Anicka Yi’s In Love with the World is an attempt to break down the distinctions we make between plants, animals, micro-organisms, and technology.

LONDON — Strange sounds of buzzing and whirring fill Tate Modern’s cavernous Turbine Hall. It’s a familiar noise of machinery and mechanical motion; not the great grinding and clanking of the industrial era to which Tate Modern (as a former power station) owes its architecture, but the insidious whining of drones and computer-operated motors.

This subtly audible landscape prefigures the appearance of the Turbine Hall’s new inhabitants, Anicka Yi’s flying machines, which she dubs “aerobes.” They make a surreal and mesmerizing sight, floating above visitors’ heads and transforming the enormous space into a cross between an aviary and aquarium. Two types of aerobes fill the space: antennae-sporting hairy brown puff balls and translucent jellyfish-like creatures with flexible tentacles. Their air-filled bodies are set in motion by tiny fan propellers (the source of the swarm-like whirring noise).

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