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The video-captured version of Susan Philipz’s Lowlands installation is precisely and memorably haunting. I’m not able to get to the Tate installation, but the Glasgow version as seen on your site seems to me to render pretty near perfectly what it is to haunt and be haunted. The singing of the song, echoing in that space and mingling with ambient sounds, works beautifully. Those ripples of water and reflected light on those solid, yet ultimately not so solid, installations/constructions of masonry and iron, the little duck that vanishes, the swan that flexes and rests its wings, the distant rumbles of a train’s wheels carrying who knows who who knows where, the passers-by passing by, the flow of everything to and fro around temporally and temporarily fixed objects: they all add up to a work that is entrancing, coherent and brilliantly conceived. Congratulations to Susan Philipsz, not least on winning the Turner. I’ve little doubt Lowlands also works well in an “empty” gallery space; but the Glasgow setting will be hard to beat.
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