The illuminated paths of this sculpture suggest flight routes that define the relationships between cities. These trajectories describe the globe in much the same way as the rhombus lines and loxodromes used by seafarers to document the results of their explorations, discoveries, and navigation in days gone by, thus mapping the world. They are routes you have to experience to realize how long they are. The arcs of global motion that Cerith Wyn Evans' drawing depicts in space can be seen from inside the building, but as a luminous sign they can, however, also been seen from outside.

They are most noticeable when the intensity of the outside light decreases and the hectic activity inside the building subsides as the working day comes to an end. You can also potentially see the neon curves from above – when you fly over the building and describe a trajectory yourself.

Cerith Wyn Evans

geb. 1958 in Llanelli, Wales
lebt in London

  • 1983: Tate Gallery, London 
  • 1996: White Cube/Jay Jopling, London
  • 1997: Sensation, Royal Academy of Art, London
  • 2002: Documenta 11, Kassel
  • 2003: Biennale Venedig
  • 2004: Musée d´Art Moderne de la Ville de Paris
  • 2004: Frankfurter Kunstverein, Frankfurt am Main
  • 2006: Musée d’art moderne de la Ville de Paris
  • 2006: Städtische Galerie im Lenbachhaus, München
  • 2007: Kunsthaus Graz, Graz
  • 2008: Museo de Arte Contemporáneo de Castilia y León (MUSAC), León
  • 2009: Inverleith House, Edinburgh
  • 2009: Tramway, Glasgow
  • 2009: Internationales Kunstzentrum deSingel, Antwerpen
  • 2010: White Cube, London
  • 2012: De La Warr Pavilion, Bexhill-on-Sea
  • 2013: Kunst-Station Sankt Peter, Köln.
  • 2014: Installation. Serpentine Gallery, London