Ruins in Reverse

This group exhibition considers the relationship between historical monuments and discarded urban ruins.

Presented in Tate Modern's Project Space, it brings together six emerging and recently established international artists whose work explores archaeology, fiction and reality. Ruins in Reverse is the result of a curatorial collaboration between Tate Modern in London and the Museo de Arte de Lima in Peru, a partnership which will be celebrated by a new commission from José Carlos Martinat.

In her series of photographs No More Stars 2011, Rä di Martino's plays the part of an archaeologist uncovering the contemporary detritus of the cinematic industry. She photographs the abandoned Star Wars movie sets in the deserts of North Africa, which now appear like a strange archaeological site or an unofficial monument to Hollywood's glorious past. Capturing these once emblematic backdrops, her images reveal how they have become part of the landscape after years of being buffeted by sand and the elements.

The show will also include Pablo Hare's Monuments series 2005-2011, a sequence of photographs documenting the proliferation of public statuary in Peru. Intended to embody the spirit of a place, these statues often fail to relate to their surroundings, such as a giant dinosaur on a remote hillside. Amalia Pica's video work on Education 2008 also addresses public monuments in her work by confronting the ubiquity of equestrian statuary through the lens of Jean Jacques Rousseau's treatise An Education.

José Carlos Martinat will create two special commissions for Project Space, which will explore the idea of the neglected urban ruin and the signs and graffiti of London and Lima. The first commission will be on display at Tate Modern, consisting of assembled resin skins peeled from Lima's city walls, while the second commission will take place in Lima with new material drawing on his London experience.

Eliana Otta's Archaeology as fiction 2010 presents a survey of the decline of the Peruvian record industry since its 1960s and 70s heyday, and the concurrent construction boom taking place in Lima. Her work uses photographs, vinyl records, cassettes and CDs to explore this urban transformation. Haroon Mirza addresses similar issues through his sound installation Cross Section of a Revolution 2011. This work combines tangible fragments of technological waste, such as record turntables and computer keyboards, with intangible fragments of the fast-paced, ever-changing Internet era.