DET LYTTENDE SPEJL
Visitors to DNV-Gødstrup, a new hospital near Herning, Denmark, are greeted at the main entrance by an airy, round pavilion. Two curved pipes, crossing one another perpendicularly, hold a large disc aloft at a slight angle. The reflective underside of the disc mirrors the semicircular pipes, creating the illusion of two complete circles passing through the ceiling and rising into an imaginary space above. As visitors enter the pavilion, they can gaze up at their own reflections in the mirror and see themselves incorporated, upside down, into the artwork, embraced within the globe drawn by the pipes. The tilt of the ceiling allows the reflections to be seen from the outside. As the viewer moves towards and around the pavilion, the rings appear to shift in shape, changing from ellipses to circles and back again.

ST/LL
ST/LL opens on a stage with a long set table, perpendicularly to the orchestra, under the eyes of the audience; on the sides of the table there are some chairs. On the background, coinciding with the inner extremity of the table, there is a projection screen developing vertically, like a painting that evokes the Japanese pictorial tradition. The perimeter of the stage is covered with a veil of water, in which everything reverberates. The whole visual structure of the work develops all around this diaphanous dimension. A man enters the scene and carries out actions on the table: he moves the cutlery, changes the position of the chairs, makes tiny gestures, which let the audience foretell that an action played on the visible will develop. To the sound of a metronome, two women and then a third one enter the scene and sit at the table making gestures that imitate a meal without food.

Elasticity
With an urge to constantly explore the intersection between architecture, fashion, and product design, london-based artist Fabrice le Nezet has created ‘Elasticity.’ the work materializes the idea of tension by making the notion of weight and stretch palpable through the use of four massive and abstract metal structures. These components run perpendicularly across the long edges of rectangular voids in the ceiling. by presenting this normal condition, several of the wires bend to support large prisms of concrete that provide a feeling of force and motion. as they drop down to occupy spaces below, movement is emphasized by their strategic orientation below clerestory windows shining light onto the forms. As observers move around the constructs, a contrast is created between the real properties of the materials and the way they are perceived.