My name is Martin Clark and I am the Artistic Director at Tate St Ives. Tate St Ives might seem at first an unusual place to have an exhibition of the work of Heimo Zoberning. Heimo Zoberning has been showing all over Europe for over 25 years, but this is the first time we have shown his work in the UK. And what we wanted to do was to think about a way in which we could bring Heimo’s work together with work from the Tate collection in this building here at Tate St Ives. The exhibition features some rooms which just have Heimo’s work in; some rooms where Heimo has intervened very directly with the architecture of the spaces, and also an enormous number of very broad and diverse work drawn from the entire range of the Tate Collection. So this first room in Tate St Ives the Heron Mall is dominated by the extraordinary stain glass window by Patrick Heron, and Zoberning has responded to this by installing these drapes of blue chroma-key material. This is a material that is used in TV and video production as the kind of background on which to project other video imagery and it is a material that reoccurs and that he uses in a number of his works and reoccurs through out the building. So in Gallery 1 all of the works are by Heimo’s Zobernig himself and most of these works are from the 1980s shortly after he was studying Theatre studies in Vienna. And it is interesting that a lot of these works almost look like theatrical props or almost look like the idea of what an art object might be or could be. They are made of cardboard and household paints, toilet rolls, Perspex, even an old foam mattress that looks like it has come from someone’s garage. And I think that idea of theatricality and display became really important when Heimo began to think about the work he was going to select from the Tate Collection and how they would be shown within this itself quite theatrical building. In this space, Gallery 2, the view that you normally have over Porthmeor Beach is obscured by this extraordinary red chroma-key curtain. Like the blue chroma-key material in the Heron Mall this red material is also used in TV and video production as a background or kind of negative on which other images are projected. But here in this space the view through this panoramic window which normally becomes the focal point is actually obscured by this material so it is kind of inverted in a way. And then dotted around the space are numerous sculptures from the Tate collection as well as a few works from the Gulbenkian collection in Portugal, where the show will be touring to in the new year. So in this gallery there are works like Degas’s Dancer Putting on her Stocking, Which is actually a posthumous cast of the original work. There are works like this Trial for Forms in Movement by Barbara Hepworth. We have work like Head by Constantin Brancusi. Casserole and Closed Mussels by Marcel Broodthaers. This incredible sculpture by Pablo Picasso and perhaps most strikingly and most famously this icon of modern art by Marcel Duchamp Fountain, which is really a great example of an object becoming an art work through display. Dotted amongst these various works from the Tate Collection are these gold chairs which together form one installation. Basically Zobernig collects these chairs from markets, eBay and various sources and he paints them with this gold paint and then they are placed around the space as sculptural objects so rather than pieces of furniture or something useful that you can sit on they instead exist as art works and sculptural forms. So what is incredibly exciting about this exhibition is that it is not only an opportunity for us to show a hugely important an influential European artist for the very first time in the UK, here in this very particular building and in this very particular environment here in Tate St Ives. But it is also an opportunity for audiences to see works from the Tate Collection which in many cases have not been out of the store for many, many years and probably won’t be out of the store for many years to come. And to see those works re-contextualised and repositioned, and reframed in a sense in an incredibly, refreshing, unorthodox and very fresh way.