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More rooms for the collection and for temporary exhibitions at the Royal Academy

The landscapes of Tacita Dean star in the opening show

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More rooms for the collection and for temporary exhibitions at the Royal Academy

Walking through interior of new Royal Academy (RA), it is hard to guess how far David Chipperfield's hand came, and that is probably architect's main success. His is a subtle exercise of surgery that completely transforms an institution. The Union of historic headquarters with its back neighbor allows you to move from Piccadilly to Mayfair by your own guts. The bridge from one building to anor literally crosses space where students have ir studies, some of whose works are exposed in one of halls by which one passes (Weston Studio), remembering that of oldest school of British art arise powerful Pieces of contemporary art.

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  • Chipperfield, museum surgeon

The reform also allows institution to exhibit treasures from its collection on a permanent basis, reinforcing museum's hook as a tourist destination, by providing it with an exhibition continuity. Thus, in Collection Gallery, in West wing of new building, it is possible to contemplate, for free, Tondo Taddei of Michelangelo or a copy of Last Supper, by Leonardo da Vinci, from beginning of 16th century, toger with Gainsboroughs, Constanable or Turner.

The RA also wins anor new space for temporary exhibitions, focusing on contemporary art and architecture. This is gallery Gabrielle Jungels-Winkler, a group of old offices and laboratories transformed into a superb nave with three adjoining rooms, illuminated in part with natural light. The opening of new space is Tacita Dean. The English artist has conceived three exhibitions dedicated to three traditional genres of painting, landscape, portrait and still life for many or institutions ( ors are National Gallery and National Portrait Gallery).

To RA has corresponded landscapes, a category that allows artist, as explained yesterday, "explore idea of space, time, place, scale and memory." There are ten pieces that range from a huge picture of a mountain painted with chalk (The Montafon Letter, 2017) to small postcards populated by a tiny ant, through collections of spherical stones or clovers of various numbers of leaves. The exhibition is crowned by an ambitious piece of video, an experimental diptych almost an hour long.

The London institution will take advantage of enlargement to reinforce its exhibition program around architecture. The first chosen for this new era will be Italian Renzo Piano, which stars in September a Retrosepctiva on his career.

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