Fjordenhus - an artwork by Olafur Eliasson and Studio Olafur Eliasson in Vejle Denmark. Opens 9 June. Client: Kirk Kapital. Photo: Anders Sune Berg
Artist duo and resident filmmakers at the studio SHIMURAbros joined the kitchen team to make Shojin Ryori - a vegetarian, Japanese, Buddhist concept of using every part of the vegetables, not letting anything go to waste. See full film here: soe.tv
Reality projector soundscape - Olafur recorded the sounds of a piano as it arrived and was set up at the studio and as he experimented on it with found objects. This audio library was sent to the musician and sound artist Jónsi, who selected, mixed, and arranged the material in dialogue with Olafur into an ambient soundscape to accompany the artwork Reality projector. Opens March 1 at The Marciano Art Foundation, Los Angeles
Studio Kitchen Visits: Artist duo and resident filmmakers at the studio SHIMURAbros joined the kitchen team to make Shojin Ryori - a vegetarian, Japanese, Buddhist concept of using every part of the vegetables, not letting anything go to waste. See full film on www.soe.tv where you can also see some of the artistic work SHIMURAbros did for the studio
Laboratory for the future of libraries. Check out this inspiring project: Werkbank - a network based on intersections between books, materials, people, and their collections. Sitterwerk, St. Gallen.
Full video on olafureliasson.net
“Over centuries we’ve schooled ourselves in taking multiple perspectives through criticism and self-criticism. If the training takes, we are intellectually supple, trained not only by analytical argumentation but also by imaginative literature and films to envision the world with different eyes. We need an analogous suppleness for timescales, from the nanosecond to the eon and everything in between.” Time (and time again) a conversation with historian of science Lorraine Daston and Andrew Yang. Read full conversation on www.anthropocene-curriculum.org
Driftwood compass, 2018
The trees that sail to sea - Fascinating long read on driftwood on www.hakaimagazine.com "Dead trees were sailing the seas long before our ancestors conceived of the ax or skiff, long before the continents split and went their separate ways. Driftwood makes an enormous if underappreciated contribution to the food web connecting the forests and the sea. From streams to estuaries to the deep ocean floor, driftwood shapes every environment it passes through. While there’s an awareness that temperate rainforests are enriched with nitrogen from the marine environment, delivered by decomposing salmon, less well known is the fact that dead trees from those same forests travel to the sea and become a vital source of food and habitat. Long before driftwood caught the eye of environmental scientists, Arctic people had a primordial relationship with the wood arriving from a forested world they could scarcely imagine. They transformed this precious resource into everything from shelter and weapons to carved, tactile maps that could be read by hand. So valuable was this gift from the sea, archaeologists have speculated that when Inuit ancestors migrated from Alaska to the east over 1,000 years ago, they carried driftwood with them.” This video is from Quadra Island, British Colombia by Angeleen Olsen
"Im convinced the so-called culture sector in our society is more likely to create change than the public sector, the politicians, or the private sector. Because the private sector is driven by profitability primarily. And currently, the public sector is corrupted by populism. That leaves the cultural sector, which is very close to the civic sector. It enjoys the fact that it has a lot of civic trust and loyalty. That means people kind of trust the culture sector, also because it reflects people’s emotional needs. When people engage in the cultural sector they see themselves being reflected. This means the cultural sector is about the people. It’s not about profitability or egoism. I also think the culture sector successfully combines being emotional with being rational. The private sector is only about profitability and rationalism, McKinsey-fication of the world. And the public sector is only about populism, which is over-emotional, like Trump. It has no data, no science, it’s completely irrational. It’s just emotional. Culture actually has a commitment to academia, to history, to identity, to psychology. The culture sector is both emotional and rational. Little Sun – which I, as an artist actually did together with a scientist, a solar engineer – is in a way, the emotional holding hands with the rational. And it’s about showing that the culture sector has tools to change the world." Olafur Eliasson in an interview with Dazed
Inspiring project - a laboratory for the future of libraries: The Werkbank is a network based on intersections between books, materials, people and their collection. Sitterwerk, Kunstbibliothek, St. Gallen
A view of things to come gives us a view of ourselves from without, and to see yourself from the outside is to see yourself as part of the world. You see that being in space makes a difference, that you have responsibility. Before we act, we have an idea. But before the idea, there is a space – the space where the known and the unknown meet. It’s uncertain, unstructured, and open. This is where we realise that reality is relative – that we can change what is real – and we see a view of things to come.
Una mirada a lo que vendrá is open at Elvira Gonzáles, Madrid