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Now: Riverbed at Louisiana Museum of Modern Art, Denmark
On view until 4 January 2015

Atlantis, 2003

Now: Olafur Eliasson, Graphic Works, Borchs Butik, Copenhagen
On view until 29 October 2014

The red colour circle, 2008 - BORCH Gallery, Berlin – 2008 - Photo: BORCH Gallery
Inverted campfire series, 2006 - i8, Reykjavik, 2009 – 2006 - Photo: Vigfus Birgisson
Lalibela void, 2006
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Your compound view, 1998, installation view at Reykjavik Art Museum, 2014

Image used on Blog post '154' (from S3)
Image used on Blog post '154' (from S3)
Image used on Blog post '151' (from S3)
La situazione antispettiva

Feature: La situazione antispettiva, 50th Biennale di Venezia, 2003

The cave series, looking in, 1998, 1998, single print

Landscape - looking in, looking out

The cave series, looking out, 1998, 1998, single print
The cave series, looking out, 1998 - The Menil Collection, Houston, 2004 – 1998 - Photo: Oren Slor
Cars in rivers, 2009 series - Photo: Studio Olafur Eliasson, 2010

Nervous landscapes

Glacial expectations, 2009 - Photo: Studio Olafur Eliasson, 2009
Image used on Blog post '148' (from S3)
Image used on Blog post '148' (from S3)
Image used on Blog post '148' (from S3)
The very large ice floor, 1998

Feature: The very large ice floor, 1998, XXIV Bienal de São Paulo, Brazil

Connecting cross country with a line – A film for ‘Station to Station’

Our relation to space, a curious line

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Scale is you in relation

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'During my childhood in Iceland, electricity was rationed because of the oil crisis in the early seventies. As a five-year-old child, I remember a siren in the city sounding very clearly, and suddenly the whole city blacked out at once. It was like a massive work of urban land art. What was more remarkable, though, was that the experience of the sunlight would change. As the sunlight was also visible at night in the summer, albeit faintly, it was as if the daylight had suddenly been turned on. Seen from inside a house, the twilight outside the windows became much more apparent the moment the lights went out. This intensity and beauty of light outside struck me then, and it has influenced me since.'



Adapted from Olafur Eliasson, 'The Rise of Little Sun', blog entry, 19 July 2012

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Image used on Blog post '141' (from S3)
Image used on Blog post '141' (from S3)
The Domadalur daylight series (north), 2006 - Tanya Bonakdar Gallery, New York, 2006 - Photo: Fabian Birgfeld / PhotoTECTONICS
Image used on Blog post '141' (from S3)
Image used on Blog post '141' (from S3)
Image used on Blog post '141' (from S3)
Image used on Blog post '140' (from S3)

Latest issue of Disegno magazine, featuring Your uncertain archive

The question is if an archive is something retroactive, which, informally or not, tends to suggest an objective view of the past; or if it’s more of a subjective facilitator, which actually nurtures a proactive approach and suggests that is also about writing a narrative that’s more concerned with the future than the past. There is also a general need to find a systematic way to make use of archives, which are collections of knowledge. Instead of archives turning into dust-collecting heaps of knowledge, they can be proactive reality machines.\
\
Olafur Eliasson interviewed in Disegno, no. 7, A/W 2014–15

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Two years of uncertainty

Two years of uncertainty: visualising the entanglements of artworks and ideas for the development of Your uncertain archive

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Now: Spiegeltunnel, 2009, one of three works on view at Akademie der Künste, Berlin, as part of the group exhibition, Schwindel der Wirklichkeit

Spiegeltunnel, 2009 - Max-Reinhardt-Park, Berlin, 2009 - Photo: Olafur Eliasson
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Image used on Blog post '138' (from S3)
Image used on Blog post '138' (from S3)
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The view, a window on the horizon

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Fensterkaleidoskop, 1998 - Galerie Peter Kilchmann, Zurich, 1998 - Photo: Hans-Christian Schink
Image used on Blog post '137' (from S3)
Image used on Blog post '137' (from S3)
Image used on Blog post '137' (from S3)
Steen Koerner through Olafur Eliasson's Know-how kaleidoscope, 2014, Kabelparken, Copenhagen

