OLAFUR ELIASSON

オラファー·エリアソン
اولافور الياسون
奥拉维尔·埃利亚松
אולאפור אליאסון
Олафур Элиассон

Kepler was right bike

source: vadebikeorg

Desde a última semana de setembro, muita gente tem comentado sobre as bicicletas com rodas espelhadas que apareceram em São Paulo. São 12 bicicletas espalhadas pela cidade, sem nenhuma identificação, que geram perguntas, admiração e fotos em blogs e redes sociais.

A que mais tem chamado a atenção, talvez por estar em um ponto onde passam muitas pessoas todos os dias, é a bicicleta cor de rosa que está na esquina da Av. Paulista com a R. Augusta.

As bicicletas compõem a obra ”Uma Bicicleta para São Paulo”, do dinamarquês Olafur Eliasson. ”Eu as vejo como anjos, as bicicletas estão por aí, criando uma narrativa pela cidade”, contou o artista à Folha (para assinantes). A instalação das bicicletas foi decidida apenas uma semana antes da exposição e já foi realizada anteriormente nas ruas de Berlim.
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source: innenstadtaussende

Innen Stadt Außen (Inner City Out) is the first solo exhibition by the Danish-Icelandic artist Olafur Eliasson (b.1967) in a Berlin institution. The show’s central theme stems from Eliasson’s close relationship with this city, in which he has lived and worked for many years. His site-specific investigations within the Martin-Gropius-Bau are amplified and commented on through various ephemeral projects in public space, thus linking the museum to other places within the city.

The exhibition is curated by Daniel Birnbaum, art critic, curator and Rector of the Staatliche Hochschule für Bildende Künste, Städelschule, Frankfurt am Main, and its associated contemporary exhibition space Portikus.

In the words of Daniel Birnbaum:

Innen Stadt Außen is the first extensive presentation of Olafur Eliasson’s work in Berlin, the city that has become his home and prime site of production. Perhaps it is also the other way around: the life of Berlin is integrated into Eliasson’s work. Similarly, while the Martin-Gropius-Bau is a place in the city, in this exhibition, the city is brought into the museum. Large slabs of granite from the sidewalks of Berlin, for instance, form a pedestrian space inside the galleries.

The impression sometimes arises that Eliasson’s art is mostly about nature, and, more precisely, about powerful natural phenomena such as wind, water, fog, and light. However, he uses these merely as means to make artworks whose construction is often laid bare to visitors, as when the structural support of a lawn, ‘flying’ outside a first-floor window, is left in full view. Focus is on the very process of seeing and experiencing the world. Your experience.

The mirror recurs throughout Innen Stadt Außen and turns insides into outsides and vice versa. Bicycles with oddly dematerialising mirror wheels appear across Berlin, as do mirrors in unexpected corners. In one work, a van with a very large mirror attached on one side drives slowly through the city, thereby streaming its live, ephemeral filmic portrait. The mirror introduces a surprising split-screen effect where the actual and the reflected surroundings coexist, simultaneously but differently. It brings into motion the static houses and buildings through gliding distortions. This offers not just a doubling of space, but reversed extensions of space into space, carrying the brief imprints of pedestrians, cyclists, and cars, as they make their way through the city.

Eliasson’s capacity to double, extend, and turn inside out is nowhere more visible than at the heart of the Gropius-Bau. He eclipses the ornaments of the interior facade by installing a gargantuan kaleidoscope, reaching to the skylight, that catapults the viewer into a perplexing architecture of infinite reflections. With simple means, the artist stages the visible illusion of a crystal palace where the visitors, enveloped in this porous architecture, are suspended between inside and outside. Welcome inside; welcome to the outside.
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source: earthwatercataloguenet

Olafur Eliasson (IS/DK), born 1967. Eliasson’s works, described by the artist as ‘experimental setups’, span photography, installation, sculpture, and film. Around 55 craftsmen, architects, geometers, and art historians work in his Berlin studio. In 2003 he represented Denmark at the 50th Venice Biennale and installed The weather project at Tate Modern, London. The 2007 SFMOMA exhibition Take your time: Olafur Eliasson travelled until 2010. Innen Stadt Aussen (Inner City Out), 2010, and Seu corpo da obra (Your body of work), 2011, involved interventions across the cities of Berlin and São Paulo in addition to works in museums. Projects in public space include Green river, realised in various cities between 1998 and 2001; the Serpentine Gallery Pavilion 2007, London, with Kjetil Thorsen; and The New York City Waterfalls, 2008. Recent architectural works are Your rainbow panorama, for ARoS Aarhus Kunstmu.
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source: boumbang

Olafur Eliasson est un artiste contemporain danois, né en 1967. Après une enfance passée en Islande, il vit et travaille aujourd’hui à Berlin.

Héritier des artistes du Land Art tels que Christo et Jeanne-Claude, Richard Long ou Jean Vérame, Olafur Eliasson réalise des installations ayant la particularité de mettre en évidence des phénomènes naturels. Il se distingue néanmoins de ses illustres ainés avec des mises en scènes au cœur de bâtiments industriels, de logements et dans les centres urbains.

L’ensemble de son œuvre explore les rapports entre nature et technologie. Il joue sur les effets de lumières, sur les variations de température, avec la densité de l’air…

Olafur Eliasson crée un univers qui lui est propre, il souhaite expérimenter plutôt que de réaliser des œuvres d’arts. Ses sculptures et ses installations, apparaissent presque toujours à travers un déni de toute recherche plastique et esthétique. Il transforme alors les éléments, s’amuse avec les sens de ses spectateurs, et les convertit en partie, en éléments sculpturaux et en concepts artistiques.

« En tant qu’artiste, je veux voir une exposition aussi par l’intermédiaire de mon corps. En art, on comprend physiquement ce qui arrive, sans passer par les mots. ».

Beauty, en 1993, est une des expérimentations qui l’ont fait connaître. Beauty consistait en un tuyau d’arrosage crevé par des trous duquel s’écoulait de l’eau. Ce tuyau était éclairé de manière à ce que sous certains angles, le spectateur voyait apparaître un arc-en-ciel.

Son installation à la Tate Modern intitulée « The Project Weather », exposée en 2003, véritable reconstitution d’un coucher de soleil embrumé en plein coeur de l’institution londonienne, remporta un succès public et critique qui lui apporta une reconnaissance internationale.

« Ceux qui travaillent dans la musique, la vidéo ou même le yoga privilégient soit l’esprit, soit le corps. Mon travail veut lier les deux, comme The Weather Project. Les visiteurs qui se couchaient sur le sol pour voir le soleil inonder les miroirs du plafond avaient accès à ces deux mondes. »

Cet insatiable inventeur, travailleur forcené, continuera d’éblouir le public par ses œuvres en forme de mirages naturels.