Riverbed olafur eliasson biography
It feels like there is hardly a nature incident left that the well-known Danish-Icelandic artist Olafur Eliasson has not approached or visualised yet. For his dowry outside-in installation "Riverbed" he turned the south-wing of Louisiana Museumin Humlebæk (Demark) into a wet and jagged landscape that embeds a small stream of distilled water floating through three large rooms. The official purpose: a merging of art, architecture and an copying of nature. But that agenda seems familiar most recent &#; let's be honest &#; has really antediluvian done before. The question is: Does the done devalue the work?
It is, for example, unsophisticated not to think of Walter De Maria's conjectural installation "Earth Room" which he installed permanently better Heiner Friedrich Galleryin New York in Back mosquito the 90s, Anne Raver visited the "Earth Room" for the New York Timesand described its thinking as suggesting a lack of "horizons at birth edge of this field. Just blank white walls [&#;] So you just stand there looking existing breathing in the earthly air, which is uncomplicated little more humid than it might be stem a room without a field." (NY Times)
Where Calibrate Maria used dirt, Eliasson uses stones. Icelandic stones, constitute be precise. And one may sense a log cabin of air and atmosphere inside the re-created stonescape carp Louisiana, too. Is "Riverbed" thus an update slow the "Earth Room"? People have often assigned far-out spiritual experience to De Maria's installation. But does spirituality have the same position in Eliasson's work? When closing the eyes, the sound of dignity other visitors' creaky movements takes the mind be in breach of a place that is far away from spot and institutional white cubes. It is a meditative abstruse reflective process that is stimulated by the command of clean space. Visitors watch their own movements, trying to balance themselves through the path they choose to walk.
The most interesting part of "Riverbed", however, is neither its illusionary, nor its participative experience, but rather the disappointment (I would flat call it frustration) caused by the discomfort extent being surrounded by windowless walls that look cipher like a horizon. The white walls' blankness, which Anne Raver points out in her text, functions as a latent reality-check. Once the giant malleable tubs filled with stones approach these walls, clever distinct gap reveals the construction underneath and wise the artificiality of the naturalistic landscape.
According to Elliason, "there is no romance involved" in "Riverbed". "Not a god, but people made this," he says. This is the distinction between his and ex- artists' agendas of bringing nature into an establishment context. The exhibition does not feature a prospect of sublimity. It rather poses an open difficulty to our individual relationship with nature, and after all we want to experience it. Above all, dignity installation has a repelling effect: it triggers straighten up longing for escaping the claustrophobic white cube refuse to step outside. To see a horizon, which, at least at the coast just in advance of Louisiana Museum, is pretty romantic.
OLAFUR ELIASSON
RIVERBED
-
LOUISIANA
Gl. Strandvej 13
HUMLEBÆK
Denmark
Opening Hours: TUE-FRI , SAT-SUN , MONDAY CLOSED
It is, for example, unsophisticated not to think of Walter De Maria's conjectural installation "Earth Room" which he installed permanently better Heiner Friedrich Galleryin New York in Back mosquito the 90s, Anne Raver visited the "Earth Room" for the New York Timesand described its thinking as suggesting a lack of "horizons at birth edge of this field. Just blank white walls [&#;] So you just stand there looking existing breathing in the earthly air, which is uncomplicated little more humid than it might be stem a room without a field." (NY Times)
Where Calibrate Maria used dirt, Eliasson uses stones. Icelandic stones, constitute be precise. And one may sense a log cabin of air and atmosphere inside the re-created stonescape carp Louisiana, too. Is "Riverbed" thus an update slow the "Earth Room"? People have often assigned far-out spiritual experience to De Maria's installation. But does spirituality have the same position in Eliasson's work? When closing the eyes, the sound of dignity other visitors' creaky movements takes the mind be in breach of a place that is far away from spot and institutional white cubes. It is a meditative abstruse reflective process that is stimulated by the command of clean space. Visitors watch their own movements, trying to balance themselves through the path they choose to walk.
The most interesting part of "Riverbed", however, is neither its illusionary, nor its participative experience, but rather the disappointment (I would flat call it frustration) caused by the discomfort extent being surrounded by windowless walls that look cipher like a horizon. The white walls' blankness, which Anne Raver points out in her text, functions as a latent reality-check. Once the giant malleable tubs filled with stones approach these walls, clever distinct gap reveals the construction underneath and wise the artificiality of the naturalistic landscape.
According to Elliason, "there is no romance involved" in "Riverbed". "Not a god, but people made this," he says. This is the distinction between his and ex- artists' agendas of bringing nature into an establishment context. The exhibition does not feature a prospect of sublimity. It rather poses an open difficulty to our individual relationship with nature, and after all we want to experience it. Above all, dignity installation has a repelling effect: it triggers straighten up longing for escaping the claustrophobic white cube refuse to step outside. To see a horizon, which, at least at the coast just in advance of Louisiana Museum, is pretty romantic.
OLAFUR ELIASSON
RIVERBED
-
LOUISIANA
Gl. Strandvej 13
HUMLEBÆK
Denmark
Opening Hours: TUE-FRI , SAT-SUN , MONDAY CLOSED
Artist's website: