This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.
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For this installation, Oppenheimer created an opening in the floor of a small gallery on the fourth floor. This aperture, or “wormhole,” as Oppenheimer refers to the type of hole she created, offers a new line of sight within the exhibition space and functions as both a hole and a screen, directing the viewer’s gaze down and out the third-floor window. The hole creates a disorienting sense of an impossible proximity between the fourth floor and the external world outside. The space of display—the museum gallery—is transformed from a container for specific objects into a lensed view of the outside world. The fourth-floor gallery floor and the third-floor window are part of the work. The shaped hole in the interior floor extends through the armature, framing a vista out the side of the building. In this way, Oppenheimer has created a zone for pictorial reflection. The view of the outside world is framed and is accepted as the work. Oppenheimer alters our vision, alters our expectations. Like a film director, she directs our gaze and moves it through her framing device. While everyone will have a different view through the hole, depending on their position in the gallery space and depending on their height, the viewer follows the sight line to see the view into a neighboring yard across the street. The title of the work, 610-3556, is derived by reference to a typology or classification system created by the artist that describes, in graphic form, how the hole is perceptually perceived and the materials used to create it.
When
Long-term
2008
Where
500 Sampsonia, 4th Floor
ACCEssibility
Accessible by request
Sarah Oppenheimer’s work investigates the feedback loop between the built environment and human behavior. Through observation, Oppenheimer records human navigation of architectural structures. This process results in the identification of patterns of use and the subsequent redesign of the spaces under observation. She received her MFA from Yale University. Some of her solo exhibitions include P.P.O.W. in New York; Art Rock at Rockefeller Plaza; Momenta, Brooklyn; Youkobo Art Center, Tokyo; and the Queens Museum.
