New York

Ann Lislegaard

Murray Guy

In a passage from The Poetics of Space (1958) in which he discusses the solitude and passivity to be experienced in the corner of a room, Gaston Bachelard urges poets to “designate the space of our immobility by making it the space of our being.” Ann Lislegaard’s Corner Piece—The Space Between Us, 2000–2003—two freestanding, white-painted facades meeting at a right angle a short distance from the gallery walls—seemed to respond directly to Bachelard. Though the piece offered little information on a visual level, the space-shaping presence of recorded voices, emanating from speakers installed at the outer corners of the false walls, countered the initial impression of absence.

Lislegaard’s piece placed a heavy burden on the viewer’s auditory sensitivity. One had to listen carefully to get the gist of what was being said; sound came first from one speaker, then another, in no apparent order;

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