Walking out through the parabolic hinged door to the windy porch that feels like the inside of a pizza oven – but cold. The bricks are colorful and inviting to the touch. The water beckons but with breeziness not vertigo. Vertigo happens when I look up. The whole building feels like it is tipping into me. My feet are stable but I’m leaning back to counter the fall. As clouds fly above the bright blue sky, the whole building feels like it is flying and tipping. I can’t find stability, but I hang there, suspended in a continual falling in. The bricks jutting out a bit, contribute to the sense that the building is coming apart a little. How does this happen? My sense of balance is more than my inner ear. The building reels, and I can’t handle it. But I can look at the wall and the sensation of movement stops. Only when I look up. This is cultural: my entire sensorium is attuned to the habits of buildings rising straight up, or on a simple incline. This one tips me as I try to align to it. But it is not aligned in the way that I’m used to. My sense of balance turns out to be polyvalent and some of those valences are at odds with other ones. My viscera hang down orienting me to gravity, my feet agree, so far. But the visual sensation of tipping building tips me. My feet are now weighted to ankles, my viscera are off. Using the words of my dance collaborator Nita Little, my attention oscillates between these facets of balance. All of these facets are cultural, trained, they can be retrained. But right now my attentional bricolage wavers, my balance wavers. Reflections on Fjordenhus by Joe Dumit, professor in anthropology at UC Davis
WASSERfarben opens tonight at Pinakothek der Moderne in Munich
Very excited to announce Little Sun’s new collaboration with IKEA. Together they want to inspire and explore new ways of harnessing the power of the sun through intelligent and creative design. They will be working on creating a series of sustainable off-grid tools, not only for energy, but also water and communication. Learn more here: www.littlesun.com
Glacial currents, 2018, Watercolour, glacial ice, Indian ink, and pencil on paper - part of WASSERfarben, opens tomorrow at Pinakothek der Moderne, Munich
Fjordenhus - the first building designed entirely by Olafur Eliasson and the architectural team at Studio Olafur Eliasson, will open on 9 June in Vejle, Denmark. The completion of Fjordenhus marks the shift of Studio Olafur Eliasson’s major architectural activities to a new international office for art and architecture, Studio Other Spaces (SOS), founded by Eliasson and his long-time collaborator, architect Sebastian Behmann. As an architectural counterpart to Studio Olafur Eliasson, Studio Other Spaces will be the vehicle for Eliasson and Behmann to carry out large-scale interdisciplinary and experimental architectural projects of a scope similar to Fjordenhus, in addition to works for public space
Connecting cross country with a line, 2013, on Doug Aitken’s Station to Station across the U.S. Next week in Munich as part of WASSERfarben, an exhibition about Olafur’s works on paper at Pinakothek der Moderne #drawingmachine
We all know a lot.
How does knowledge feel?
And how do you feel that you know?
How do you feel what you know?
How do your feelings feel?
Your felt feeling!
Consult your feeling of being disconnected and being connected,
Being indifferent or committed.
Does feeling connected make you more empathic?
Does empathy make your surroundings more tangible?
Are your feelings embodied knowledge?
Does your body drive action?
What space makes you want to act?
Does your felt knowledge make space for others?
Your felt space!
There is a difference between wanting to act and acting.
One is thinking, the other is doing.
Do you recognise the feeling of wanting to act but not acting?
Hold this feeling.
Then consult your own experience of empathic action.
How does the discrepancy between the desire to act and the experience of action feel?
Bring the pause to an end.
Hildur Guðnadóttir making a drawing with her cello. Life Is Space, 2011 #drawingmachine
Sound bath in Reality projector with Jónsi, Alex Somers, and Paul Corley. The Marciano Art Foundation, Los Angeles, 2018
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