Steen Koerner in Know-how kaleidoscopes, 2014, Kabelparken, Copenhagen

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Black hole sensitivity

The ellipse is for the human a shape permanently ambiguous. Even when we view an ellipse head-on, our mind wants to interpret its elongated edges and stretched axes as a translation and distortion of a circle through three-dimensional space before us. An ellipse is a reminder that we carry our horizons with us always, that we only ever capture a circle as it slips and stretches toward our personal black hole, the vanishing point of perspective.

Moon sketches

https://vimeo.com/105126291

Feature: Natasha Mendonca, Moon Sketches, 2013 - a film inspired by Olafur Eliasson and Ai Weiwei's, Moon

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Parabolic thinking, 2010 - Studio Olafur Eliasson, 2010 - Photo: Jens Ziehe

(the point) where thinking becomes seeing

Fivefold eye, 2000 - neugerriemschneider, Berlin, 2000 - Photo: Jens Ziehe
Sketch for Eye, eye, 2002
Eye, eye, 2002 - Photo: Hans-Christian Schink
Eyeball stamp, 2005
Double vision eyeball, 2004 - Photo: Jens Ziehe 2004
The old eye, 1995 - Studio Olafur Eliasson, 2011 – 1995/2011 - Photo: Jens Ziehe
Your compound view, 1998 - Reykjavik Art Museum, Kjarvalsstadir, 1998 - Photo: Einar Falur Ingolfsson
Your compound view, 1998 - Reykjavik Art Museum, Kjarvalsstadir, 1998 - Photo: Einar Falur Ingolfsson
Sketch for 360° compass, 2009

Bound together by our need to navigate: we're all a bit lost, we're all on the way

Trust compass, 2013 - Photo: Jens Ziehe, 2013
The cubic compass rock, 2007 - Studio Olafur Eliasson, 2007 - Photo: Jens Ziehe
Hemisphere compass, 2011 - Photo: Jens Ziehe, 2011
Motional city map, 2010
The movement meter for Lernacken, 2000 - Malmö, Sweden, 2000 - Photo: Jan Engsmar
The movement meter for Lernacken, 2000 - Malmö, Sweden, 2011 – 2000 - Photo: Thilo Frank / Studio Olafur Eliasson
Empathy compass, 2011 - Photo: Jens Ziehe, 2011
Five orientation lights, 1999 - Galleria Continua, San Gimignano, Italy, 1999 - Photo: Olafur Eliasson
Sketch for Five orientation lights, 1999
The lighthouse series, 1999 - The Menil Collection, Houston, 2004 – 1999 - Photo: Oren Slor
Colour experiment no. 60

Now: Turner colour experiments on view at Tate Britain

"I have always been interested in the idea that abstraction can be welcoming; Turner’s palette, which he formulated according to the hues of the natural world, is very recognisable. I was keen to explore this type of abstract matter, which, at the same time, feels familiar. It seemed like a natural step to begin an experimental study by abstracting the prismatic colours of Turner’s palette and filtering them into a new, utopian colour theory. It is within our sense of abstraction that we are able to re-evaluate our sense of presence."



Olafur Eliasson on J. M. W. Turner

Colour experiment no. 59, 2014 - Photo: Jens Ziehe, 2014
Colour experiment no. 61, 2014 - Photo: Jens Ziehe, 2014
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No nights in summer, no days in winter, 1994 - Forumgalleriet, Malmö, 1994 - Photo: Flemming Brusgaard

Now: No nights in summer, no days in winter, 1994, at the Gwangju Biennale
On view until 9 November

No nights in summer, no days in winter, 1994 - Forumgalleriet, Malmö, 1994 - Photo: Flemming Brusgaard
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View from the studio: Turner colour experiments in progress

Image used on Blog post '124' (from S3)
Image used on Blog post '124' (from S3)
Image used on Blog post '124' (from S3)
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