Skip to content
Throw Distance 008September 4, 2026

Ongoing, No End Date

This week: seventy-five thousand paper kites with no closing date, a hundred and fifteen channels of migrating voices, and a Victorian pumping station open for five days.

LightSpaceSpectacle
Ongoing, No End Date
Jacob Hashimoto: Giant Arc (installation view, SFMOMA), 2026 — photo: Don Ross

SFMOMA's listing for Jacob Hashimoto's Giant Arc gives an opening date and then, where the closing date usually sits, one word: ongoing. The work went up in the Roberts Family Gallery on the ground floor in late August, in the part of the building you can walk into without a ticket, and nobody has said when it comes down. It is made of nearly 75,000 hand-built kites — bamboo and Japanese paper, some blank, some in solid colour, some layered with collaged-paper graphics — hung together into a canopy that fills the room wall to wall and floor to ceiling. SFMOMA calls it the largest work of Hashimoto's career. What is unusual is not the count. It is the absence of an end. Almost everything else in this issue exists on a clock: a city-scale projection that ran for one night in August, a pumping station open for five days in September, a festival that lives for three. An open-ended install is a different kind of commitment for everyone downstream of the artist — the people who have to keep it clean, keep it lit, and keep it hanging.

Editor’s Pick

Jacob Hashimoto — Giant Arc

Nearly 75,000 hand-built kites of bamboo and Japanese paper, suspended into a single canopy across SFMOMA's ground-floor Roberts Family Gallery. Some elements are blank, some solid colour, some layered with collaged-paper graphics; the gallery's street-facing glass means daylight and house light mix differently through the day. Organised by Joseph Becker, Curator of Architecture and Design. On view: SFMOMA, San Francisco — opened in late August, ongoing; the museum has published no closing date. The gallery is free to enter.

via SFMOMA

YoungEun Kim — To Future Listeners: Migrating Sounds

A 115.4-channel loudspeaker system running Wave Field Synthesis, which places and moves discrete voices through a room rather than panning them across a stereo image. Nine poems spanning the seventh century to 1911 were each given to one of nine composers and re-voiced by contemporary performers, with three channels of video and a lighting cue stack. The piece runs sixty minutes on a loop and starts every hour on the hour. On view: ACC Creation Space 1, Gwangju — through 14 February 2027. Admission is free.

via National Asian Culture Center

Tacita Dean — FILM

The first US presentation of the eleven-minute silent 35mm work Dean made for Tate Modern's Turbine Hall in 2011. It was built with glass matte painting, gate masking and in-camera superimposition of multiple images, and shot through an anamorphic lens turned ninety degrees to double the height of the frame — a set of techniques the foundation describes as impossible to duplicate in a digital format. It is projected onto a vertical screen, the image reading as a strip of film rising out of the gallery floor. Opens 18 September, Marciano Art Foundation, Los Angeles — through 27 February 2027. Organised by Hanneke Skerath and Mark Toscano.

via Marciano Art Foundation

Centrum Production — St Stephen's Day, Budapest

Sixty-seven Panasonic PT-RQ45K projectors and sixteen PT-RQ35Ks mapped both faces of the Hungarian Parliament, the Széchenyi Chain Bridge and buildings along the Pest bank of the Danube for Hungary's St Stephen's Day. Panasonic calls it the largest PT-RQ45K deployment anywhere to date. The detail worth sitting with is the authorship: the content was made by six light-art studios and eight independent light artists, working to a single canvas, inside a production Panasonic says was completed in six weeks. Dániel Besnyő was Director and Overall Project Lead, Gergő Geltz Head of Light Art Content, Mátyás Kálmán Artistic Director.

via Panasonic Connect Europe

Max Cooper and Chris Watson — The Art of Sound

Wapping Hydraulic Power Station was built in 1890 and has been closed to the public for the last thirteen years. These are the first cultural programming in the building since it came under the custodianship of the Glass Castle Foundation. Cooper shows Feeling Is Structure, a twenty-minute spatial piece developed out of an invitation to perform live at the Royal Albert Hall; Watson shows Trent Falls, a spatial installation that takes listeners down the Humber estuary. Powered by L-Acoustics. On view: 11–15 September, London — free, ticket required. Note the run starts a day before the festival proper.

via London Design Festival

Visual Terrain — Brooklyn Paramount Theater

The Santa Clarita studio's interior lighting for the restored Brooklyn Paramount took an Award of Distinction — the top tier — in Interior Lighting Design at the 53rd IES Illumination Awards in Denver on 14 August, presented jointly to Visual Terrain and Bandit Lites, with Michael Mahlum as lead designer. Two further Awards of Merit went to the studio for Netflix House Dallas and Netflix House Philadelphia, with Nicole Eng leading. That second category is the one to watch: experiential lighting design is now a place where branded location-based entertainment competes on the same footing as theatres and museums.

via Visual Terrain

Miguel Chevalier — Post natural: living plankton

Smögen, Sweden — 4 to 13 September.

via Island of Light

Tiziana Alocci — Ninety Percent of Everything

Genoa — on view through 4 October.

via Palazzo Ducale

Curated by Neves Creative. Every item links to its original source.

Get the next one by email.

No schedule promises. Only when there's something worth sending.