Throughout the Gallery works of art offer a space for contemplation, discussion or just sitting down.
Christian Boltanski, known for his meticulous archival reconstructions, has created Vie Impossible Whitechapel (2006) — a noticeboard assembling photos, letters and ephemera evoking the time of his 1990 Whitechapel Gallery show.
Janet Cardiff & George Bures Miller’s Artangel audio walk, The Missing Voice: Case Study B (1999), guides visitors on a physical and psychological journey through the streets of Spitalfields.
Liam Gillick, who engages with the semiotics of architecture and design, uses a spectrum of Kvadrat fabrics in his seating project, Prototype Conference Room (2002/09) for the Zilkha Auditorium. Adjustment Filter (2009) in the Café/Bar includes a joke featuring God, Stanley Kubrick and a bicycle; and a maze-like mural on the ceiling.
Rodney Graham’s copper and steel working Weathervane (2008) is permanently installed on the Gallery roof. It depicts the artist as the sixteenth century scholar, Erasmus, seated backwards on a horse while reading The Praise of Folly.
Mary Heilmann’s clubchairs reflect her celebrated painterly style, with their woven backs of multi-coloured, polypropylene webbing.
Annie Ratti, a self-confessed ‘waterphile’, presents a drinking fountain, which exposes the science of water filtration; and offers a moment of privacy with her Tête à Tête chair.
Tobias Rehberger’s multi-coloured acrylic columns of light provide at once a source of beauty and illumination.
Richard Wentworth, the sculptor, photographer and inveterate collector, curates the Study Studio’s ‘cabinet of curiosities’.
Franz West’s Diwan or couch, invites visitors to take a rest, have a conversation, indulge in Freudian introspection and become part of the work of art.