This event has now passed, but you can still listen to the playlist on Spotify, including songs chosen by artists from Richard Wentworth to Dexter Dalwood.

Late at Tate Britain

This Saturday, to celebrate the reopening of the gallery, we’re throwing a house warming party and you’re all invited. It’s going to be an evening of full of music, performance, film, talks and special artist commissions. The events lined-up at the party will guide the exploration of the new and renovated spaces at Tate Britain, and of course its unparalleled art collection; newly re-arranged to showcase its full historical range. I’ve invited Toby Kidd, Creative Director of the festival Are We Here?, to pull together a tracklist inspired by the Tate collection to play on the night. In collaboration a few artists, here’s what they came up with. Enjoy!

You can listen to the playlist here with a Spotify account

Toby Kidd DJing
Toby Kidd DJing

Hello, I’m Toby, and one of things I do is programme events where artists and musicians collaborate. I’d like to thank all the artists for taking time to contribute to this project. Putting the playlist together with such incredible artists has been personally very rewarding; hearing them make connections between certain artworks and pieces of music has been a revelatory experience. I’ve discovered artworks, artists and pieces of music that I hadn’t seen or heard before, and gained a greater insight into how different artists think. I hope you do too.

One particular highlight was being introduced to Phillip King’s work in Richard Wentworth’s suggestion. King’s work alone blew me away and took me on a voyage of discovery through the Tate collection. I’ve enjoyed seeing how artists have approached the basic concept differently, whether making connections with lyrics, sonic qualities of the music, an overall feel of the music or even the context in which the piece was created. It was also unexpectedly interesting to hear reasons from artists who couldn’t take part. For example, Ai Weiwei told me that he doesn’t make such a strong connection between music and art so he doesn’t often think about music when a sees a work.

I hope you enjoy the selections. I have made a few connections myself after an inspiring trip to Tate Britain last week, and I’ll be putting all these tracks together in a DJ mix for the House Warming Party. Please leave comments below and let me know your thoughts. I’m very interested to hear what you suggest!

Bridget Riley, 'Nataraja' 1993
Bridget Riley
Nataraja 1993
Oil on canvas
support: 1651 x 2277 mm
Purchased 1994© 2006 Bridget Riley. All rights reserved.

Haroon Mirza

When Bridget Riley’s Nataraja painting from 1993 now in the Tate collection was made, interference - or a lack of signal - on TV was in the form of noise. Today, when interference occurs on TV, there is instead distortion of pixels. It’s interesting how different technologies (digital and analogue) from different periods of technological history display different forms of interference and glitching. 

Here is a YouTube video of the song ‘Lola’ by The Kinks from 1970 which glitches and distorts. When it was first aired in the 1970’s on TV it would’ve been on analogue TV, however here is the same video with interference as if presented on a digital TV, where its digital information has been altered creating geometric colour effects. It is formally not too dissimilar to Riley’s painting.

Phillip King, 'Tra-La-La' 1963
Phillip King
Tra-La-La 1963
object: 2743 x 762 x 762 mm
Presented by Alistair McAlpine (later Lord McAlpine of West Green) 1970© Phillip King

Richard Wentworth

Loudon Wainwright III – The Acid Song (Studio Version), inspired by Tra -a-la by Phillip King

The best visual things demand attention because they do something more than the simply retinal. It’s how things occupy the corridors of the mind and continue to insist on attention, and being attended to. They detain us.

Dame Barbara Hepworth, 'Figure for Landscape' 1959-60
Dame Barbara Hepworth
Figure for Landscape 1959-60
object: 2603 x 1257 x 673 mm
Presented by the executors of the artist's estate 1980© Bowness, Hepworth Estate





Cory Arcangel

Lucid by Transet, inspired by Figure for Landscape by Barbara Hepworth

I am often in Stavanger, Norway, at Kunsthall Stavanger, the art insitution where my wife is the director. Another edition of this sculpture is outside the kunsthall on the front lawn. So I associate the sculpture with travelling to Norway and listening to music on my Macbook Air. Lucid by Transet is a track that got a lot of airtime at a certain point in my travels.

British School 16th century, 'A Young Lady Aged 21, Possibly Helena Snakenborg, Later Marchioness of Northampton' 1569
British School 16th century
A Young Lady Aged 21, Possibly Helena Snakenborg, Later Marchioness of Northampton 1569
Oil on oak panel
support: 629 x 483 mm
frame: 720 x 570 x 65 mm
Presented by the Friends of the Tate Gallery 1961




Tameka Norris

Too Good For You by Meka-Jean, inspired by A Young Lady Aged 21, Possibly Helena Snakenborg, Later Marchioness of Northampton by British School 16th Century

The exact identity of the artist and sitter are not known. I am curious about the speculation of who this young woman could possibly be. Her bling, dress, and posture identify her as being flamboyant, flirty and knowing her power. I often build characters in my work that are anonymous but familiar, that demand a similar type of engagement.

Winifred Knights, 'The Deluge' 1920
Winifred Knights
The Deluge 1920
Oil on canvas
support: 1529 x 1835 mm
frame: 1630 x 1930 x 55 mm
Purchased with assistance from the Friends of the Tate Gallery 1989© The estate of Winifred Knights

Dexter Dalwood

Led Zeppelin, When the Levee Breaks, inspired by Deluge by Winifred Knight

This needs to be played loud!

