Фотосет Sarah Time and Space
Фотосет Sarah Time and Space
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Installation view of ‘Twice Twilight’ by Sarah Sze in ‘Night into Day’ at the Fondation Cartier, Paris, October 2020. Photo: Luc Boegly; courtesy Fondation Cartier; © Sarah Sze
‘Being here in person is very special,’ says Sarah Sze from Paris, just ahead of the opening of her new exhibition, ‘Night into Day’, at the Fondation Cartier pour l’art. She’s been in the French capital for ten days installing two new sculptures for the show: Twice Twilight , which uses a delicate scaffolding of metal rods and bamboo to suspend photographs, objects, light, sound and video projections on and around torn paper arranged in a spherical shape; and Tracing Fallen Sky , which features a pendulum that traces out the negative space above a mirrored, fragmented sculpture, reflecting slivers of images and objects. But ‘Night into Day is also much more than that, because Sze has used the entire structure of the Fondation Cartier to create it, projecting images and videos on to the walls and floors of the gallery and its facades to create ‘a light box of fleeting reflections and images’, blurring the boundaries between what is inside and outside, and also between what is image and reality.
Installing it in person almost didn’t happen because, with Covid peaking first in Paris then in New York, Sze’s home, and now returning in France, it seemed that she’d have to work remotely. Collaborating with a member of her team based in Paris, Sze had GoPro cameras set up throughout the building, designed by the celebrated architect Jean Nouvel, and worked on French time, getting up at 3am in New York. Only on 13 October was she finally able to travel. ‘It was very fascinating to see what you cannot do virtually and what you can,’ she says. ‘There are really important parts of the work that I never would have figured out [from New York] because they were very intuitive, spontaneous reactions to the space.
View of Twice Twilight by Sarah Sze in ‘Night into Day’ at the Fondation Cartier, Paris, October 2020. Photo: Édouard Caupeil; © Sarah Sze
And that’s strangely appropriate, because ‘Night into Day’ is the latest in an ongoing investigation into the relationship between images and information and our physical location in time and space, a series that considers ‘what does to us to have this amalgamation of the digital and the material’. Sze calls this series Timekeepe r and traces it back to 2015, with an installation called Measuring Stick at New York’s Tanya Bonakdar Gallery, which included torn photographs, a fake rock sculpture, a video projection of a running cheetah, and a projection linked to NASA’s servers, counting out the ever-growing distance between Earth and the Voyager 1 space shuttle. It is an interesting evolution for an artist whose work initially considered our relationship with materials; the daughter of the Chinese-American architect Chia-Ming Sze, she trained in painting, and has included painting – or paint as a material or peeled off the walls – in her sculptures, along with everyday objects such as toothpicks, plants, and glasses of water. Her installation at the 2013 Venice Biennial, Triple Point , included objects such as leaves, and waterbus tickets, for example, gathered from the Italian city and added to the artwork over its three-month duration.
But the physical also features in ‘Night into Day’, albeit at one remove, because the videos shown in Twice Twilight centre on elements such as fire, air, water and earth, or on natural phenomena such as the setting sun, or the flickering of a flame. Other moving images she has included show hands transforming materials and were taken from online Autonomous Sensory Meridian Response (ASMR) videos, which aim to stimulate a full body response to visual and auditory stimulation. It’s also weirdly apt now, as we go in and out of Covid-related lockdowns and (in most of the West at least) spend an increasing amount of time online, moving family gatherings, press interviews, and even exhibition installations on to Zoom.
Triple Point (Pendulum) (2013) Sarah Sze. © Sarah Sze
Sze describes Covid as a tragedy, but adds that it’s ‘a social experiment in isolation, and in what it’s like to have your main lifeline to the world through the screen’; though she’s been investigating this trend for the last seven years, it’s not something she wants to judge. ‘I don’t think it’s a polarisation – there’s too much talk of “Is it better or is it worse”,’ she says. ‘It’s just reality. We use it like we use a knife and fork these days, so then it’s a question of examining this language we’ve learned so quickly because we’ve had to, and become fluent in without really understanding what it is we’re becoming fluent in.’
