Studio Olafur Eliasson - Open House is one of Eliasson's contributions to the Venice Biennale 2017. The artist's book is the seventh volume in the studio's TYT [Take Your Time] series. This self-portrait of the studio gives an idea of how Eliasson's artworks are made and thought about before they enter museums, collections, public space, and the world. In doing so, the publication reverses the relationship between final artworks and artistic processes and includes conversations with many members of the studio team, texts by friends of the studio, and quotes from texts and books that inspire the studio's current research.
This guide is a leaflet and not a book. https://www.tate.org.uk/whats-on/tate-modern/exhibition/olafur-eliasson/exhibition-guide. Olafur Eliasson In Real Life Tate Modern 2019-20 Exhibition Booklet / guide / leaflet. Folds out to a plan of the exhibition layout. Approximate size 15cm by 10.5cm.
More than any of their contemporaries, Swiss architects Jacques Herzog and Pierre de Meuron are challenging the boundaries between architecture and art. Natural History explores that challenge, examining how the work of this formidable pair has drawn upon the art of both past and present, and brought architecture into dialogue with the art of our time. Echoing an encyclopedia, this publication reflects the natural history museum structure of the exhibition which it accompanies, organized by the Canadian Centre for Architecture. Models and projects by Herzog & de Meuron, as well as by other artists, are structured around six thematic portfolios that suggest an evolutionary history of the architects' work: Appropriation & Reconstruction, Transformation & Alienation, Stacking & Compression, Imprints & Moulds, Interlocking Spaces, and Beauty & Atmosphere. Each section is introduced with a statement from Herzog, and more than 20 artists, scholars, and architects have contributed essays, including Carrie Asman, Georges Didi-Huberman, Kurt W. Forster, Boris Groys, Ulrike Meyer Stump, Peggy Phelan, Thomas Ruff, Rebecca Schneider, Adolf Max Vogt, and Jeff Wall.
An arresting volume to commemorate Olafur Eliasson’s latest work of installation art, featuring lush illustrations and unique insights from participating writers, photographers, and artists One of the most wide-ranging and ambitious creative minds of his generation, Icelandic-Danish artist Olafur Eliasson has produced a dizzying spectrum of work around the world. Perhaps best known in the United States for his 2008 New York City Waterfalls installation, his constant inventiveness and public projects have entranced huge numbers of people. Working in a variety of fields and media, there is no end to his creative ambition and the delight his works elicit. The title of the book and accompanying exhibition refers to the glaciers that formed the landscape around the installation’s site in Denmark, their traces still evident in the site’s topography and geology. The project does not end at the property boundaries, but incorporates the entire surrounding landscape. Five mirrors, ranging from a perfect circle to elongated ellipses, reflect the changing sky above and the contemplator’s own gaze as though in the surfaces of glacial pools. This publication offers a unique and highly detailed insight, captured over the course of four seasons, of this singular landscape. Working with geologists, landscape architects, and other specialists, Eliasson has created an outdoor space only a privileged few will ever see. This publication documents and enhances the work through photographs, essays, and collaborators who render the power of the project in images and words.
Green Light is a project initiated by artist Olafur eliasson in collaboration with Thyssen-Bornemisza Art Contemporary, vienna. Conceived as a field of production and mutual learning, Green Light works with refugees, asylum seekers, migrants, and nGOs to fabricate an unlimited edition of fully functional lamps, which are geometric, stackable modules made from recyclable materials that are fitted with a welcoming green light. Providing fundraising and education opportunities, Green Light workshops first took place in vienna in 2016, and have since been hosted at the Moody Center for the Arts (Houston) and the 57th venice Biennale. The publication seeks to question and reflect on the project through testimonies, stories, and memories by the participants and founders as well as reflect on the relationship between culture and migration today. With more than twenty contributors including Atif Akin, Anas Aljajeh, Tarek Atoui, Tawab Baran, Ian Cion, Angela Dimitrakaki, and Olafur Green Light participants, among others.
