As part of the Tate Exchange programme, the show included an open discussion panel reflecting on the theme of “access and considering the public’s role as museum and gallery visitors,” led by Rozsa Farkas and Lotte Andersen, and ran at the South Bank institution from 12pm to 6pm. London-based artist Papadopoulos, meanwhile, created a performative installation in the space throughout the day, in response to Stockholm-based performer Leandoer’s music. The two communicated ideas of transparency via phone and email in the lead up, culminating in an event where the public was admitted, while Papadopoulos’ drapes and sculptures slowly set the womblike, tattered fabric stage for Leandoer’s performance to close.
After some confusion from Tate staff on the venue’s capacity before opening the floor to audience members wishing to attend the evening performance, Leandoer appeared in face paint to perform his small catalogue of sparsely composed songs of longing, like the deeply moving ‘Never Again‘ and ‘Hotel in Minsk.’ Better known for his Yung Lean rap moniker, the musician self-released a number of these singer-songwriter sketches on cassette, called Psychopath Ballads, last year, drawing closer to the Sad Boys insinuations of his original crew.
Leandoer was supported by a band that included Endless party founder Felix Lee (aka Lexxi) on vocals, Phil Granell of Floating Points Ensemble on violin and Ricky Mehra of Swedish band JJ on guitar, and ended the set — replete with poignant vulnerability — on an airhorn.**