It’s an intriguingly dispassionate stance, fitting for an artist whose works often evoke experiments or laboratories, or scientific techniques or equipment. The title Triple Point referred to triangulation, for example, the practice through which a unique position is specified by measuring from three points; it also referred to thermodynamics, and the point at which a particular combination of temperature and pressure means a substance can exist as a gas, solid, and liquid. ‘Night into Day’ and Triple Point both include pendulums, recalling clocks or maybe Foucault’s Pendulum and the Earth’s rotation in space; both also included spherical sculptures, references to planetariums. ‘As an artist, I think about the effort, desire, and continual longing we’ve had over the years to make meaning of the world around us through materials,’ Sze says. ‘And to try and locate a kind of wonder, but also a kind of futility that lies in that very fragile pursuit.’
‘Night into Day’ by Sarah Sze is at the Fondation Cartier pour l’art until 7 March 2021.
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By Barry Samaha Published: Sep 29, 2020
Sarah Sze, installation prototype in the studio, 2019 © Sarah Sze.
Sarah Sze, installation prototype in the studio, 2019 © Sarah Sze.
Sketches for Night Into Day exhibition, Fondation Cartier, Paris, October 24, 2020-March 7, 2021.
Sketches for Night Into Day exhibition, Fondation Cartier, Paris, October 24, 2020-March 7, 2021.
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Commissioned by the Cartier Foundation, the New York–based artist will mount two installations that highlight the blurring of digital and physical realms in quarantine.
Amid the COVID-19 pandemic, the perception of time and space have come into question. For most, months spent in quarantine—confined to a singular dwelling with limited human interaction—warped reality. Days blurred, rooms started to take on dual roles (if not more), and screens were the lone form of communication. Faced with this scenario, many began to closely examine how they interacted with their environments. But for Sarah Sze, this level of scrutiny was nothing new.
The New York–based artist has been celebrated for an oeuvre that explores human dynamics in extraordinary surroundings. Her expansive installations—which combine video screens, projections, lights, paintings, and found objects—have been on view at some of the leading art institutions across the globe. From the Venice Biennale to the Museum of Modern Art to the Whitney Museum of American Art, Sze has created temporary spaces that play with interlocking planes, blurring the lines between digital and physical realms.
Now, she will highlight the same ideas for a solo show at the Cartier Foundation in Paris, which will be on view from October 24 to March 7, 2021. Housed in Jean Nouvel’s iconic building and curated by Leanne Sacramone, Sze’s two installations— Twice Twilight , a planetarium staged in darkness, and Tracing Fallen Sky , a pool-like structure under a swinging pendulum—will examine shifts in time and space. Indeed, both works, collectively called Night Into Day , were envisioned and predominantly made during quarantine, intending to reflect the thought patterns many faced during months in lockdown.
Ahead, Sze chats with BAZAAR.com about her work and the messages behind them, and gives a first glimpse into her exhibition at the Cartier Foundation.
I felt like I had learned so much of the skill that it became almost athletic. There was this kind of attachment to being a very good painter, but I didn't have content. I didn't know why I was painting things. So part of becoming a sculptor or an installation artist was just saying, "Okay, let's get rid of all the tools that I've trained in and see what I have to say."
My father is an architect, and I grew up around looking at architecture. So this kind of marriage of painting and architecture became installation art. I'd always thought about space in terms of how do you enter a space? How do you exit it? What is the light? What's the circulation? Is it intimate? Is it scaled to an institutional scale? Is it a domestic scale? Even as a child, I didn't even realize that that's how I read spaces. Those are just immediately what I think about all the time, so I came into the installation very naturally.
Yes, I play with ideas of scale shifts, monumentality, and ephemerality. I am really thinking about time. They're expansive in that they're in the process of growth. Very small gestures become very large over time. For me, it was interesting to have installations be something that you could imagine growing, and you could also imagine dying, and that in that moment of seeing it, you have this kind of heightened awareness of time, because you are in the present. You're thinking about how it grew, you're thinking about how it's going to die, and you know that moment is precious.
Absolutely. I think we are in a global experiment with time. You're in a petri dish when quarantined. Your sense of time changes; it becomes very emotional. We begin to mark it through our senses, through tactility, through sense of smell, through color, through light. So much of our communication in this social experiment that's quarantine, on everything being forcibly digital, has been turned way up. I think that there's a kind of longing for interaction, for spontaneity; the kind of spontaneity you get in real time, of walking down the street and running into someone you didn't know; the spontaneity of nature, because we are very much in human-made environments. There's a real longing for all that.
