Christelle Oyiri Launches Tate Modern’s Groundbreaking Infinities Commission with Bold New Installation
Tate Modern today unveils In a perpetual remix where is my own song?, a striking new installation by French artist, DJ and producer Christelle Oyiri, marking the inaugural edition of the Infinities Commission—a new annual initiative championing radical experimentation in contemporary art.
Set within the Tanks from June 17th to August 25th—Tate’s subterranean spaces dedicated to performance, installation and film—Oyiri’s work interrogates the fluid boundaries between the digital self and embodied identity. Drawing on her multifaceted practice in music and visual culture, as well as personal experience within the entertainment industry, Oyiri crafts an immersive environment that reflects on contemporary beauty ideals shaped by our online lives.
The installation unfolds as a hypnotic loop of sound, light and sculptural presence: bronze sculptures of a woman's body—each in a different stage of transformation—are mounted atop speakers that double as plinths. Spotlights move across the figures, activating a warped soundscape that shifts in tone and texture with each illuminated form. Alongside this, a video montage projected on the Tanks’ concrete walls splices together original and found footage—cosmetic surgery, internet memes, and scenes from strip clubs—reframing the fragmented aesthetics of digital culture.
“In a hyperconnected society, where the image is perpetually staged and corrected,” Oyiri asks, “how do the virtual and the material come together in the quest for the ideal body? How do aesthetic practices influence our perception of reality and desire?”
The work draws on methods of DJ-ing and experimental literature—cut-up, remix, and repetition—to parallel the processes of cosmetic surgery and digital image manipulation. It’s a powerful interrogation of how identity is continuously edited, reshaped and performed in an age of hypervisibility.
Christelle Oyiri is the perfect artist to take on this challenge—her work disrupts boundaries between disciplines and tunes us in to the urgent questions of our time.
Karin Hindsbo, Director of Tate Modern, said: “In Tate Modern’s 25th year, it is entirely fitting to launch this free commission designed to stretch the limits of what visual art can offer. Christelle Oyiri is the perfect artist to take on this challenge—her work disrupts boundaries between disciplines and tunes us in to the urgent questions of our time.”
Born in Paris in 1992, Oyiri—also known by her DJ moniker CRYSTALMESS—has built an international reputation for blending music, performance and installation to explore diasporic histories, youth subcultures and mythologies obscured by mainstream narratives. Her work has been presented at institutions including Centre Pompidou (Paris), Haus der Kunst (Munich), Tramway (Glasgow), and the Serpentine Gallery (London).
The Infinities Commission, curated by Rosalie Doubal (Senior Curator, International Art – Performance & Participation) and Beatriz Cifuentes Feliciano (Assistant Curator, International Art), is a new platform supporting innovative, visionary practices at a pivotal point in artists’ careers. The commission is produced by Nancy Cooper and Amelia Francis, whose work has helped realise this complex and ambitious project.
Made possible through generous philanthropic support, the Infinities Commission reflects Tate’s commitment to nurturing the future of contemporary practice. The inaugural selection panel was chaired by Catherine Wood, Director of Curatorial & Chief Curator at Tate Modern, and featured an impressive line-up of voices across art and culture: Brian Eno, Oulimata Gueye, Anne Imhof, Andrea Lissoni, and Legacy Russell.
In addition to Oyiri’s commission, research funding has also been awarded to three other artists—Rashida Bumbray, Xenobia Bailey, and Jean Katambayi Mukendi—to further develop their practices.
Christelle Oyiri’s In a perpetual remix where is my own song? is now open to the public at Tate Modern’s Tanks. Admission is free.
New Zealand–born, UK-based artist Cas Campbell works across ceramics, handmade paper, sculpture, and installation to explore humanity’s deep connection to nature. Drawing on evolutionary history, queer identity, motherhood, neurodivergence, and overlooked lives, Campbell’s practice weaves the personal with the historical. Their recent ceramic works construct alternative icons inspired by boundary-breaking female and queer figures, reframing ideas of gender, care, and permanence. In this in-depth interview, Campbell reflects on their journey from painting and installation to clay, the impact of becoming a young parent, and the slow development of a research-driven studio practice. The conversation offers an intimate insight into an emerging artist reshaping contemporary ceramics through tenderness, and resilience.
At Carl Freedman Gallery, Crossing Into Darkness sees Dame Tracey Emin step into the role of curator with striking emotional authority, assembling a multigenerational constellation of artists — from Goya, Munch, Bourgeois and Kiefer to Danielle McKinney, Lindsey Mendick and Celia Hempton — to explore vulnerability, mortality and psychological depth. Through restrained lighting, careful spatial choreography and an instinctive pairing of historic and contemporary voices, Emin transforms darkness into a space of reflection rather than despair.
Tate Modern’s Frida: The Making of an Icon (25 June 2026 – 3 January 2027) explores how Frida Kahlo evolved from painter to global cultural icon. Developed with the Museum of Fine Arts, Houston, the exhibition traces her lasting influence across art, feminism and popular culture, positioning Kahlo as a figure continually reinterpreted by new generations.
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