Tommy Cooper – Don’t Jump Off The Roof, Dad, inspired by Brighton Pierrots by Walter Richard Sickert

Santa Esmeralda, Don’t Let Me Be Misunderstood, inspired by Study for a portrait of Van Gogh by Francis Bacon

Frustration by Lou Reed and Metallica, inspired by The Citizen by Richard Hamilton

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  • Jeremy Deller, 'The History of the World' 1997-2004
    Jeremy Deller
    The History of the World 1997-2004
    HB pencil and matt acrylic paint on wall
    Overall display dimensions variable
    Presented by The Cranford Collection 2009© Jeremy Deller
  • Jake Chapman, Dinos Chapman, 'The Chapman Family Collection' 2002
    Jake Chapman, Dinos Chapman
    The Chapman Family Collection 2002
    Thirty four wood and painted sculptures on plinths
    overall display dimensions variable
    Purchased with assistance from the Art Fund, Tate Members, Tate Fund, the Manton Fund and private donors 2008© Jake and Dinos Chapman
  • John Martin, 'The Great Day of His Wrath' 1851-3
    John Martin
    The Great Day of His Wrath 1851-3
    Oil on canvas
    support: 1965 x 3032 mm
    frame: 2400 x 3470 x 175 mm
    Purchased 1945
  • Vanessa Bell, 'Studland Beach. Verso: Group of Male Nudes by Duncan Grant' circa 1912
    Vanessa Bell
    Studland Beach. Verso: Group of Male Nudes by Duncan Grant circa 1912
    Oil on canvas
    support: 762 x 1016 mm
    frame: 898 x 1153 x 87 mm
    Purchased 1976© The estate of Vanessa Bell
  • David Bomberg, 'The Mud Bath' 1914
    David Bomberg
    The Mud Bath 1914
    Oil on canvas
    support: 1524 x 2242 mm
    frame: 1718 x 2427 x 70 mm
    Purchased 1964© Tate
  • Bill Woodrow, 'English Heritage - Humpty Fucking Dumpty' 1987
    Bill Woodrow
    English Heritage - Humpty Fucking Dumpty 1987
    Mixed media
    object: 2390 x 3276 x 1067 mm
    Purchased 1987© Bill Woodrow
  • Francis Bacon, 'Study for a Portrait of Van Gogh IV' 1957
    Francis Bacon
    Study for a Portrait of Van Gogh IV 1957
    Oil on canvas
    support: 1524 x 1168 mm
    frame: 1600 x 1225 x 90 mm
    Presented by the Contemporary Art Society 1958© Estate of Francis Bacon
  • Walter Richard Sickert, 'Brighton Pierrots' 1915
    Walter Richard Sickert
    Brighton Pierrots 1915
    © Tate
  • Richard Hamilton, 'The citizen' 1981-3
    Richard Hamilton
    The citizen 1981-3
    Oil on canvas
    frame: 2067 x 2102 x 32 mm, 33 kg
    support, each: 2000 x 1000 mm
    Purchased 1985© The estate of Richard Hamilton

Toby Kidd

Cape Fear by Point Blank, inspired by The History of The World by Jeremy Deller

This was the first track to really get me excited about dance music and Jeremy Deller was the first artist to make me think more broadly about contemporary art. I first heard this at a free party like the ones referenced in his work. A friend and I then cycled ten miles just to get a cassette tape with this tune on it. Jeremy Deller’s work often connects lots of things together for me, including bicycles and dancing in fields.

Violenza Domestica by Mr Bungle, inspired by The Chapman Family Collection by Jake and Dinos Chapman

Art shouldn’t just look beautiful or make you feel good. And music shouldn’t just be easy to listen to or make you dance. There is dark and confrontational theatre in both of these works.

Set Guitars to Kill by And So I Watch You From Afar inspired by The Great Day of His Wrath by John Martin

The cataclysmic schism and fiery religious zeal of this painting make me think of Belfast, the home town of the band And So I Watch You From Afar. They come from a generation that has tried to keep its head above sectarian divisions. You feel an incredible united spirit at their live shows which bring together people from all kinds of backgrounds, religious, musical and otherwise.

Have A Good Time (Monkey Safari Remix), by DJ Roland Clark inspired by Studland Beach by Vanessa Bell

Simple and perfectly balanced compositions about people letting loose.

Dub War by Dance Conspiracy, inspired by Mud Bath by David Bomberg

The early  twentieth century galleries at Tate Britain illustrate the variety and innovation that was taking place in British art at this time. Artists were borrowing ideas from one another and blurring the lines between different schools or ‘isms’. This track takes samples from so many different genres of music and illustrates the excitement and musical magpie-like behaviour of producers making electronic music in the early nineties.

Flex by Dizzee Rascal, inspired by English Heritage - Humpty F***ing Dumpty by Bill Woodrow

This is English heritage.

Listen to the Tate Britain House Warming Party playlist on Spotify

The House warming party is at Tate Britain on Saturday 23 November 2013, 15.00–22.00, admisison free, no ticket required