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The convicted paedophile and sex trafficker Jeffrey Epstein slept in the artist Tracey Emin’s bed, the latest tranche of papers from the Epstein files reveals.


The new revelation comes as Emin’s retrospective opens at Tate Modern, featuring the iconic My Bed with its crumpled sheets and sea of detritus from Emin’s history – empty vodka bottles, condoms, overflowing ash trays, Polaroid selfies, period pants…. Some online sites say that Epstein’s face can be seen in the crumpled and stained sheets, like a disturbing Turin shroud.


The incident is alleged to have taken place in the early 2000s after the captain of one of Epstein’s luxury yachts entered the wrong coordinates into the yacht’s satnav system and the vessel followed the route to Margate not the Maldives.


The pair met in a local bar and Emin allegedly gave Epstein a tour of her studio. There is no conclusive proof that he slept in her bed, but he does say in an e-mail that he 'liked' the bed 'very much' and she should consider 'exhibiting it'. It is unclear whether the bed Epstein is referring to is any old bed, or the bed, the one that became ‘My Bed’ with its historic baggage listed above. But this is to be nitpicky and, frankly, ‘bedantic’.


The bed – My Bed – made its mark in 1999 when it was shortlisted for the Turnoff Prize and exhibited at Tate Britain. Nearly 30 years later it is being exhibited again, at Emin’s retrospective at Tate Modern. The timing of this latest Epstein revelation has led some to suspect that the Tate marketing team are behind the story.


Meanwhile, one can only speculate how Emin might have dealt with Epstein. 'So, Jeff, I want you to slip these weights around your ankles.' '[with excitement] Cool!' 'That’s good. And now we’re going to go for a walk to the end of Margate’s famous pier…'



Image credit: perchance.org


A new attraction, due to open at the Tate Modern in August, features the work of artist, Dick Scratcher, who specialises in collages of newspaper headlines and speeches from disreputable politicians. Mr Scratcher describes himself as a con artist, since he works through the medium of con tricks played on the public by politicians.


Among the works on display, will be 'Big Society', a montage of the Cameron years when the public was told the nation is all in the shit together, without explaining how the privileged would prosper beyond their wildest dreams; 'Brexitmania', a retrospective of the myriad promises that leaving the EU would definitely bring; and 'Never Give a Sucker an Even Break', a work showing the history of how NHS PPE supplies were deliberately run down, so a cabal of criminals could scam the nation out of billions of pounds with unusable protective equipment.


The Tate Modern is offering the public the chance to suggest a creative name for the exhibition, with entries closing on June 30, and says it is hoping for more inventive suggestions than 'Tory Scum', which is the best the curators could come up with themselves. A full list of exhibits, with a description of what they represent, will be published in due course.



Picture credit: deep dream generator



The Tate Gallery is offering a new service for art lovers, art haters and protestors. For a fee of £400,000 (+VAT) you can throw food, paint, excrement or whatever you like, at an art work of your choice. There will be a discount for regular bookings and a pay-by-instalments plan will be available. The gallery will arrange everything for you, including a live stream of the performance, if required.


A spokesman said, 'We are seeking to manage art protestors in a more proactive way. These arrangements will avoid schedule clashes between protest groups, and we will ensure that damage to the artworks is minimised. The Tate will also benefit if the protest increases the value of the art work. A defaced work of art could easily win the Turner Prize, for example.   And the fees will help us to protect our collection and acquire new work.  And the publicity is always useful.


'One important reason for introducing the new service, and the new fee, is that it will enable us to recover damages from art protestors who haven't paid.   We will argue in court that any unauthorised protest deprives us of the fee, and we will take aggressive action to recover it.   If this puts off protestors, or sends them elsewhere, then so be it.



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