The outdated, and somewhat ragged gallery, has made way for a multi-faceted artistic emporium – complete with separate spaces, both for established collections, and brand new artists. There is now also an archival study, where visitors can investigate the history of the east end, and an education facility for the local community.

The gallery, since its opening in 1901, has been a landmark for the world of art in east London. Its reputation has grown over the decades, as it has welcomed some of history’s great artists. Among those who have used Whitechapel as the platform to show their work in Britain, are: Picasso, Jackson Pollock, and Mark Rothko.

The rejuvenated space is very fitting, for an area that is now considered London’s cultural and artistic hub. Its aim is to “bring modern and contemporary art to local, national and international audiences by providing a place for free-thinking, creativity and learning.

The itinerary for the gallery certainly reflects this ethos; contemporary installations from artists such as Goshka Macuga, and retrospectives from The Whitechapel Boys, offer contrasting styles of abstraction.

The exhibition that I went to see however is spread over the ground floor and the first level, across three gallery spaces. It is a retrospective from German sculptor Isa Genzken exploring the concept of materials, through the medium of collage.

The amalgamation of textures, forms, and shades gives each piece an imposing industrial presence. Despite the use of humanising elements, such as photographs of children and soft fabrics, the final conclusion one draws from the piece is that of man-made majesty.

There is also a secondary feeling amongst the various installations of technical progression, as if the show has served to demonstrate humanity’s architectural evolution. The photographs are a direct reference to the creators of such masterpieces.

Although I found some of the pieces rather transparent, the show as a whole is a wonderful use of the open exhibition space, which allows the lighting to affect each piece superbly – adding to the sense that one is moving through a metropolis.

What is most telling about this retrospective is that, on closer inspection, Genzken’s work becomes self-explanatory. It is no wonder she influenced a generation of similar artists.

http://www.whitechapelgallery.org/