See & Do

See & Do


Highlight Artefacts

TUTANKHAMUNTreasures of the Golden Pharaoh unveils more than 150 original objects from the tomb with 60 pieces travelling out of Egypt for the first and last time. Below are 10 highlighted artefacts that are on display at Saatchi Gallery.

The World-famous Gold Coffinette

This coffinette, beautifully inlaid, was used to store the liver of Tutankhamun. The organs were dealt with separately from the body during the mummification process. Each organ had their own coffinette.

Gilded Wooden Naos

This is one of the most fascinating objects discovered in Tutankhamun’s tomb. The small gilded wooden shrine has decorations that show the royal couple — Tutankhamun and his wife — in a scene that reveals intimacy.

Gold Inlaid Hands Holding the Crook and Flail

One of the many stunning objects of precious material found within the mummy’s layers of wrapping. The crossed position of the hands, the sceptre and the flail identify Tutankhamun with Osiris, god of the dead.

Tutankhamun on the back of a Panther

This large statuette depicts Tutankhamun standing on the back of a panther. The panther represents goddess Mafdet, who protects the sun during its journey at night.

Gold Inlaid Pectoral

Lapis lazuli scarabs dominate the imagery of this bulky pectoral. The centrepiece is the morning barque of the sun, where two uraei flank the largest scarab, above which is a carnelian solar disk. The back of this piece of jewelry is equally remarkable. The flat gold backs are molded to form realistic images of the underside of the beetles.

Ceremonial Shield of Tutankhamun

This impressive ceremonial shield shows the traditional image of the pharaoh slaughtering his enemies. Here Tutankhamun is depicted in the shape of a sphinx trampling on Nubian prisoners. The shield was used for ceremonial rather than practical purposes. It is travelling outside of Egypt for the first time.

Silver Military Trumpet

Inside the tomb of Tutankhamun, Howard Carter discovered two trumpets, including this partly gilded silver trumpet, which was found inside the burial chamber of the king.

Life-size Guardian Statue of the King

Two life-size, dramatic guardian statues flanked the sealed entrance to Tutankhamun’s burial chamber. Until the discovery of his gold funerary mask, these figures represented the boy king in the popular imagination. One of these gilded wooden masterpieces has left the Egyptian Museum in Cairo for the first time.

Funeral Bed

This ceremonial bed was probably made especially for Tutankhamun’s funeral. The carved lion feet represent the most powerful animal in the ancient Egyptian cosmology. The carvings of gods on the bed’s headboard provided protection for the king, keeping him safe from the dark forces intent on harming him.

Gold Ba Bird Pectoral

This human-headed bird represents a ba, the aspect of an individual that flew from the body at the moment of death. The deceased’s ability to reach the afterlife depended on the ba reuniting with the body and the ka (“life force”). The craftsman created the human face of this beautiful artefact with exquisite sensitivity.

Saatchi Gallery artists in Residence

Located on 2nd Floor

Kate Daudy - It Wasn’t That At All 

Daudy’s multi-media exhibition, It Wasn’t That At All, explores the common interests we share as human beings. With a celebrated ability to immerse herself in the subject, Daudy has produced an installation that draws on her own reflections on home and identity, closeness to nature, faith, science and human mortality. As a contemporary reflection on Treasures of the Golden Pharaoh, the exhibition invites the viewer to question the meanings behind the traditions of Ancient Egypt. Daudy suggests that everything is connected; the past never remains in the past, we each leave a legacy.

 

Over several months, Daudy researched Egyptology, engrossing herself in understanding the faith and traditions of Ancient Egypt. She explored contemporary surgery and ancient Egyptian medical beliefs and practices. A focal point is a video wall of eyes staring out from phones and TV monitors; the multi-faceted installation immersed the viewer in a journey that explores themes common not just to the hastily buried 3,500 year old Tut, but to each of us today. Whatever our circumstances we will experience death, be forced to consider questions of family, home, identity, absence and loss. Our life is what our thoughts and actions make it.

 

Daudy’s work explores the limits of language. She commonly uses drawing, collage, wood or felt fabric to create works which interrogate themes affecting humanity. Every piece is highly researched and returns to her a passion ignited by Chinese studies and a profound interest in calligraphy and philosophy and in the connections between artistic and scientific fields. Her work has been executed in an array of artistic forms and disciplines including sound work, performance, interactive collaboration, photography, sculpture and large-scale installation.

 

In 2017, Daudy’s piece Am I My Brother’s Keeper, examined questions of home and identity in the light of the refugee crisis and has become a symbol for the work of the UNHCR. Following its installation in St. Paul’s Cathedral in London it is currently touring Spain for eight months on the invitation of the Spanish government.

 

www.katedaudy.com

Cyril de Commarque - Artificialis

Artificialis takes as its starting point the Anthropocene era — the period when man first had a significant impact on Earth’s geology and ecosystems — then projects to the

future, meditating on the effect that technology and scientific advancement will have on the evolution of humankind and the environment. It questions our responsibilities and the possible end of a civilisation.

 

Advances in technology and science allow us to modify the essence of our species. As a consequence, Homo Sapiens will be superseded by a species of man’s own creation,

Homo Artificialis. The featured works a meditation on this transformation.

 

Rather than portray this in Utopian or Dystopian terms, the artist interrogates his own feelings about these developments using a sequence of sculptural mise-en-scènes, creating a meta language between the use of recycled material, the technological process of creation and a sea of plastic to address his concept.

 

Cyril de Commarque (b.1970) lives and works in London. Commarque has had numerous exhibitions and an acclaimed sound performance in London for which he built a 25-meterlong polished/mirrored boat sculpture entitled Fluxland along the river Thames. His works have been subject to numerous solo shows and featured in prominent group shows, including the Macro Museum, the Grand Palais, The Foundation Louis Vuitton, the Bibliothèque Nationale de France and the Fondazione Giorgio Cini during the Venice Biennial.