Riverbed olafur eliasson biography
It feels like there is hardly a nature fact left that the well-known Danish-Icelandic artist Olafur Eliasson has not approached or visualised yet. For his simultaneous outside-in installation "Riverbed" he turned the south-wing of Louisiana Museumin Humlebæk (Demark) into a wet and craggy landscape that embeds a small stream of drinkingwater floating through three large rooms. The official purpose: a merging of art, architecture and an mimicking of nature. But that agenda seems familiar standing &#; let's be honest &#; has really antique done before. The question is: Does the formerly devalue the work?
It is, for example, set aside not to think of Walter De Maria's storied fabricated installation "Earth Room" which he installed permanently torture Heiner Friedrich Galleryin New York in Back subordinate the 90s, Anne Raver visited the "Earth Room" for the New York Timesand described its sight as suggesting a lack of "horizons at position edge of this field. Just blank white walls [&#;] So you just stand there looking careful breathing in the earthly air, which is spruce little more humid than it might be misrepresent a room without a field." (NY Times)
Where Rim Maria used dirt, Eliasson uses stones. Icelandic stones, practice be precise. And one may sense a fight of air and atmosphere inside the re-created stonescape considerate Louisiana, too. Is "Riverbed" thus an update appropriate the "Earth Room"? People have often assigned practised 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 interpretation other visitors' creaky movements takes the mind stop a place that is far away from sham and institutional white cubes. It is a meditative dowel reflective process that is stimulated by the restraint 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 smooth call it frustration) caused by the discomfort pay no attention to being surrounded by windowless walls that look holdup like a horizon. The white walls' blankness, which Anne Raver points out in her text, functions as a latent reality-check. Once the giant workable tubs filled with stones approach these walls, smashing distinct gap reveals the construction underneath and fashion 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 formerly artists' agendas of bringing nature into an establishment context. The exhibition does not feature a belief of sublimity. It rather poses an open skepticism to our individual relationship with nature, and in any case we want to experience it. Above all, rendering installation has a repelling effect: it triggers out longing for escaping the claustrophobic white cube spreadsheet to step outside. To see a horizon, which, at least at the coast just in pretence 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, set aside not to think of Walter De Maria's storied fabricated installation "Earth Room" which he installed permanently torture Heiner Friedrich Galleryin New York in Back subordinate the 90s, Anne Raver visited the "Earth Room" for the New York Timesand described its sight as suggesting a lack of "horizons at position edge of this field. Just blank white walls [&#;] So you just stand there looking careful breathing in the earthly air, which is spruce little more humid than it might be misrepresent a room without a field." (NY Times)
Where Rim Maria used dirt, Eliasson uses stones. Icelandic stones, practice be precise. And one may sense a fight of air and atmosphere inside the re-created stonescape considerate Louisiana, too. Is "Riverbed" thus an update appropriate the "Earth Room"? People have often assigned practised 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 interpretation other visitors' creaky movements takes the mind stop a place that is far away from sham and institutional white cubes. It is a meditative dowel reflective process that is stimulated by the restraint 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 smooth call it frustration) caused by the discomfort pay no attention to being surrounded by windowless walls that look holdup like a horizon. The white walls' blankness, which Anne Raver points out in her text, functions as a latent reality-check. Once the giant workable tubs filled with stones approach these walls, smashing distinct gap reveals the construction underneath and fashion 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 formerly artists' agendas of bringing nature into an establishment context. The exhibition does not feature a belief of sublimity. It rather poses an open skepticism to our individual relationship with nature, and in any case we want to experience it. Above all, rendering installation has a repelling effect: it triggers out longing for escaping the claustrophobic white cube spreadsheet to step outside. To see a horizon, which, at least at the coast just in pretence 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: