Architect Claude Parent gives a new slant to Tate Liverpool

French architect art at tate liverpool
(Image credit: © Tate Liverpool)

With its grey and yellow ramps, slopes and semi-transparent walls, Tate Liverpool's Wolfson Gallery is currently a far cry from its conventional cubic self. There's barely a right angle in sight, which, says French architect Claude Parent, is entirely the point. Parent, who has transformed the space, has spent 60 years doing away with conventional rooms in favour of sloping, slanting, and ideally wall-free, ones. He has applied this radical approach, which he calls his 'function oblique', to many buildings, including his own home studio in Paris (see W*98).

The gallery installation, entitled 'La colline de l'art' (Art Hill), is part of this year's Liverpool Biennial, which runs until the end of October and features more than 200 artists. Curator Mai Abu ElDahab wanted to turn the idea of a gallery on its head, and Parent was an obvious choice. 'I've admired his work for many years. Architecture is his tool, but in spirit, he's an artist,' she says. She visited him in his aforementioned apartment, drawings of which are included in separate show on the Tate's second floor.

Parent was also invited to select 16 works from the Tate's collection to fill the space. All resonate with his famously anti-establishment views and his unique architectural style. Francis Picabia's 'Fig Leaf', painted in 1921 as a comment on French censorship is there, along with a 1978 film by Babette Mangolte of choreographer Trisha Brown dancing. Her free flowing, fluid movements mirror Parent's architectural lines. 

'I was impressed because the curators at the Tate alluded to constructions which are essentially oblique, and which have been the focus of my architecture for a long time,' says Parent. 'Using inclines seemed right. I then devised screens and sloping walkways to create an original layout for the hanging of the works. Their aim is to animate the space and make it more mobile for visitors.'

This year has seen the 91-year-old making something of a comeback. In addition to the Tate Liverpool installation, a Parent 'ramp room' features in the central pavilion at the Venice Architecture Biennale. Last time he was there was in 1970, when, at the height of his career, he designed the French pavilion. It featured sloping walls on which visitors could lounge and recline, and Parent hopes his Tate room will be just as immersive. 'It's an experience for the staff and for the spectators. I wish them luck.'

Art at Tate Liverpool

With its grey and yellow ramps, slopes and semi-transparent walls, Tate Liverpool's Wolfson Gallery is currently a far cry from its conventional cubic self. © Tate Liverpool

(Image credit: © Tate Liverpool)

Art at Tate Liverpool

Parent, who transformed the space, has spent 60 years doing away with conventional rooms in favour of sloping, slanting, and ideally wall-free, ones. © Tate Liverpool

(Image credit: © Tate Liverpool)

Art at Tate Liverpool

Curator Mai Abu ElDahab wanted to turn the idea of a gallery on its head, and Parent was an obvious choice. 'I've admired his work for many years. Architecture is his tool, but in spirit, he's an artist,' she says. © Tate Liverpool

(Image credit: © Tate Liverpool)

Art at Tate Liverpool

Says Parent: 'I was impressed because the curators at the Tate alluded to constructions which are essentially oblique, and which have been the focus of my architecture for a long time. Using inclines seemed right. I then devised screens and sloping walkways to create an original layout for the hanging of the works'

(Image credit: Press)

Art at Tate Liverpool

The architect was also invited to select 16 works from the Tate's collection to fill the space. Pictured is 'Looped Network Suspended in Pictorial Space', by Gillian Wise, 1974. © Tate Liverpool

(Image credit: © Tate Liverpool)

Art at Tate Liverpool

All resonate with his famously anti-establishment views and his unique architectural style, including Francis Picabia's 'Fig Leaf', painted in 1921 as a comment on French censorship. © Tate Liverpool

(Image credit: © Tate Liverpool)

Art at Tate Liverpool

'The Port' (left) and 'The Open Window', both by Edward Wadsworth, c1915. © Tate Liverpool

(Image credit: © Tate Liverpool)

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Emma O'Kelly is a contributing editor at Wallpaper*. She joined the magazine on issue 4 as news editor and since since then has worked in full and part time roles across many editorial departments. She is a freelance journalist based in London and works for a range of titles from Condé Nast Traveller to The Telegraph. She is currently working on a book about Scandinavian sauna culture and is renovating a mid century house in the Italian Lakes.