Contact

As I mentioned in my previous post, yesterday evening  I attended the opening of a new show at the Fondation Louis Vuitton in Paris. The first thing to say is that the Fondation Louis Vuitton building, designed by Frank Gehry, is an absolutely amazing structure. It was dark and rainy when I arrived there yesterday and I failed to get any decent pictures of the outside but if you google around you will see what I mean. The interior of the building is an extraordinary as the outside; indeed, it’s such a complex topology that the distinction between inside and outside gets completely lost. It’s definitely a work of art in its own right and enormous fun to wander around, although some of the terraces and balconies are not suitable for those of us who are afraid of heights especially since the only barriers are transparent.

Anyway, the installation I mainly went to see, by Olafur Eliasson,  called Contact, is built around two large spaces on the lower ground floor of the Fondation Louis Vuitton building. The first room is semi-circular in shape and darkened. Along what would be the diameter were it a full circle there is a mirror, just in front of the centre of which there is a bright light surrounded by metallic structure in the form of a mesh. The light illuminates a strip of the circular wall, with darkness above and below, and not only casts a shadow of the mesh against the curved wall but also does the same for the people in the room. The radius of the semicircle is about 25 metres so the room can accommodate many people.

First impressions entering this space are quite strange. First, the room seems to be exactly circular. Then you realise there is a mirror and the mixture of geometrical and human shadows on the circular section of wall. Once you have taken in the true geometry, however, there is stull the fun of watching how people behave within it. Like many of Olafur’s works, this one is as much created by the people who enter the room as it is by the artist.

My phone wasn’t really up to taking pictures of this – and in any case it’s something to be experience rather than seen in a photograph, but here are some attempts. In this one,  very large shadow in the middle is mine:

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The second room is a quadrant rather than a semicircle, with mirrors along the two straight edges creating the impression of a complete circle. This time, instead of a single point of light in the centre there is a horizontal illuminated stripe of an intense orange-red which, in the mirrors, creates in the viewer the impression of being in the middle of a ring of light.

My first impression when I entered this part of the installation was to recall some of the lighting effects near the end of the film Close Encounters of the Third Kind:

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This is evocative of attempts that have been made from time to time to construct cosmological models with a compact topology, such as a finite flat space with its edges identified to form a torus.

In between these two large spaces there are a number of smaller pieces involving curved mirrors devices that invert and otherwise distort the images of people moving around inside the exhibition, one in particular producing an amazing holographic effect. Knowing how these things work does not diminish their power to amaze and to make you want to reach out and try to touch what is not really there..

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Anyway, that’s all just a taster. You really have to see it to appreciate it. It’s a show that asks very interesting questions about we use light in order to perceive space and indeed how we construct space itself through our own imagination.

2 Responses to “Contact”

  1. Bryn Jones Says:

    There was an article about the exhibition in The Guardian that included more pictures.

  2. Herve Aussel Says:

    Thank you for pointing out this exhibition. As a neighbour, I wanted to visit the fondation, but your blog prompted me to go before the end of the Contact installation. This is indeed a great moment.

    Beside the “plato cave” (it is interesting how the setup prompt you to look at the shadows on the outside rather than toward the mirror wall) and the fountain, I enjoyed a lot one of the glass lens where the light falls on the black wall, I believe it is called “Sudji”. It reminded me of the situation we are in with observational astronomy.

    It’s great to have such a large place where an artist can deploy truly its vision.

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