Emeka Ogboh’s immersive, multichannel sound installation, The Way Earthly Things Are Going 2017, fills the subterranean East Tank in the Blavatnik Building. Tate Modern opened two major works in the Tanks today. The curved wall at the rear creates a whispering effect, drawing visitors into an intimate dialogue with Santa Lucia and Lucia Joyce.Emeka Ogboh at Tate Modern © Tate, Seraphina Neville At Tate Modern, the cylindrical architecture of the Tanks generates layers of reverberating sound. Philipsz believes that the significance of music changes over time and place.Įach time I See a Darkness is installed it takes on new meanings in response to the historical and cultural characteristics of the site. The work finishes with the four-part Neapolitan folk song, Santa Lucia. This is followed by Maurice Ravel’s piano piece, Pavane for a Dead Princess, which Lucia Joyce danced to with the group Les Six de rythme et couleur. The first is Will Oldham’s duet, I See a Darkness, which gives the installation its name. Visitors hear three songs, sung by Philipsz. In contrast, Philipsz describes Lucia Joyce as ‘a bright light slipping into obscurity and darkness’. In I See a Darkness Santa Lucia becomes a metaphorical ‘light’ that leads visitors through the darkened space. Her life took a tragic turn when she was diagnosed with schizophrenia and placed in institutional care, where she remained until her death. Lucia Joyce was a talented performer, and the daughter of writer James Joyce. In Sweden, the festival of Santa Lucia celebrates the coming of light on one of the darkest days of the year. The name Lucia originates from the Latin word for light – ‘lux’. I See A Darkness centers on two figures that share the name ‘Lucia’ – the Italian patron saint of the blind, Santa Lucia and the dancer, Lucia Joyce.
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