Highlights include… Claire Bishop and Boris Groys on Futurism and participation Kurt Forster on Armin Linke Robert Macfarlane and Carl Andre on Richard Long Colour Chart: David Batchelor on monochromes Christoph Grunenberg interviews Ellsworth Kelly ARTIST ROOMS: Anthony d’Offay, Ed Ruscha, Gerhard Richter, Vija Celmins, Alex Katz and others Caoimhín Mac Giolla Léith on Eva Rothschild Robert Storr on Per Kirkeby Private View: Geoff Dyer Vincent Katz on art & poetry Travis Elborough in the Tate Archive John Cage famously sad that musicians in the post-war world had to learn from visual artists, while Frank O’Hara called himself a “sweeper-up after artists”. Collaboration, interaction or simple conversations between artists and poets have a fruitful history. What is it, Vincent Katz asks, that fascinates artists about those in other fields, drawing them across the lines to work together? Last year one of the largest donations of art in Britain was made by Anthony d’Offay. This year Tate sites, the National Galleries of Scotland and thirteen museums and galleries across the UK are showing more than 30 ARTIST ROOMS in what is the first tour of this collection. TATE ETC. talks to Anthony d’Offay about the impetus behind the project, and also to a selection of the artists on display. Boris Groys: “One of [the Futurists'] most famous declarations was “War, the World’s only Hygiene”. Better to antagonise the audience than let it remain neutral.” They led the way for participatory art, from Dada, Situationism and Allan Kaprow’s happenings, to the present. To coincide with Tate Modern’s ‘Futurism’ exhibition, TATE ETC. brings together two art professionals to explore this history. As a year-long season of exhibitions focusing on Polish art begins across the country, TATE ETC. brings together four Polish art professionals to discuss the reasons why the visual arts produced after 1945 in Poland are not better known abroad. “Lust, conceived beyond moral preconceptions and as an essential element of the dynamism of life, is a force.” As written by Valentine de Saint-Point, a former model for Alphonse Mucha and Rodin, in her Futurist Manifesto of Lust. Adrien Sina and Sarah Wilson celebrate the work of this unsing hero of Futurism. Gigantic construction sites, mining pits, hydroelectric dams, polar regions, Soviet cosmodromes and Chinese cities… Kurt Forster discusses Armin Linke’s recent documentation of the Alps and the influence of Italian painter Giovanni Segantini in their common gravitation towards the sublime. Tate Liverpool’s exhibition ‘Colour Chart; Reinventing Colour, 1950 to Today’ explores the moment in twentieth-century art when a group of artists began to perceive colour as “readymade” rather than purely scientific or expressive. The gallery’s director talks to one of its leading practitioners. “In a seaside town, pleasure, or at least its less blatantly sensual cousin, leisure, is the business.” A photograph of two unidentified men by the seaside found amid Francis Bacon’s archives sets Travis Elborough’s mind pleasantly adrift. “Why stop skimming stones when you grow up?” Richard Long, p.56. TATE ETC. is published three times a year. Subscribe online at http://www.tate.org.uk/tateetc/subscribe Or call +44 (0)20 7887 8959