Model room, 2003

Feature: New film of Model room, 2003, at Louisiana Museum of Modern Art, Denmark, 2014

Image used on Blog post '173' (from S3)

Now: Extinction Marathon at Serpentine Sackler Gallery, 18 - 19 October 2014

Image used on Blog post '173' (from S3)
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Soon: Extinction Marathon 18 - 19 October 2014, Serpentine Sackler Gallery, London
Poster by Olafur Eliasson

Work in progress at Studio Olafur Eliasson, 2014

Now: Schools of movement sphere, 2014, on view at Frieze London, 15-18 October 2014

Image used on Blog post '168' (from S3)

Now: Model room, 2003, as part of Riverbed at Louisiana Museum of Modern Art, Denmark
On view until 4 January 2015

Image used on Blog post '168' (from S3)
Image used on Blog post '168' (from S3)
Model for a timeless garden, 2011 – A film by Tomas Gislason

Now: Model for a timeless garden, 2011, part of Light Show at Auckland Art Gallery, New Zealand
Until 8 February 2015

Trust, confidence, intuition: Contact is Content – A film by SHIMURAbros

Feature: Olafur Eliasson - Trust, Confidence, Intuition: Contact Is Content, 2014
A film by SHIMURAbros

Image used on Blog post '164' (from S3)
Image used on Blog post '163' (from S3)

Now: Sensing the Future - László Moholy-Nagy, the Media and the Arts
Group exhibition at Bauhaus-Archiv, Berlin. On view until 12 January 2015

Image used on Blog post '157' (from S3)
Image used on Blog post '156' (from S3)

Now: Riverbed at Louisiana Museum of Modern Art, Denmark
On view until 4 January 2015

Atlantis, 2003

Now: Olafur Eliasson, Graphic Works, Borchs Butik, Copenhagen
On view until 29 October 2014

The red colour circle, 2008 - BORCH Gallery, Berlin – 2008 - Photo: BORCH Gallery
Inverted campfire series, 2006 - i8, Reykjavik, 2009 – 2006 - Photo: Vigfus Birgisson
Lalibela void, 2006
Image used on Blog post '154' (from S3)

Your compound view, 1998, installation view at Reykjavik Art Museum, 2014

Image used on Blog post '154' (from S3)
Image used on Blog post '154' (from S3)
Image used on Blog post '151' (from S3)
La situazione antispettiva

Feature: La situazione antispettiva, 50th Biennale di Venezia, 2003

The cave series, looking in, 1998, 1998, single print

Landscape - looking in, looking out

The cave series, looking out, 1998, 1998, single print
The cave series, looking out, 1998 - The Menil Collection, Houston, 2004 – 1998 - Photo: Oren Slor
Cars in rivers, 2009 series - Photo: Studio Olafur Eliasson, 2010

Nervous landscapes

Glacial expectations, 2009 - Photo: Studio Olafur Eliasson, 2009
Image used on Blog post '148' (from S3)
Image used on Blog post '148' (from S3)
Image used on Blog post '148' (from S3)
The very large ice floor, 1998

Feature: The very large ice floor, 1998, XXIV Bienal de São Paulo, Brazil

Connecting cross country with a line – A film for ‘Station to Station’

Our relation to space, a curious line

Image used on Blog post '142' (from S3)

Scale is you in relation

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'During my childhood in Iceland, electricity was rationed because of the oil crisis in the early seventies. As a five-year-old child, I remember a siren in the city sounding very clearly, and suddenly the whole city blacked out at once. It was like a massive work of urban land art. What was more remarkable, though, was that the experience of the sunlight would change. As the sunlight was also visible at night in the summer, albeit faintly, it was as if the daylight had suddenly been turned on. Seen from inside a house, the twilight outside the windows became much more apparent the moment the lights went out. This intensity and beauty of light outside struck me then, and it has influenced me since.'



Adapted from Olafur Eliasson, 'The Rise of Little Sun', blog entry, 19 July 2012

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Image used on Blog post '141' (from S3)
Image used on Blog post '141' (from S3)
The Domadalur daylight series (north), 2006 - Tanya Bonakdar Gallery, New York, 2006 - Photo: Fabian Birgfeld / PhotoTECTONICS
Image used on Blog post '141' (from S3)
Image used on Blog post '141' (from S3)
Image used on Blog post '141' (from S3)
Image used on Blog post '140' (from S3)

Latest issue of Disegno magazine, featuring Your uncertain archive

The question is if an archive is something retroactive, which, informally or not, tends to suggest an objective view of the past; or if it’s more of a subjective facilitator, which actually nurtures a proactive approach and suggests that is also about writing a narrative that’s more concerned with the future than the past. There is also a general need to find a systematic way to make use of archives, which are collections of knowledge. Instead of archives turning into dust-collecting heaps of knowledge, they can be proactive reality machines.\
\
Olafur Eliasson interviewed in Disegno, no. 7, A/W 2014–15

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Two years of uncertainty

Two years of uncertainty: visualising the entanglements of artworks and ideas for the development of Your uncertain archive

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Now: Spiegeltunnel, 2009, one of three works on view at Akademie der Künste, Berlin, as part of the group exhibition, Schwindel der Wirklichkeit

Spiegeltunnel, 2009 - Max-Reinhardt-Park, Berlin, 2009 - Photo: Olafur Eliasson
Image used on Blog post '138' (from S3)
Image used on Blog post '138' (from S3)
Image used on Blog post '138' (from S3)
Image used on Blog post '137' (from S3)

The view, a window on the horizon

Image used on Blog post '137' (from S3)
Fensterkaleidoskop, 1998 - Galerie Peter Kilchmann, Zurich, 1998 - Photo: Hans-Christian Schink
Image used on Blog post '137' (from S3)
Image used on Blog post '137' (from S3)
Image used on Blog post '137' (from S3)
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