We have entered a post-post-studio age, and find ourselves with a new studio model: the transdisciplinary. Artists and designers are now defined not by their discipline but by the fluidity with which their practices move between the fields of architecture, art, and design. This volume delves into four pioneering transdisciplinary studios--Jorge Pardo Sculpture, Konstantin Grcic Industrial Design, Studio Olafur Eliasson, and Åbäke--by observing and interviewing the practitioners and their assistants. A further series of interviews with curators, critics, anthropologists, designers, and artists serves to contextualize the transdisciplinary model now at the fore of creative practice. Including interviews with Jorge Pardo, Konstantin Grcic, Olafur Eliasson, and Åbäke; and Vito Acconci, Gui Bonsiepe, James Clifford, Dexter Sinister, Martino Gamper, Ryan Gander, Caroline Jones, Ronald Jones, Maria Lind, Alessandro Mendini, Rick Poynor, and Andrea Zittel. The Transdisciplinary Studio is the first volume of a series of books by Alex Coles on the expanded studio model and contemporary praxis.
This text looks at Scandinavian artist Olafur Eliasson's approach to the cavernous space of the Turbine Hall at Tate Modern. His work explores human perception of the world and the boundaries between nature, art and technology, and often combines elemental materials with modern technology.
As part of its BMW H2R research project, Studio Olafur Eliasson presents extensive visual material; excerpts from two seminars held in 2006/07; and conversations between designers and theorists. Finally, the 'climate car' consists of a car with a surface of layers of ice which has to be at -6 degrees Celsius.
A unique exploration of the culinary imagination and creativity of a stellar array of international contemporary artists - a host of intriguing personal recipes shown through the artists' own words and images Creativity doesn't stop at an artist's studio door - for many, it continues into the kitchen. For the first time, more than 70 artists, including Ghada Amer, Jimmie Durham, Studio Olafur Eliasson, Subodh Gupta, Nikolai Haas, Jeppe Hein, Carsten Höller, Dorothy Iannone, Ragnar Kjartansson, John Lyons, Philippe Parreno, Nicolas Party, Zina Saro-Wiwa, Tiffany Sia, and Rirkrit Tiravanija, and others, have been invited to share and illustrate a recipe of their own. These are either the best culinary concoctions they have ever invented, or an especially meaningful dish. The result is an exciting range of contributions spanning all manner of meals and drinks, both savory and sweet, from around the globe, brilliantly brought to life by a wealth of sketches, photographs, collages, paintings, and personal snaps. Many of the culinary creations included are achievable by adventurous home cooks, but the pages include an incredibly diverse array of dishes from the conceptual to the personal, the elaborate to the simple, the sweet to the savory, and from the serious to the funny to the downright bizarre. With an introduction by the globally celebrated chef and art enthusiast Massimo Bottura, this is an intriguing and entertaining gift for food lovers and contemporary art enthusiasts alike.
In Olafur Eliasson's exhibition The Blind Pavilionfor the Danish pavilion at the most recent Venice Biennale, virtually all the strategies that the artist had employed up until now were activated: mirror reflections, glass kaleidoscopes, stretches of stairway, architectural interventions, and camera obscuras. An all-encompassing exhibition, it cancelled out the dividing lines between work and viewer, between outside and inside, between art and science. A parallel counterpart to the pavilion, rather than a mere representation of it, is the book The Blind Pavilion. Created by Eliasson in close collaboration with Danish author Svend Uge Madsen, who has persistently challenged our notions of time and space in his writings, The Blind Paviliongathers writing by authors, poets, and theoreticians who were invited to contribute texts that explore our constantly shifting and ever-evolving capacity for "orienting" ourselves. The texts serve as contributions to an examination of how we physically and psychologically orient ourselves to the world--and of what happens when we are deprived of one or more of our orientation possibilities, for example our ability to hear and remember, to expect something, or to experience the passage of time.
