Olafur Eliasson

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Phaidon Press, 15 nov 2002 - 159 pagine
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With images that suggest a modern day Caspar David Friedrich, sculptor, installation artist and photographer Olafur Eliasson recreates in elegant forms the extremes of the landscape and the atmospheric conditions of his native Denmark, resulting in a kind of techno-Romanticism. Now based in Berlin, Eliasson rebuilds in the gallery fragments of a faraway land: icebergs at the Musee d'Art Moderne de la Ville de Paris, 'windmills' at the Louisiana Museum in Humlebaek, Denmark. For Eliasson, immaterial sensations such as temperature, smell, taste, air and magnetic waves become sculptural elements. A simple circular cut in the ceiling of a gallery in Los Angeles, for example, recreates the feeling of the weak Scandinavian sun, and becomes a kind of giant sun-clock reminiscent of both Gordon Matta-Clark's architectural cut-outs and the oculus of the Pantheon.
In her survey, curator Madeleine Grynsztejn examines the unique position of the artist, overlapping technological and artistic innovation in the creation of his art. Critic and curator Daniel Birnbaum discusses with the artist the role of location and the immediate environment in both his gallery (indoor) and remote-site (outdoor) work. Architectural theorist Michael Speaks looks in his Focus at the work Green river (1998) particularly in relation to filmmaker Michelangelo Antonioni's 1964 film, Red Desert. The artist has selected an extract from Henri Bergson's Creative Evolution (1907) dealing with our subjective, visual response to nature, a theme central also in the artist's own work. Olafur Eliasson's writings include an essay on that most banal of topics, the weather, and an open letter entitled 'Dear Everybody' addressed to the viewers.

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Informazioni sull'autore (2002)

Madeleine Grynsztejn is Senior Curator of Painting and Sculpture at the San Francisco Museum of Modern Art. She was previously Curator of the 1999 Carnegie International and Curator of Contemporary Art at the Carnegie Museum of Art since 1997.

Daniel Birnbaum is a contributing editor to Artforum and the author of several books on art and philosophy, including The Hospitality of Presence: Problems of Otherness in Husserl's Phenomenology (1998) and Production (2000, with the artist Carsten Höller). From 1998 to 2000 he was the Director of IASPIS, an artists' residency programme based in Stockholm. Since January 2001 he has been the Director of Portikus and the Städelschule Art Academy, both in Frankfurt.

Michael Speaks is an architectural theorist who has taught in the graphic design department at the Yale School of Art and in the architecture departments at Harvard University and Columbia University, among others. He is currently Graduate Program Head at SCI-Arc, Los Angeles. The founding editor of Polygraph and Senior Editor at ANY magazine in New York, he was also the Series Editor for Writing Architecture, published by the MIT Press. Speaks has edited several books on contemporary architecture and culture including The Critical Landscape (1997).

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