Titled ‘People meet in architecture’, the biennale [2010 Venice Architecture Biennale] was exemplified by Sejima’s curatorial selection of collaborative and speculative projects, many of which functioned as controlled experiments variously involving acts of shaping space (through the use of light, water vapour, sound) and giving substance to time (photographically, stroboscopically). Through such works:
The interdependency of space and time are explored through projection, movement, images (still and moving) that reveal both the complex subjectivity of perception and the intersubjectivity of experience that is shared – in the spaces of architecture as it is in the context of the exhibition itself. Throughout the exhibition the worlds of information and experience collide, intersect and multiply their contradictions (Blau, 2010: 39).
The role of exhibition in establishing this basis in ‘interdependency’ becomes particularlyevident when encountering works that experimentally demonstrate the structure of transparency and density (Junya, Ishigami & Associates; Matthias Schuler and Transsolar) or mediated environments that test the thresholds of perception. Particularly poignant in this respect were presentations of multi-sensory environments created by artists Olafur Eliasson and Janet Cardiff. Using cinematic effect to carve out slices of visibility, Eliasson’s Your split second house oscillates between the fluidity of perception and momentary flashes that register these impressions. Exhibiting a minimalist attitude that contrasts with the grandiose effect that Eliasson coaxes from the void, Cardiff and Miller Studio’s reprisal of The Forty Part Motet—which I will refer to again in relation to my investigation on UVA’s Chorus—instead places heightened emphasis on tightly controlled spatio-acoustics to produce the intertwining of sonic proximity and intimacy.