Age Of Terror Essays

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Age of Terror: Art since 9/11 features more than 40 British and international artists, including Ai Weiwei, Grayson Perry, Gerhard Richter, Jenny Holzer, Mona Hatoum, Alfredo Jaar, Coco Fusco and Jake & Dinos Chapman.

the new instrument of egalitarian justice, was put to work. Women were encouraged to sit and knit during trials and executions.

This is the only reference to the surveillance society. ’ Other images seem more directly relevant: Jitish Kallat offers a parade of doll-sized figures, who turn out to be people being frisked at airport security.

Up on the third floor, you will find a replica, non-functional in white marble, of a surveillance camera – the work of Ai Weiwei. In fact, it is the most directly documentary images that seem to work the best.

Watch Committees around the nation were encouraged to arrest "suspected persons, ...

those who, either by their conduct or their relationships, by their remarks or by their writing, are shown to be partisans of tyranny and federalism and enemies of liberty" (, 1793). The Convention ordered that "if material or moral proof exists, independently of the evidence of witnesses, the latter will not be heard, unless this formality should appear necessary, either to discover accomplices or for other important reasons concerning the public interest." The promises of the Declaration of the Rights of Man were forgotten. In the words of Maximilien Robespierre, "Softness to traitors will destroy us all."Robespierre was the mastermind of the Reign of Terror.

Other fashionable names are present: a large pot by Grayson Perry; two mounds in a glass case, covered with minuscule, wriggling figures in Nazi uniforms – the work of the Chapman Brothers. A huge canvas with vertical black stripes – supposedly what the so-called ‘jumpers’ saw as they fell to their deaths from the Twin Towers – can’t compete with Tony Oursler’s film of the actual event and its aftermath.

The exhibition, in general, suffers from a lack of focus, which is linked to a lack of real imaginative reach.

Basically, during these conflicts, participants, whether willing or unwilling, supposedly knew how the idea of war was to be defined: who was nominally in charge, and which of the opposing sides they were supposed to be on.

Before World War I, for example, there were there were the Napoleonic Wars, in which Britain played a leading role.


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