Which of the Following Are Materials Olafur Eliasson Is Known for Using in His Art Making?
In celebration of Earth Solar day, you can watch the short film 'Talking to You' from Globe Speakr. Directed past Anni Ólafsdóttir. Narrated by Olafur Eliasson. Story and script by Eva Lind Höskulddsdóttir, Anni Ólafsdóttir, and Andri Snær Magnason. Based on messages from more than than 10,000 children in more than 70 languages, all made with Earth Speakr.
'We have at present on our planet the largest generation of children Earth has ever seen. Through Earth Speakr, they showed us that they know what is happening and they know what needs to be done. And they know what kind of world they dream of. It is up to us to listen and take action.' – Olafur Eliasson in 'Talking to You', 2022
'Sonnenenergie 22', 2022. On view at Pinakothek der Moderne in Munich from the jump equinox to the fall equinox of 2022.
'We humans are very familiar with the boggling importance of sunlight for all life on earth – after all, the path of the sun shapes the very rhythm of life and provides orientation in our world. The earth's daily rotation and annual orbit make the lord's day the natural clock for all living creatures on our planet.' – Olafur Eliasson
'Big Bang Fountain', 2014. Installed at Tate Modern in London, 2019. Photo: Anders Sune Berg
'Reversed waterfall', 1998. TBA21 Thyssen-Bornemisza Art Contemporary collection. Now on view as office of the group exhibition 'Arable Futures', curated past Daniela Zyman at Centro de Creación Contemporánea de Andalucía in Córdoba. Photograph: Hyunsoo Kim
'Din blinde passager' (Your blind passenger), 2010. Photo: Anders Sune Berg
Olafur Eliasson explores where nosotros are now and how we navigate – in our everyday lives and in the highly circuitous world of today. One thing is to ask into our sense of presence; some other is to consider where we are going and what the future will look like… At that place's only a slight risk of getting lost. Self-reflection and fractional knowledge may accompany yous.
Detail of 'Unforgetting solar exposure', watercolour, 2020
In this moment, nosotros are reminded of how crises of war, absolutism, neoliberalism, and climate are highly intersectional. Each crisis cannot be tackled every bit a singled-out challenge, they are all part of one picture.
In an commodity written in the first days of the war on Ukraine, Bill McKibben put frontward an idea: 'One manner to dramatically reduce Putin's ability is to go off oil and gas … Then at present is the moment to remind ourselves that, in the terminal decade, scientists and engineers have dropped the cost of solar and windpower past an order of magnitude, to the point where it is some of the cheapest power on World. The best reason to deploy it immediately is to ward off the existential crisis that is climate change, and the second best is to terminate the killing of ix meg people annually who die from breathing in the particulates that fossil fuel combustion produces. Just the third best reason – and possibly the almost plausible for rousing our leaders to action – is that it dramatically reduces the ability of autocrats, dictators, and thugs.'
In that location is seemingly never a 'skillful' fourth dimension to address the complex issues associated with crunch. But, there is reason to hope that, in response to these emergencies, nosotros can coordinate international political volition to encourage a abrupt plough towards renewables. As Rebecca Solnit said, 'It is of import to say what hope is not: information technology is not the belief that everything was, is or volition be fine...The promise I am interested in is most broad perspectives with specific possibilities, ones that invite or demand that we act. You could call information technology an account of complexities and uncertainties, with openings.' Earlier a shift happens, it tin can seem impossible; afterward, it seems inevitable.
To notice further data on the intersectional nature of crises, visit our resource list here.
'Our Space to Help', a weekend-long fundraising event in support of Ukraine at Neue Nationalgalerie in Berlin, Saturday, 5 March at 10:00 through Sunday, 6 March at midnight.
Image: Neue Nationalgalerie 2022 © Nationalgalerie – Staatliche Museen zu Berlin / Simon Menges
Our Infinite to Help
Together with Berlin's cultural institutions, we are calling for a fundraiser to help people who take fled Ukraine and are arriving in Berlin. We invite you lot to come to the Neue Nationalgalerie to donate and be together from Saturday, 5 March at 10:00 through Dominicus, 6 March at midnight at Neue Nationalgalerie in Berlin.
The fundraising campaign is organised in cooperation with Be an Angel eastward.V.
Delight be welcome to donate on site:
• power banks / batteries for smartphones
• mobile WIFI hotspots
• monetary donations
The staff from Be an Angel east.5. volition besides provide data about further aid measures on site.
An 'open up microphone' on site invites y'all to share your own thoughts, music, verse, and literature. Your spontaneous contributions will be welcome.
Initiated past Klaus Biesenbach and developed in close collaboration with Anne Imhof and Olafur Eliasson, together with a large grouping of colleagues and volunteers from the Neue Nationalgalerie and Stiftung Preußischer Kulturbesitz, this is as an open up invitation to all Berlin art institutions, artists, and residents.
Be an Affections e.V.
https://beanangel.direct
Donation lawmaking: #kunst4ukraine
Account 014 522 59 00 Sort code 100 708 48 (Deutsche Depository financial institution)
IBAN DE37100708480145225900 BIC DEUTDEDB110
We've updated our resource page 'Support humanitarian assist in Ukraine' with even more links. It now includes organisations and platforms supporting, hosting, and arranging housing for refugees who are already arriving in Berlin from Ukraine. Find it all here:
Support humanitarian aid in Ukraine
Some of these organisations are driving donations and supplies to the border of Ukraine themselves. Also, some of these local resources are available in Ukrainian and Russian languages in add-on to English and German.
