Eighty meters of past and future: Sabine Hornig’s silhouette of Manhattan in New York’s LaGuardia Airport, taken from Brooklyn and collaged from 1,140 individual images, financed by the Public Art Fund
Image: Sabine Hornig
A huge glass window at LaGuardia Airport shows how New York has always conjured up the future with medieval shapes.
W.If he liked opening entire streets in the film “Inception”, he will love the giant window in the newly built Terminal B of New York’s large LaGuardia domestic airport, which has been inaugurated since the end of June: the German artist Sabine Hornig creates the skyline at over eighty meters, composed of 1,140 individual images the city upside down. They are the built-in swings of Manhattan’s bar chart as seen in the distance through the window in the airport where it is installed. Every minute of the day, the incident light changes the work itself and its image on the corridor, which is also eighty meters long, between the arrival zone at the airport and the new counter hall. The impressionistic panorama in turn consists of two skylines. The lighter, yellow and gold skyline hangs down from the ceiling in reverse, a second one grows up from below and, with its darker blue and green tones, pushes itself into the gaps between the golden towers of the first. Each building has a positive and a negative form next to it, which is created from the space between the towers. Due to the dominant horizon color blue, this advent calendar of architecture moves into the distance, due to the enormously high image resolution of the 1140 eagle moments in lofts and on their kitchen tables, life is zoomed in close to the viewer at the same time.
Although the terminal building with its white streamlined shapes, which encloses the windows like a jewel, looks anything but antiquated, the monumental window has a medieval feel to the building and, with the eighty-meter-long play of light on the floor, turns it into a cathedral of traffic. For seconds the hustle and bustle of a modern airport is forgotten; In the eye of the traffic typhoon you feel as if you are in a sacred space, in which only the organ music is missing. Travelers with wheeled suitcases, who were just racing, pause and immerse themselves in the play of light for a few minutes. This medieval charge and sacralization of the passage space is ensured on the one hand by the memory that such gem-like windows are usually found in churches, on the other hand that the collage technique used by the artist of the composite picture compartments is similar to that of the old lead windows.