The construction of the goods shed in Glarus was approved by the management of the united Swiss railways in 1894. After the devastating fire of 1861, it was built as one of four wings as part of the reconstruction. The four-tract construction method was common at the time and included the main building, wagon shed, locomotive shed and goods shed.

The elongated building stands parallel between the railway and the road. The railway wagons dictated the height of the ramps, which facilitated goods handling on both sides of the building. The goods sheds used to house the goods expeditions. Anyone could drop off and pick up their goods here. Goods that were too heavy and too large for postal transport were also shipped here. Accordingly, the goods sheds were important for the local economy before the advent of lorries, because they actually got the flow of goods going in the first place. Usually only general cargo was accepted, so the goods usually had to be reloaded several times along the way. Due to reorganisation and the shift of general cargo to the road, the goods sheds, including the one in Glarus, also became superfluous. Like most of the others, it was temporarily used or converted for other purposes.

For two years now, the goods shed in Glarus has been functioning as a cultural field of action for the Glarus Art Association. This has given rise to the "Gepäckausgabe" edition, which has the declared aim of combining art and space. The artistic transformation of space and intervention in space are the central elements of the concept.

How do you reflect past times in the midst of contemporary fast-moving life? How does one treat a building substance with all its infrastructure in order to do justice to it in the context of history and the outlook for the future? What is the focus and how sharply? Do we need new media or is what is already there enough? The Glarus freight shed has always been a hub to the outside world. With its filigree structure, the monolight runs across the baggage claim area with a slight downward slope. Its entrance is located in the anteroom of the baggage claim area, more or less outside. The space becomes a bridge between space and time. A space within a space has been created, which allows specific views in and out through three small openings. The focus triad connects plusquam, present and future tense. On the one hand, these openings function as a camera obscura and on the other hand, they show the outside spaces with the ramps on both sides, as well as the large interior space in the middle - the wooden construction of which is the inspiration for the Monolight.

By deliberately dispensing with further light sources, the perception is to be sharpened and intensified when entering the narrow and dark corridor. As a static moment, the Monolight absorbs the action and movement of visitors, creating autonomous space. The visitor moves within the structure from one side to the other, just as the piece goods did in the past. A consistent confrontation with the place begins. Or is the monolight the last large and hanging piece of goods left?