The first time, crossing that bridge, I could not know that I would be catapulted into a reality that over time would become fundamental, but above all precious for my journey.

On the outside, its original characteristics are clearly visible, those of a power plant, but its interior has been completely modified, because its function has now completely changed: no longer electricity is produced, but art.

The Tate modern offers the opportunity to all its visitors to interact directly with their works, giving them the opportunity to immerse themselves in a place where there is no formal aspect, where everyone can feel at home; it is a place where the spectator himself becomes part of the work, participating, among other things, in the various performances that over the months keep the Turbine hall, the entrance to the museum, alive.

Crossing its innumerable rooms, one after the other, you lose track of time, which becomes a secondary aspect, because the show that is re-proposed step by step is invaluable and unique.

Like a turbine, which never stops spinning, innovating and growing, its new complex, the Switch house, was inaugurated this summer. It is a structure inserted into the pre-existing one, where the architects Herzog and De Meuron took care of every little detail: from the external walls, where they played with the arrangement of the inevitable bricks, typical of London architecture or inside, I must they have created a path that is essential to cross through the stairs to be completely absorbed, or arriving at the highest point of the museum, on the terrace, from which it is possible to have a view of the city that can only enchant and leave you stunned.

Tate modern is not just a simple museum, it is a way of thinking and experiencing art.

Lorenzo Morelli