The way Cido Meireles talks about his art makes my head spin, but his work is extremely beautiful, enforcing a thick silence on the space it inhabits. The Tate Modern had an exhibition of his installation a couple of years ago, and I really regret missing it.
Meireles comes from the mid-century Brazilian Neo-concretism movement, which "rejected the extreme rationalism of geometric abstraction in favor of more sensorial, participatory works, which engage the body as well as the mind." He does seem to have a particular talent for creating environments; his "rooms" are either so spiritually empty as to produce a constant cold echo, or impress a certain pregnancy of space which thickens the air and lights a fire.
With Mission/Missions: How To Build Cathedrals (pictured above), a dark field is created where the coins underfoot (600,000 of them) bow and submit to the cloud-cover above: 2,000 human bones, an army of sentinels, connected to the metal ground by a column of communion wafers. According to Meireles, the work "comments on the human cost of missionary work and its connection with the exploitation of wealth in the [South American colonies]." Just like the bones, the viewer finds himself/herself suspended in the space, sustained by the eerie votives above.
Glovetrotter: Brave New World offers us something similar. Here is a truly lunar landscape, formed from an overlay of lightweight mesh over a football, a single pearl, and other spherical odds and ends. We experience astral projection as we're shrunken down to size and transplanted into the landscape, which suddenly inspires all the awe of the astronaut's first glimpse of the wider world. Returning to the darkened gallery space is like coming back to Earth.
*Source: Tate Modern Online