Due to heavy rain in the forecast, tonight’s High Line Tour: From Freight to Flowers has been canceled. We look forward to seeing you on a future tour!
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Klara Liden
Lay Day
Northern Spur Preserve, on the High Line at 16th Street
Klara Liden is an artist who creates sculptural installations and videos in response to specific architectural environments. Liden, who studied both architecture and art, is interested in exploring the power dichotomies at play in architecture and urban design. Her work often incorporates found objects and materials sourced from urban spaces to create temporary interventions accompanied by performative actions, a process she terms “rebuilding by unbuilding.”
For the High Line, Liden presents Lay Day. The work combines a vibrant commercial lugger dumpster affixed with a towering street lamp to evoke a sailing boat, floating high above 10th Avenue. “Lay day” is a term used in maritime law referring to a contractually agreed upon number of days allowed for loading or unloading cargo on a ship. In repurposing this term as the commission’s title, Liden alludes to the High Line’s past as a freight rail line, which delivered and collected goods from the various warehouses, factories, and meatpackers along the tracks. The use of a commercial lugger dumpster could also be seen as a reference to Chelsea’s non-stop construction, while continuing the artist’s practice of adopting recognizable utilitarian objects and distancing them from their conventional function.
Artist bio
Klara Liden(b. 1979, Stockholm, Sweden) lives and works in Berlin, Germany. Liden has held solo exhibitions at institutions including Kunsthalle Zürich, Zurich, Switzerland (2025); Secession, Vienna, Austria (2019); WIELS Contemporary Art Centre, Brussels, Belgium (2015); Kunsthal Charlottenborg, Copenhagen, Denmark (2014); MUSEION, Museum of Modern and Contemporary Art, Bolzano, Italy (2013); Irish Museum of Modern Art, Dublin, Ireland (2013); New Museum, New York, New York (2012); Moderna Museet, Stockholm, Sweden (2011); Serpentine Gallery, London, United Kingdom (2010); and Museum of Modern Art, New York, New York, USA (2009). She has participated in major international group exhibitions, including GRAFFITI, MUSEION—Museum of Modern and Contemporary Art, Bolzano, Italy, South Tyrol, Italy (2025) (forthcoming); The Gatherers, MoMA PS1, New York, New York (2025); Form Matters, Matter Forms, From Readymade to Product Fetish, Kunst Museum, Winterthur, Switzerland (2024); The 15th Baltic Triennial: Same Day, CAC Contemporary Art Centre, Vilnius, Lithuania (2024); Wild Grass: Our Lives, 8th Yokohama Triennale, Yokohama Museum of Art, Yokohama, Japan (2023); Found Cities, Lost Objects: Women in the City, Birmingham Museum & Art Gallery, Birmingham, England (2022); Small World Real World, Stedelijk Museum Amsterdam, Amsterdam, The Netherlands (2020); My Cartography: The Erling Kagge Collection, Fundación Banco Santander, Madrid, Spain (2020); among many others.
Support
Lead support for High Line Art comes from Amanda and Don Mullen. Major support is provided by Shelley Fox Aarons and Philip E. Aarons, The Brown Foundation, Inc., and Charina Endowment Fund.
High Line Art is supported, in part, with public funds from the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, and the New York City Department of Cultural Affairs in partnership with the New York City Council, under the leadership of Speaker Adrienne Adams.
Major support of High Line Art digital infrastructure is provided by Bloomberg Philanthropies.
Sobre esta obra
Klara Liden (n. 1979, Estocolmo, Suecia) crea instalaciones escultóricas y videos en respuesta a entornos arquitectónicos específicos. Liden, quien estudió arquitectura y arte, está interesada en explorar las dicotomías de poder en juego en la arquitectura y el diseño urbano. Su trabajo suele incorporar objetos que encuentra y materiales provenientes de espacios urbanos para crear intervenciones temporales acompañadas de actos de performance, un proceso que ella denomina “reconstruir deshaciendo”.
Para el High Line, Liden presenta Lay Day. La obra combina un vibrante contenedor comercial de basura, de tipo lugger, al que se le ha fijado una imponente farola, para evocar un velero que flota muy por encima de la Décima Avenida. Lay Day (Tiempo de plancha o estadía) es un término utilizado en el derecho marítimo que indica el número de días permitidos, acordados contractualmente, para cargar o descargar carga en un barco. Al reutilizar este término como título de la comisión, Liden alude al pasado del High Line como una línea ferroviaria de carga que entregaba y recolectaba mercancías de los diversos almacenes, fábricas y empacadoras de carne a lo largo de las vías. El uso de un contenedor comercial de basura tipo lugger también podría verse como una referencia a la construcción ininterrumpida de Chelsea, a la vez que continúa la práctica de la artista de emplear objetos utilitarios reconocibles y distanciarlos de su uso convencional.
关于这件作品
克拉拉·利登（1979年生于瑞典斯德哥尔摩）创作的雕塑装置与影像作品回应了特定的建筑环境。利登曾学习建筑与艺术，致力于探索建筑和城市设计中所体现的权力二元对立关系。她的作品通常结合从城市空间中搜集的拾得物和材料，创造伴随表演性行为的临时干预，这一过程被她称之为“通过拆解来重建”。
在高线公园中，利登呈现了《停泊日》。作品将一只色彩醒目的商用拖拽式垃圾箱与一根高耸的路灯结合，营造出帆船的形象，高高漂浮在第十大道上空。“停泊日” 是海事法中使用的术语，指合同约定的允许船只装卸货物的天数。利登将这一术语用作作品标题，暗指高线公园曾经作为货运铁路线的历史，为沿线的各个仓库、工厂和肉类加工厂运送与收集货物。作品对商用拖车垃圾箱的使用，亦可被视为对切尔西持续不断的建筑施工的一种指涉，同时延续了艺术家采用可识别的实用物品并使其脱离常规功能的创作实践。
