Thomas Demand, Clearing, 2004. Louisiana Museum of Modern Art.
This forest scenery never existed except for in Demand’s studio, where more than a hundred thousand leaves where hung with strings, and everything carefully staged. The photo hangs in one of the beautiful glass corridors that run through the gardens of the museum, where the boundaries between inside and outside blur. These glass framed views of cultured nature from the outside gardens are then reflected back onto the photo’s surface according to your changing position and light conditions. Standing in front of the photo, trying to enter the scenery with your gaze, you are then suddenly transported back outside in the gardens, like being suspended between two realms of constructed nature. #fakenature #anthropocene
Riverbed - inside a museum (is there an outside?) As seen (and felt) from a pair of feet. Louisiana Museum of Modern Art, Denmark, 2014
Four handgardens, 2008
The broken stone series, 1997
Geologist Minik Rosing, whom the studio has collaborated with on a number of projects, including Ice Watch, presents a very old stone at Life Is Space, 2014
“What does the alteration of our environment have to do with the limits of our imagination? And where is the link between scientific instrumentation and the question of “emotional orientation?” - Brian Holmes, Driving the Golden Spike. Image: Model of The weather project, Studio Olafur Eliasson, 2002
"It is not a matter of deciding whether you are on the Left or not, but whether you are terrestrial or not: ‘Have you thought about the material nature of a soil upon which nine or ten billion of us must live?’ It is in this context that the question of migration intersects with the question of climate. People who do not think that the question of climate is important, or who deny that question’s existence, can still see the question of migration perfectly clearly. It is one that is decisive in every country, election after election, and it is driving people back to focusing on national frontiers at precisely the moment when these are least suited to dealing with either the question of climate or of refugees." - For a terrestrial politics: An interview with Bruno Latour
"Nobody likes it when you mention the unconscious, not because you are pointing out something obscene that should remain hidden - that is at least partly enjoyable. Nobody likes it because when you mention it, it becomes conscious. In the same way when you mention the environment, you bring it into the foreground. In other words, it stops being the environment. It stops being That Thing Over There that surrounds and sustains us. Ecology without nature argues that the very idea of “nature” which so many hold dear will have to wither away in an “ecological” state of human society. Strange as it may sound, the idea of nature is getting in the way of properly ecological forms of culture, philosophy, politics, and art." Timothy Morton
Wilshire & Cochran, Petrit Halilaj and Alvaro Urbano 2017. Performance. Mak Center for Art and Architecture.
Does fake nature, or images of nature, make us yearn for the real thing, and if so, what do we imagine the real thing to be? Works by Julius von Bismarck - click on image for more
Déambulation avec Olafur (Extracts) - Choreography by Marie-Agnés Gillot. Performed by Marie-Agnés Gillot & Luc Bruyére. Within the context of Eliasson's exhibition: Objets définis par l'activité, Espace Muraille. Video produced by Movie Riders
Little Sun has been nominated for a Billion Acts Hero Award by Billion Acts - a global organization led by 14 Nobel Peace Prize Winners including The Dalai Lama and Desmond Tutu. Please support them by voting here: https://www.billionacts.org/hero-awards-voting
“The work is built around highly saturated color produced by shining intense beams of pure white light through monochrome gels. Essentially derived from the film process known as Technicolor, a movie staple launched in rudimentary form a century ago and honed to a fine edge after World War II, the installation resonates against its Hollywood context. Eliasson has deconstructed the process into something new and exhilarating. Two mechanized, high-intensity light projectors are set on tracks in the theater gallery’s rafters. At variable speeds they slowly traverse the big space, sliding back and forth. Gels in cyan, magenta and yellow have been inserted into openings between the linear and triangular structural beams holding up the roof. As the tracking light passes through the gels, rectilinear shapes in bright, vibrant colors are projected below onto an enormous screen and set into motion at the far end of the room. One reason the work is so eye-grabbingly vivid is that, unlike the electronic pictures flooding across mobile devices and television screens or the ubiquitous computer-generated imagery in movies today, color in Eliasson’s immersive installation is not broken up into pixilated bits hovering in blackened soup. The color is instead pure. The picture is a “reality projection,” and it is beautiful in the extreme. Excerpt from Christoper Knight's review of Reality projector in Los Angeles Times
Corners and Curves - carrot stamping, acrylic and watercolor on canvas - by artist Jesper Dyrehauge. His primary working tool is carrot stamping - a way of re-negotiating prevalent conceptions of painting. Carrot stamping is a way of thinking through making; an embracing and reconfiguring of material and form, in which the outcome is partly conceived, but can never be fully known. This series was conceived on a residency in Los Angeles. “Sunlight became a critical mediator of my relationship with los angeles – a mediator which has the potential to produce new ways of thinking about color, form and the idea of the ‘fade'. LA is a contrasting study of color. the matte and polished colors of this city – deep and vibrant blues of the ocean and of the skies which reflect it, bright greens of overwatered lawns – sat in opposition to the bleached colors of the city's dyed relics – its cars, signs, buildings. when i entered people’s homes, i was often surprised to find the interiors dark, almost gloomy. rooms often had small windows with thick curtains, to keep out the hard bite of the sun. coming from denmark where sunlight is celebrated, i had never felt the need to curtain my windows. In LA the sun is not always a welcome stranger, but sometimes hostile. sun in los angeles is persistent, beating more aggressively than in northern europe. it bleaches all that it touches: old cars at the side of the road, resting in chipped and faded paint with custom made covers to protect their wrinkled dashboards from the sun; street signs and painted buildings fading in the force of the sun. these faded hues were not gaps in a chromatic vocabulary, but offered a whole new language of color. Fading is so often couched as a 'loss' of color: a dissolution of vibrancy, a bleaching of form. but, my experience in LA began to put this idea of the 'fade' into question. when color fades, it doesn’t disappear, but is transformed as a new color. colors are poetic, rather than grammatic – a faded color is not a color lost, but a color that has gained another texture. fading, i realised, can also be another path for growth." www.jesperdyrehauge.net