Join artist Sarah Sze as she talks about her intricate multimedia work in the Guggenheim’s collection.

Transcript
Sarah Sze: "Timekeeper" is the first in a series of what I would call the "Timekeeper" series, where the projector itself became kind of like a sculpture. And the sculpture took over the walls of the space and made the space itself almost into a planetarium. And when you walked in, you would have these images streaming around you.

The whole show kind of culminates in this room with a completely immersive environment, you know, in a way that you can’t really have in the museum without fighting the museum architecture. Here, you are completely surrounded by the work, and the architecture disappears as you go into "Timekeeper".

I’m interested in people recognizing things in the work—where you feel like something that can be very familiar just has a new meaning to it. “Oh, that’s a pen and I have that in my pocket.” How does its meaning change when it’s juxtaposed and put in this context? And then when you go back and you’re at home and you take the pen out of our bag, you see them anew. You see them fresh. You understand how they can have a poetry to them. You bring the artwork back into the world. And that the barrier between what is an artwork and what is daily life gets blurred.

I think why museums are so important is that you have this real narrative over time and space that you can never replicate. I think every exhibition is a timekeeper. Art, you know, is a way to have a conversation over time. The show becomes almost like a forensic site for an installation or an archeology site for, you know, a series of works. So you see the process of making—that evidence of that process left over live in the space.

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