We were born in 2000, we extended last year,
but we're already
a key player on the international scene.
It's partly because of
the ambition.
It's partly because artists
from all over the world
find their feet here
and gain their reputations.
The big development at Tate Modern
is the Switch House,
a fantastic new building
designed by Herzog and de Meuron
reflecting the nature of contemporary art
and the growing desire of audiences
to participate and be more involved.
I think the new development at Tate Modern
has changed our relationship with the public
and also our relationship with the city
and also our ability to put on
new and varied artworks.
But physically and philosophically, the
building has also reached out to the south.
Where we faced the river and the city
before, we're now turning our gaze
to make connections into south London
and the south of the city.
Tate Exchange is a new space
dedicated to audiences,
where audiences can meet with artists,
meet with each other.
You walk through that door,
you don't know what's going to happen.
This space is what we've been longing for,
what we can't associate with in the gallery.
I've seen people walk in here
for just ten minutes
and they end up spending five hours.
The amazing thing about it is we're working
with over 50 collaborative organisations,
so it's not just about the Tate,
it's about a shared space.
I think Tate Modern's been very important
in making modern art
much more accessible to the public.
They look around this place and they get
used  to the idea of modern art.
They get used to the idea
of these strange things that we call art.
We've had significant focus on great
achievements by women in our programme.
So, two of my personal favourites,
Mona Hatoum and Georgia O'Keeffe,
both in their unique, individual ways
changing the way we thought about the world.
For six months this year, we've had this
wonderful installation by Philippe Parreno
and, literally, thousands of people
spending time here.
It's a big deal to be commissioned
for the Turbine Hall.
It represents a step change
in any artist's career.
It's a big risk, but Tate Modern
is a great place to take risks.
We're a supportive team,
a hugely supportive audience.
I think the visitors,
they find it is an inspiring space to be.
This one is an old city in Algeria
made by couscous.
It gives you the sense that it's really old.
It can actually disappear at some point.
Well, this is a people's place
and that's the really exciting thing —
how people come and use us,
how they take over the building,
how they collaborate with us
and how we can build that narrative
around sharing the space with our audiences.
