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The exhibition, called Contact,   plays with the perception and construction of spaces   though a   series of installations   that aim to absorb visitors in fields of light and shadow. The 43   triangular columns, clad on two sides in mirror and on the other in illuminated panes of yellow glass, reflect fragments of the surroundings to augment Gehry’s architecture. In the middle of another darkened space, a black sculpture encircles   a bright light to cast a web of criss-crossing shadows across the   wall. The silhouettes of visitors who pass in front of the work   are also projected across the band of light. Photography is by Iwan Baan. The contrast between light and shadow is intended to give the illusion of the   sun crowning over the black silhouette of the earth. “It is about the horizon that divides, for each of us, the known from the unknown.”

In a blacked-out gallery, visitors bask in the orange glow from a slither of light that cuts   across the curving wall. Outside, a colonnade of mirrors named Inside the Horizon borders a pool of water. “My exhibition addresses that which lies at the edge of our senses and knowledge, of our imagination and our expectations,” explained the artist. The work echoes an earlier piece in the vast Turbine Hall of the Tate Modern, titled   The Weather Project,   where   viewers were bathed in the light   of   an artificial sun. The artist, who works out of studios in both Copenhagen and Berlin, also designed the 2007 Serpentine Gallery Pavilion with   Snøhetta’s   Kjetil Thorsen.

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