Tate Modern river view
Tate Modern

As part of our  tenth birthday celebrations, we’re planning a short film that tells the stories about and within Tate Modern. We’re gathering together stories from the last 10 years , and we would love to hear and see your memorable moments and amazing experiences - some of the posts may be selected to appear in the Tate Modern is 10 film. At the moment we’re looking for stories and videos - there are lots of ways you can get involved: Post your memories as a comment here.

Tell us your favourite or most interesting experience at Tate Modern. Do you have a personal story about the collection, an exhibition, the building or something else?

Follow us on Twitter. If you’re a minimalist and can condense your thoughts in to no more than 140 characters, this is the place for you. We’ll be asking (short) questions over the next few weeks and your tweeted comments tagged #tm10 will show up here.

Join us on Facebook. You can share your stories, pictures and videos of Tate Modern over the last ten years on our Facebook fan page. We’ll look at everything posted there as well as here, so you’ll still be in with a chance of getting included in the film.

Add your videos to Youtube. Have you got video of your journey to TM? Did you video your experience of a Unilever Series installation in the Turbine Hall?;Tag them tatemodern10 and we’ll put them all in a playlist. 


Stewart Sharon-Wise

SLEEP:Warhol/Cage/Satie at the Tate Modern London

WHEN (ART) WORLDS COLLIDE by Stewart Sharon-Wise

In 1893 the French composer, Erik Satie wrote a short piece called Vexations. In 1949 the American composer, John Cage, a prominent member of the Fluxus art movement (which included Yoko Ono, Naim June Paik and Al Hansen, Beck's grandpa) discovered the piece, but it wasn't until 1963 that the he staged the first full performance of the piece. Cage's version was performed by a tag team of pianists who rotated in and out until the piece was finished 18 or so hours later. One of the pianists was the pre-Velvet Underground, John Cale. The young Pop artist Andy Warhol sat through the entire performance and a short time later used the Cage version of Satie's Vexations as both the inspiration for and the accompaniment to his first film, Sleep (1964). The black and white film was of Warhol's boyfriend, the Beat poet, John Giorno sleeping. It consists of about eight different shots and has been looped so that it lasts eighteen hours.

In the last weekend of May, the Tate Modern in London held the second performance of the piece in the mighty Turbine Hall. This time the tag team included Joshua Rifkin, Michael Nyman and Gavin Bryars. The Warhol film was projected above the pianists on an enormous screen. As you entered the dark hall you were handed a thin cushion to sit on. I hadn't anticipated sitting on the floor or I probably wouldn't have come since my bum leg won't allow it,. As it turns out, I'm glad I did because the experience was really remarkable. I resigned myself to standing in the back. Pete however flung himself on the floor like a teenager. Some of the people had brought sleeping bags and bedding and were snoozing. Others were drinking beer or wine or eating, but everyone was very quiet. One thing I really liked was the sight of dozens of people video recording or photographing the event with cell phones. It was strange and visually beautiful in the darkened hall. The repetitive images on the phone screens stuck me as very Andy Warhol. After a short while, I signalled to Pete that we'd have to leave because I couldn't stand up much longer. As we were leaving I told the attendant that I didn't want to leave, but that I couldn't sit on the floor. The next thing I knew someone had brought me a chair from upstairs and we were happily back in the hall and enjoying ourselves.

The music was a little strange and puzzling at first.It pretty quickly became irritating but after an hour or so it had become hypnotic and mesmerizing. The only variation was in the different individual performances though they were minimal.

The film was very stark and static. Each shot was projected for about 15 minutes or so and at first this seemed almost unbearably tedious. But again, the images became hypnotic. Rarely is it possible for a single shot to be so leisurely examined, but this wasn't a slide show...when the sleeper moved it seemed monumental. A moment of exciting action was taking place.

When we left after only a couple of hours, I felt slightly disoriented because my sense of the passage of time had been altered. It seemed like we'd been in the hall for only a few minutes. As we made our way across the Millennium Bridge spanning the Thames River, we had to fight a freezing cold wind and light drizzle. The city lights of London all around seemed like a dream.


I'm portuguese and live in Portugal but I love London and since it opened, in all my visits I went to the Tate Modern. The most spectacular was the Weather Project by Olafur Eliasson. But I liked everything that I saw there. One of the pictures that I keep in my mind was a mother showing to her young daughter ( 3 years or so) the Degas sculpture of the little dancer. Little girl eyes where so opened! Nice feeling a child fascinated with art! Congratulations Tate Modern!

kambiz etemadi

The impact of LOUISE BOURGEOIS,s on my youngest daughter ( she was 6 years old ) i never forget ! she is an artist now!

clare savage

I will always remember the Donald Judd exhibition. I actually dismissed it at first but it ate away at my consciousness and by the end of my visit I was a convert. It was so beautifully curated and challenged my views on architecture and art. now, every time I see any further Judd or anything resembling, I think of Tate Modern, it was the perfect exhibition for the wonderful industrial building.

ps I would have said the Weather Project too but that's been said. it really was incredible to bask in the 'sun' whilst making huge reflected patterns with my friends.

