She’s also alert to ambient sound and even smells, and their absence from digital encounters. She’s just as interested in the clutter around me, “like that coffee cup on your table, the plant, things that are not usually supposed to be seen”. We’re talking on video, and as she peers through her screen I have the disconcerting sensation that it’s not just me she’s seeing. Timelapse by Sarah Sze at the Guggenheim New York, 2023. ![]() “I think of the projectors as objects, the plugs are objects,” she says. The wires, rods and clamps that suspend them are as much part of the artworks as the objects themselves. ![]() In a show currently running at the Guggenheim, in her home city of New York, she has mixed shards of video with ladders, scissors, rocks and houseplants. As “an analogue person”, Smith wrote, she was bemused, but to them it was “almost familiar, simply a sort of exploded iPhone, with all the technology deconstructed and the liberated images floating free in the world”.īut Sze’s art is also physical. Five years later, Smith, who is a friend of Sze’s, recalled visiting her studio with her children. Back in 2012, Serra said that Sze was “changing the potential of sculpture”, describing her work as “Twombly and Pollock in space”. Sze has been described as the perfect artist for the age of information overload, with fans ranging from the sculptor to the writer Zadie Smith. “Seeing one of Sarah’s Timekeeper installations several years ago was a lightbulb moment – an artist finding a brilliant way to convey how we experience time and space today: the marvellous and the mundane, the fleeting and the fragile, all together,” says Lingwood. The Waiting Room is the last UK project for Artangel’s founder-directors Michael Morris and James Lingwood, their final commission before leaving the organisation after three decades. “I’m interested in this kind of blurring of the boundaries of where something is, where’s the art?” “When I did the site visit, I took a lot of videos, so that you’ll be looking at real video of the place you’re in, but the rest of it I want to do on site.” She’ll be picking up interesting bits and bobs from a nearby market to sit alongside the videos. The conceptual scaffolding is in place, she says. Her art brilliantly conveys how we experience time and space today: the marvellous and the mundane all together James Lingwood, ArtangelĮxactly what Sze will do with the space, in an installation for Artangel called simply The Waiting Room, is as yet unknown – even to herself. Since closing in 1962, it has lain vast and empty, stripped to its beams like the skeleton of a beached whale. When the expected hordes of passengers failed to materialise, the station continued but the waiting room was converted into a billiards hall, which ran for 40 years. The once-grand first-class waiting room is at Peckham Rye station, which was built in the 1860s as a London junction for visitors travelling from the south coast to the recently relocated Crystal Palace. Most people who have used that station every day don’t know it exists, which is an incredible thing in a city like London, where every square foot usually has purpose, because there’s that need for a growing population.” ![]() You also have this real sense of anticipation there, because a waiting room is always about something about to happen, about to arrive. “You’re actually sandwiched between the trains, so it’s like time has passed outside the windows, but it has been sort of preserved inside. ![]() “What I love about it is this idea of a negative space that’s been sitting in plain sight for so long,” she says. S arah Sze is a specialist in dissonant realities, so the discovery of an abandoned railway waiting room, silently hunkered down between tracks whooshing with trains, posed an irresistible challenge.
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