'Colour experiment no. 108', 2020. Photograph: Jens Ziehe
Detail of 'Color experiment no. 108', 2020. Now on view at Tanya Bonakdar Gallery, Los Angeles, as part of the solo exhibition 'Your lite spectrum and presence'. Photograph: Jens Ziehe
In 2009, Olafur Eliasson began a series of circular paintings inspired by the thought of producing a new, comprehensive colour theory that would contain all the visible colours of the prism. He began by working with a color chemist to mix in paint an exact tone for each nanometre of light in the spectrum, which ranges in frequency from approximately 390 to 700 nanometres. Since those initial experiments, Eliasson has branched out to brand a large number of painted works on round canvases, known collectively every bit the color experiments. A number of these works accept their palettes from other sources, from historical paintings by J. M. W. Turner or Caspar David Friedrich, for example. In the instance of 'Colour experiment no. 108', the muted tones in the background were derived from the colours found in a photograph taken by the artist in Iceland in 2012. A formless multicolored explosion spreads out from the eye of the canvass, contrasting starkly with the shine, even background.
'The missing left brain', 2022. At present on view equally part of Olafur Eliasson'due south solo exhibition 'Navegación situada' at Galería Elvira González, Madrid. Photo: CENIZA
'The missing left encephalon', 2022, unfurls before the viewer as a constantly changing lightshow of shapes, colours, and shadows, created through the reflection and refraction of light. The symmetrical sequence develops and vanishes in a wearisome continuum upon a circular screen that seems to hover in the space. The screen is in fact a semicircular screen affixed to a mirror, which creates the illusion of a full circumvolve and doubles the amorphous shapes into a symmetrical Rorschach-like low-cal display.
Viewers can glimpse the appliance responsible for producing the projection inside a custom-made box mounted behind the screen. The box contains disparate glass lenses, color-effect filters, and objects from Eliasson's studio. A light inside the box illuminates the objects as they turn, and the resulting distortions are projected via a lens onto the screen. As each motor revolves at its ain step, the relationship between the various elements constantly changes, so that the light sequence appears ever new. Chance alignments produce an ever-irresolute symphony of shadows and reflections on the screen – a phantasmagoria of evolving shapes, arboreal shadows, spectral arcs, and fields of colour that wax and wane and ooze across the surface of the screen.
'Colour experiment no. 94', 2020. Tanya Bonakdar Gallery, Los Angeles. Photo: Jens Ziehe
Several paintings in Olafur Eliasson'due south solo exhibition 'Your light spectrum and presence' – currently on view at Tanya Bonakdar Gallery in Los Angeles – feature the vivid spectrum of color seen in the natural phenomenon of a rainbow, a recurring motif throughout Eliasson's practice.
'In the hurly-burly of everyday existence, the generosity of the rainbow lies in its unexpected appearance. It is a small miracle when the position of the sunday, adequate weather weather condition, and your eyes – otherwise focused on your decorated life – align to create a rainbow. This may allow y'all to intermission to celebrate the fleeting moment of trajectories meeting upward. Information technology is like nature offer a surprise political party, while assuasive us the pleasure of being a co-host.' – Olafur Eliasson
'Your light spectrum and presence', a solo exhibition by Olafur Eliasson, now on view at Tanya Bonakdar Gallery, Los Angeles. Photo: Jeff White
Olafur Eliasson's latest solo exhibition 'Navegación situada', now on view at Galería Elvira González in Madrid.
Now open at Galería Elvira González in Madrid, Olafur Eliasson's solo exhibition 'Navegación situada' explores how we navigate today'southward complex globe through a series of works that delve into our sense of presence and invite the viewer to contemplate unexpected and open terrain.
On view through 2 Apr, the exhibition features a serial of watercolours, hanging compasses, a large project work, and a wall-based work of glass and driftwood.
'The missing left brain', 2022. On view at present at Galería Elvira González in Madrid every bit role of Olafur'due south latest solo exhibition 'Navegación situada'.
'In "Navegación situada", I promise to place our sense of place and of being present under loving scrutiny. Walter D. Mignolo, an Argentinian literary theorist and specialist on decolonial theory, rephrased the Cartesian "I retrieve therefore I am as I am where I do and call up." This is such a radical shift from what I accept been brought upwardly on. Thinking, doing, and identify are fundamentally entangled. Being witting of where I am is the first pace to knowing who I am and to addressing primal questions of being. But knowledge tin can merely always partial. The feminist and biologist Donna Haraway, whose piece of work I admire, talks about "situated knowledges": knowledges – in the plural – that are embodied and arise through your entanglement with a particular site, in a particular culture, and at a detail time. This is something I've only recently begun to recognise properly although I've long worked with the idea that "vision", for instance, is embodied and particular, and that our entire sensorium facilitates how we connect with our specific surround and what we experience as our environs.' – Olafur Eliasson on his exhibition 'Navegación situada' at Galería Elvira González, Madrid
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