work to date, span the length and height of the Turbine Hall, creating a stunning visual impact.
The installation is the eighth annual Hyundai Commission, a partnership between Tate and Hyundai Motor that supports innovative art projects in the Turbine Hall. Anatsui’s work explores themes such as the environment, consumption, trade and migration, drawing on his personal and cultural experiences as well as the history of the Turbine Hall itself.
The Red Moon, The World and The Wall: symbols of a journey across time and space
The three sculptures that make up Behind the Red Moon are named The Red Moon, The World and The Wall. Each one represents a different aspect of the movement and exchange of goods and people during the transatlantic slave trade, which shaped the history and identity of Africa and Europe.
The Red Moon resembles the sail of a ship that carried enslaved Africans across the Atlantic Ocean. The red colour comes from liquor bottle tops that form the outline of a blood moon, a phenomenon that occurs during a lunar eclipse. The moon also symbolises time and cycles, as well as hope and renewal.
The World is composed of many layers of thin bottle-top seals that create a net-like material. These layers evoke human figures suspended in a restless state, reflecting on the displacement and dispersion of African people and cultures. From a certain angle, these shapes come together into a circular form of the Earth, suggesting a global perspective and interconnectedness.
The Wall is a monumental black sheet of metal cloth that stretches from floor to ceiling. It contrasts with the other two sculptures in its colour and texture, creating a sense of barrier and separation. However, behind its black surface, a delicate structure of shimmering silver is revealed, covered in a mosaic of multi-coloured pieces. This hidden layer suggests a possibility of transformation and hybridisation, as well as a critique of binary thinking.
Anatsui’s artistic process: recycling, repurposing and reimagining
Anatsui’s work is characterised by his use of recycled materials, such as wood, ceramics and metal. He collects these materials from various sources, such as local markets, factories and rubbish dumps. He then transforms them into new forms and meanings through his artistic process.
Anatsui has been working with metal bottle tops since 1998, when he found a bag of them in his studio in Nsukka, Nigeria. He was fascinated by their colours, shapes and textures, as well as their social histories. He realised that these bottle tops were not only products of modern industry, but also remnants of colonial trade routes that brought alcohol and other goods to Africa.
Anatsui uses wire to stitch together thousands of bottle tops into large sheets of metal cloth. He then folds, twists and drapes these sheets over various structures to create his sculptures. He does not fix them permanently, but allows them to change shape according to the space and context they are displayed in. He also invites his assistants and collaborators to participate in the installation process, creating a sense of collective creativity.
Behind the Red Moon: a poetic response to the past and present
Behind the Red Moon is not only an impressive display of Anatsui’s artistic skill and vision, but also a poetic response to the past and present of Africa and Europe. It invites viewers to reflect on the history and impact of the transatlantic slave trade, as well as the current issues of environmental degradation, consumerism and migration.
The installation also engages with the history and architecture of the Turbine Hall itself, which was once part of a power station that supplied electricity to London. Anatsui uses the natural light that enters through the glass roof to create different effects on his sculptures throughout the day. He also makes use of the original crane that hangs above the hall to suspend his sculptures in mid-air.
Anatsui said: “I wanted to create something that would make people think about where we came from, where we are now, and where we are going. I wanted to make something that would speak to everyone, regardless of their background or culture.”
Behind the Red Moon will be on view at Tate Modern’s Turbine Hall from 9 October 2023 to 3 April 2024. Admission is free.