Sarah McManus

It may be recent, but my fondest memory is my visit to the Pop Life : Art in a material world exhbition. I included my experiance of this exhbit in my Dissertaition. It prooved extremly helpful in my research and I just loved every minute of it. Thankyou Tate Modern

Tim Webb

White cubes, giant spiders, awesome mirrored suns and of course those unforgettable slides. Tate Modern is a national treasure and a constant source of wonder for my partner, daughters and myself.

As for the galleries. Casually chatting about the work of Gilbert and George with an eleven year old is interesting.. but let's not forget the world's fastest living creatures that have been resident on the iconic chimney for the past five of your ten years!

The peregrine falcons known as Misty and Bert have wowed crowds outside the Tate and help prepare visitors for the gems hidden inside.

Bird's permitting, the RSPB trailer will be back outside the Tate Modern again this year, come mid July. I can't wait to visit the new extension!


i will never forget that you worked a young man to death in your restaurant. It defines the place of Tate in modern culture I know Tate made its money from slavery shame that times haven't changed

Adam Avikainen

I have only been to the Tate once (2004)...all I can remember is eating a prawn & rocket sandwich in a room with no windows (in the basement?)(the crust was cut off the bread?) My feet were very sore. I like the fact that the museum is next to a river.

Katja Lunde

On a trip to the UK in 2007, I decided to grab the opportunity to visit as many art museums as possible. Myself and one of my travel mates both have degrees in art history. We visited several places; my boyfriend was patient and enjoyed himself, my travel mate with the art history degree's husband Matt was whiny and puerile. He kept complaining that we were taking too long in museums and that he just wanted to get out and see the city.

My focus in art history is modern art -- particularly modern British art. Thus, I was thrilled to have a chance to visit the Tate Modern. Matt was highly doom-and-gloom about the museum visit, saying that he might leave early to go see St. Paul's or somesuch.

After many hours in the museum, I had seen it all. Matt, on the other hand, was lagging behind, enthralled with everything he saw. Once we finally pried him from the exhibits, he apologized for his earlier behavior by buying me a beer. In the end, we were all sated.

Muna Al Gurg

I distinctly remember Concert for Anarchy by Rebecca Horn - a huge piano suspended upside down from the ceiling by wires attached to its legs. Every few minutes we would witness the lid of the piano open up as the keys point out.Absolutely phenomenal!

Sheila Bridgland

I will never forget the drama of walking into the turbine hall which was filled with that enormous Anish Kapoor Marsyas installation. It took my breath away I will never forget it. It was so perfect for the space.


Without a doubt - my first visit to the Modern, and the Weather Project. The most breathtaking of installations, it fooled my naive little mind and brings back so many rich, warm memories. This work truely touched me, I am so happy I got to experience it.

Alex Pilcher

I think my best Tate Modern memory must be the experience of entering the Turbine Hall for my first encounter with the Weather Project installation by Olafur Eliasson (2003/4). I still think this has to be the most spectacular artwork I have ever seen in the UK. It seemed to achieve the impossible - fooling your senses for a moment that there actually was a vast sun trapped inside the building, or else that the end of the building had dissolved into a misty haze.

The effect that the installation had on everyone in the hall was perhaps as impressive as the work itself. The normally observed behaviour of art gallery goers - shuffling purposefully from one destination to the next, rarely pausing for more than a few seconds at any one work - was supplanted by a palpable sense of wonder. Crowds gathered on the Turbine Hall bridge in awe. The floor east of the bridge was covered with visitors loitering in the mist, entranced by the magical view, or arranging their bodies on the floor to make patterns and words in the mirrored ceiling. (It's not often you witness adults responding to a work of art in a museum setting with unprompted play.)

The only problem with the Weather Project was that it was all over so soon. Maybe right now would be premature, but I very much hope that one day the installation will be restaged in the Turbine Hall and that all those unfortunates who missed seeing it the first time around will finally have a chance to experience what we lucky ones have been raving about for the last six years.

Nicola Brown

I remember "The Kiss" and bought a postcard of it which I still have on my desk at work. I think my visit may even be more than 10 year ago but I can still remember it all vividly.


I remember when I could afford a flat before the Tate Modern 'set up shop'. I remember when there were a few independent galleries and community organisations - now posh flat and posh office blocks. I remember the birds that lived in and around the power station site.