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Olafur Eliasson and Kjetil Thorsen ::: Book selection
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The Serpentine Gallery has commissioned Olafur Eliasson and architect Kjetil Thorsen to design its Pavilion in 2007. Based on the principle of a winding ramp, the Pavilion explores the idea of vertical circulation within a single space. “Our collaboration on the Serpentine Pavilion 2007 is defined by our mutual focus on the experience of space and on temporality as a constitutive element of spaces, private or public. We both work within a field of spatial experimentation that renders conceptual differences between art and architecture superfluous.” The publication comprises extensive visual material documenting the development and realisation of the pavilion; two essays by Doreen Massey, Professor of Geography at The Open University (UK), and Andreas Ruby, architecture critic; a conversation between Olafur Eliasson, Kjetil Thorsen, Hans Ulrich Obrist and Julia Peyton-Jones (Co-directors, Serpentine Gallery).
About the Authors:
Olafur Eliasson is based in Berlin where he has established Studio Olafur Eliasson, a laboratory for spatial research. His work explores the relationship between individuals and their surroundings, as experienced in his awe-inspiring large-scale installation The weather project (2003) at Tate Modern, London.
Kjetil Thorsen is co-founder of Snoehetta, one of Scandinavia’s leading architectural practices, with offices in Oslo and New York. The Bibliotheca Alexandrina, Egypt 1995-2001, is the commission that brought Snoehetta to international acclaim.
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Using such materials as light, wind, steam, fire, water, and ice combined with modern materials, the Danish/Icelandic artist Olafur Eliasson explores the boundaries between nature, art, and technology. The Weather Project, his installation for the cavernous Turbine Hall at Tate Modern, London (part of the Unilever Series), deals with the age-old preoccupation with the weather. This volume features spectacular installation photography and an interview with Eliasson. ©Amazon.com
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The projects and preoccupations of the Icelandic artist Olafur Eliasson inspired this unique collaborative enterprise by artist, curator, scientists, and art critics. In his art, Eliasson explores our conceptions of nature and the scientific tools we use to observe, measure, and control it. Through his works--installations, site-specific sculptures, and photographs--the laboratory within the museum becomes the site not only of knowledge but also of aesthetic and sensual pleasure. Distinguished by a poetic economy of means and a quiet, elegant beauty, his work combines the ephemeral natural effects of light, water, and wind with more tangible materials such as wood, moss, and grass. Eliasson has often said that he is trying to recapture the Iceland of his childhood--with its hot springs, volcanoes, and frozen landscapes--in his art.
In the book Eliasson’s works serve as the thematic prism for a wide range of essays exploring the intersection of science and art. The contributors range from chemists, geologists, and physicists to architects and cultural theorists. Among others, they include Per Bak, Aaron Betsky, Daniel Birnbaum, Jonathan Crary, Gyorgy Darvas, William Day, Manuel de Landa, Diller + Scofidio, Norman Foster, Peter Galison, Manuel Gausa, Brian Greene, Elizabeth Grosz, Marianne Krogh Jensen, Rem Koolhas, Henri Lefebvre, Gunter Leising, Bruce Mau, Hans Ulrich Obrist, Robert Osserman, John Rajchman, Jaime Salazar, Erik Scheldon, Richard Sennett, Kurt Schilcher, Michael Speaks, Ben van Berkel, Anthony Vidler, Hans C. von Baeyer, Peter Weibel, and Manfred Wolff-Plottegg. ©Amazon.co.uk
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Olafur Eliasson’s installation The Weather Project cast a veritable spell over visitors to the Tate Museum of Modern Art in London as they gazed in wonder into a glowing artificial sun shrouded in mist in an exhibition setting transformed by the work into a neo-romantic landscape. In his installations, the Danish-Icelandic artist focuses on the factors that influence human perception in the age of technology--an approach that is more timely today than ever before. In an era in which our relationship to the world around us is shaped by the mediatization of human perception and our awareness of fundamental environmental loss, the juxtaposition of the natural and the artificial in Eliasson’s art compels us to reassess our notions about the authentic experience of nature. Works concerned with the phenomenon of light play an important role within his oeuvre, and they are the subject of this publication. Featuring an index of the 138 light and mirror installations completed between 1991 and 2004, this splendidly illustrated volume describes all of the essential aspects of this complex work. Essays by Jonathan Crary, Holger Broeker, Richard Dawkins, and Annelie Lütgens. Hardcover, 9.5 x 11.75 in. / 200 pgs / 260 color. ©Amazon.co.uk
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Olafur Eliasson belongs to the generation of artists who spent the 90s exploring and expanding the boundaries between art, science, and nature, and their subjective and objective perception. Using fog, water, plants, and soil, he and landscape architect Gunther Vogt completely transformed the rigorously concrete and glass Kunsthaus Bregenz, pictured here in objective installation photographs and subjective texts by the artist.
Edited by Eckard Schneider. Essays by Olafur Eliasson, Marianne Krogh Jensen, Maurice Merleau-Ponty, Andreas Spiegl, Rudolf Sagmeister.
©Amazon.co.uk
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Young sculptor, photographer and installation artist Olafur Eliasson creates works that explore the relationship between nature and technology. Based in Berlin, the artist rebuilds in the gallery fragments of the environment: icebergs at the MusÈe 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 when presented in an art context.
Nominated in 2002 for the prestigious Hugo Boss prize, Eliasson has become a favourite in recent Biennales of contemporary art.