The whole show is very much about this kind of dystopia, or this kind of confusion—not in a negative way necessarily, but a blending of what is physical and what is digital, and how we experience the world in the present, in terms of memory, and what we imagine in the future.
The building itself is this kind of amazing—there is literally a glass screen in front of the entire building that's bigger than the building itself, which you can actually pass through. You experience passing through these screens, and the confusion about whether you're inside or outside, or if a reflection is real or not. It has a hall-of-mirrors quality. I am playing off that by making what is basically a Russian doll structure. As you move into the building, everything begins to scale down. There's a projector [at the center] that has a planetarium quality. And as you approach the planetarium, you move into another interior, and then another smaller interior, and then another until you reach one to the scale of your hand.
Throughout, your body and other people's bodies are filmed and projected. You'll see your body become a silhouette across the interior of the space. The physical things get completely confused with digital things. So you're seeing things physically in front of you, and they're being confused with things that reflect them, but are not them.
The second piece is almost like a Narcissus pool, where the circle is drawn by a swinging pendulum. And when you look down into the pool, you see reflected images float to the edge, along with found objects. There is this confusion of objects and images of objects in a real space, and the two flip back and forth in terms of your focus.
I've always tried to bring the live process of a studio into a space. A lot of my work looks like it could be a laboratory, a workshop, or a video editing place. It's kind of like looking behind the curtain in a theater. For this show, I was going to do a lot of it on-site. Instead, I set up my studio and did it during COVID, and I was able to figure out a lot then. But then there's certain things that needed to be figured out on site. So when you go in, you see something as simple as a French sugar package. There are things from 1980, from yesterday, from New York, from Paris. You have this narrative through objects. It's a reflection on how I experience the world.
Exactly, it has this feeling of spreading. It doesn't have boundaries.
I'm really interested in art being seen in many different ways. In this context, it's actually a real privilege to see work outside of a crowd. Most museums have limited viewing times for their board members, or for artists like me. I have been to probably every museum off hours. I've had that privilege, because I've been installing, or giving a lecture. My favorite thing in the entire world is to wander the galleries of the Metropolitan Museum alone.
It will allow limited numbers. There's downsides to that, but the people who will make the effort to reserve [spots] will have a very special experience. In COVID, everyone who is an art lover should immediately get in line to do this, because it won't exist again. It will be a very intimate experience, and sometimes art should be experienced that way. There's some artworks that are made to be pilgrimages. It's limited to time.
This interview has been edited and condensed for clarity.
Barry Samaha is the former style commerce editor at Esquire , where he covered all things fashion and grooming. Previously, he was an editor at Harper’s Bazaar , Surface , and WWD , along with overseeing editorial content at Tod’s Group. He has also written for The Daily Beast , Coveteur , Departures , Paper , Bustle Group, Forbes , and many more. He is based in New York City and can't seem to find enough closet space for all his shoes.
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343,398 views | Sarah Sze • TED2019
How we experience time and memory through art
Artist Sarah Sze takes us on a kaleidoscopic journey through her work: immersive installations as tall as buildings, splashed across walls, orbiting through galleries -- blurring the lines between time, memory and space. Explore how we give meaning to objects in this beautiful tour of Sze's experiential, multimedia art.
Want to hear more great ideas like this one? Sign up for TED
Membership to get exclusive access to captivating conversations,
engaging events, and more!
This talk was presented at an official TED conference. TED's editors chose to feature it for you.
Artist Sarah Sze takes us on a kaleidoscopic journey through her work: immersive installations as tall as buildings, splashed across walls, orbiting through galleries -- blurring the lines between time, memory and space. Explore how we give meaning to objects in this beautiful tour of Sze's experiential, multimedia art.
This talk was presented at an official TED conference. TED's editors chose to feature it for you.
Sarah Sze's immersive works challenge the static nature of art.
Jacoba Urist | Cultured Magazine , 2019 | Article
Roberta Smith | The New York Times , 2019 | Article
Christian Viveros-Fauné | Artland , 2019 | Article
Take a 3D tour of Sarah Sze's current exhibition at Tanya Bonakdar Gallery.
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