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Guggenheim Contemplating the void: Lighting the Void
Guggenheim Contemplating the void: Lighting the Void
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Guggenheim Contemplating the void: Lighting the Void
Lighting the void is a temporary art installation inside the iconic rotunda of the Solomon R. Guggenheim Museum. The installation presents a series of tightly spaced fiber optic cables suspended from the rotunda skylight at varying lengths.
The cables act as a vertical intervention to the museum’s cylindrical ramp experience. From the ramp, one sees through the curtain of cables into the void of the rotunda, gazing across and experiencing the various levels of the museum at once.
The light installation forces visitors to contemplate the void by creating a juxtaposition of spatial relationships between the space of the museum’s galleries, the helical ramp, and the space of the void. A new type of museum experience is imposed: one that enhances sensory phenomena and the perceptual reading of the void.
When illuminated, the cables act as a vertical pillar of soft white light filling the void. The void is no longer as apparent, and the museum galleries become the void surrounding the lit mass.
When the cables are not illuminated, they act as a translucent mass embracing the concept of the vertical void. The surrounding museum space, architecture, and ramp become the mass.
The installation plays on the positive/negative spaces that constitute the rotunda.
The cables act as a vertical intervention to the museum’s cylindrical ramp experience. From the ramp, one sees through the curtain of cables into the void of the rotunda, gazing across and experiencing the various levels of the museum at once.
The light installation forces visitors to contemplate the void by creating a juxtaposition of spatial relationships between the space of the museum’s galleries, the helical ramp, and the space of the void. A new type of museum experience is imposed: one that enhances sensory phenomena and the perceptual reading of the void.
When illuminated, the cables act as a vertical pillar of soft white light filling the void. The void is no longer as apparent, and the museum galleries become the void surrounding the lit mass.
When the cables are not illuminated, they act as a translucent mass embracing the concept of the vertical void. The surrounding museum space, architecture, and ramp become the mass.
The installation plays on the positive/negative spaces that constitute the rotunda.
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