Scandinavian 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. In her Survey curator Madeleine Grynsztejn examines the unique position of this new international art star who overlaps architectural, technological and artistic innovation. Architecture theorist Michael Speaks looks at the artist's Green River (1998), particularly in relation to Antonioni's 1964 film, Red Desert. For his Artist's Choice the artist has selected an extract from Henri Bergson's Creative Evolution (1907) dealing with our subjective, visual response to nature - a central theme in the artist's own work. Olafur Eliasson's writings include essays on such topics as the weather and colour, as well as an open letter entitled 'Dear Everybody', addressed to the viewers moving through his artwork. ©Amazon.com
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At once an installation artist and photographer, Olafur Eliasson is noted for conceptual works based on architecture, science, and natural phenomena. Through his installations--composed of materials such as ice, water, light, and metallic crystalline structures--and photographic series of landscapes, he generates a close connection between the phenomenology of things and their surroundings. His work sets out from human perception and, as he himself puts it, "questions the way we see and all the different systems of seeing." This first survey of Eliasson's photographic works focuses on an aspect of his oeuvre that has heretofore been marginalized, contextualizing his photographic projects within his broader scheme and within the history of contemporary art. ©Amazon.com
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Since the 1990s, Olafur Eliasson has been exploring cognitive and physical phenomena as we know them from the natural sciences and nature. He uses both technically sophisticated equipment and deceptively simple means such as water or light to create artificial landscapes and moments of perception that let viewers perceive or reenact natural phenomena. Their strongly atmospheric but entirely constructed nature makes viewers become painfully conscious of how far modern civilization has progressed from immediate experience; they question the acceptance of authenticity in the area of perception. This lavish, oversized book, published in an edition of only 1,500 copies and conceived in cooperation with the artist, features a series of landscape photographs by Eliasson from his native Iceland, exploring the limits and conventions of our traditional view of landscape. They show that our perception of nature has been fundamentally affected by cultural influences, memories, and expectations. ©Amazon.com
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This new catalogue accompanies the first major U.S. museum presentation of work by internationally celebrated Danish artist Olafur Eliasson, whose photography, sculpture, and installation work are distinguished by poetic economy of means and a quiet, elegant beauty. Eliasson's work typically transforms the museum or outdoor setting through installations that combine the artist's concerns with both the ephemeral natural effects of light, water, and wind and more tangible materials such as thorns, moss, and grass. His work is characterized by simplicity of approach. Despite its often-remarkable effects--rainbows, massive waterfalls, walls of steam--the technology required to create the work is relatively simple and clearly exposed for the viewer to observe. Eliasson has also worked extensively in the field of photography, frequently documenting the landscape of Iceland, his home for many years. Presented in serial grid format, Eliasson approaches photography with the mind of an amateur scientist, documenting different cave formations or icebergs in dozens of studies that take on the appearance of independent sculptural objects. ©Amazon.com
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Destined to become the authoritative text on Eliasson as well as a lasting resource on contemporary installation art.
In the work of Icelandic artist Olafur Eliasson, the sun can rise inside a museum and rainbows can appear indoors. His immersive installations explore the intersection of nature and artifice, transforming ordinary spaces into sites of wonder and spectacle. From kaleidoscopes to waterfalls to mirrored passageways, the projects invite the viewer's active participation while posing provocative questions about the workings of human perception.
This catalogue is published in association with the San Francisco Museum of Modern Art and accompanies a major touring exhibition. More than two hundred color reproductions offer a rich visual survey of Eliasson's most significant works from 1990 to the present, while a series of original essays investigate the complex origins and implications of his practice, from the legacy of the Light and Space movement to the artist's recent forays into architectural design. 200+ color illustrations. ©Amazon.com
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The Goose Lake Trail through the remote highlands of Iceland winds across glaciers and moving sands. This deceptively delicate volume, with its cloth cover and topographic end-papers, documents a road trip there in Olafur Eliasson's "survival car," as Hans Ulrich Obrist dubbed it in his journey-long interview with the artist. Eliasson writes of the drive: "At one point the ground under the car started to shift softly as if the whole area were made of jelly I said that this was not unusual at all, and that I do this every summer... The image of the car sinking through the sand, carrying us into the underground glacial river hovered continually in the back of my head. Luckily Hans Ulrich believed me. Turning to the window while looking at the surprising appearance of water shooting up everywhere around us, he calmly prepared the next question." Landscape photographs by Eliasson and text by Obrist. ©Amazon.com
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Visitors to the Autostadt automotive theme park in Wolfsburg, Germany, have recently been treated to a walk-through living greenhouse, a breezeway whose walls are made of rows of potted plants, open from April to September. The rack that holds the pots in place is openwork, and structurally speaking not unlike the one under Jeff Koons's Puppy, but Eliasson goes one step further by inviting viewers to move through the inside of the piece, and by animating it to rotate around them, pouring out seasonal scents. Eliasson's goal, realized here with great success and to great acclaim, is to bring viewers into a verdant, flourishing space. This petite, elegant hardcover documents the Scent Tunnel project and follows it through a full season, listing the flowering times of its plants and considering the work and its olfactory elements from both scientific and art-historical perspectives. ©Amazon.com
Amazon UK
Destined to become the authoritative text on Eliasson as well as a lasting resource on contemporary installation art.
In the work of Icelandic artist Olafur Eliasson, the sun can rise inside a museum and rainbows can appear indoors. His immersive installations explore the intersection of nature and artifice, transforming ordinary spaces into sites of wonder and spectacle. From kaleidoscopes to waterfalls to mirrored passageways, the projects invite the viewer's active participation while posing provocative questions about the workings of human perception.
This catalogue is published in association with the San Francisco Museum of Modern Art and accompanies a major touring exhibition. More than two hundred color reproductions offer a rich visual survey of Eliasson's most significant works from 1990 to the present, while a series of original essays investigate the complex origins and implications of his practice, from the legacy of the Light and Space movement to the artist's recent forays into architectural design. 200+ color illustrations. ©Amazon.com
