The Unilever Series: Miroslaw Balka

The Independent“You feel a slight disappointment...” And now, having turned back to look, there is just a bit too much light, and the misery is oozing away, and you are not beginning to reflect upon the terrible morbidity of the human condition after all... But the outside of this container to su

The Telegraph“I’m not even sure how original the conception is...” As a sculpture, Balka’s work impresses. As a theatrical experience it’s a damp squib. But maybe I experienced the piece under the wrong lighting conditions. What was true on a sunny morning may feel very different late on an autumn afternoon...

The Times“Possibly the noisiest place in London...” The terrible truth was, however, that the box is not really that dark, not with the entrance being completely open (and don’t even mention the camera flashes, or the glow of the mobile phones)...

Financial Times“Not yet reviewed”

Guardian“An absolute simplicity stops it being another of art's tunnels of love...” The most powerful image is watching people stand at the top of the ramp, hesitating on the verge of the consuming dark. But Balka reveals darkness rather than cloaking it in mystery. That is the point, and why this work is so successful...

The Observer“You find the experience opening into something profound and universal...” He deserves his international reputation as art's poet, not just because his work is elegiac, moral and magically adept with materials, but because its meanings defy paraphrase...

this is london“Not yet reviewed”

Artnet“Not yet reviewed”

Art Review“Not yet reviewed”

Time Out“The pitch-blackness isn't black enough to really disturb...” There are even cracks in the joins of the back walls, ruining the effect entirely. Just as that infernal bridge interrupts the view of 'How It Is', some careless execution mars its actual experience...