 |
| Olafur Eliasson, New Berlin Sphere, 2009, Colored
glass (cyan, magenta, yellow), aluminum, paint (black, white), Installation
view: “Innen Stadt Außen,” Martin Gropius Bau, Berlin, 2009 Photo: Jens Ziehe,
Courtesy of Studio Olafur Eliasson, 2009. |
Belvedere,
Vienna, TBA21, Viyana ve The Juan & Patricia Vergez Collection, Buenos
Aires işbirliği ile düzenlenen Olafur Eliasson’ın “BAROQUE BAROQUE” isimli sergisi,
Savoy Prensi Eugene’nin Kış Sarayı’nda 6 Mart 2016 tarihine kadar izlenebilir.
Danimarka-İzlandalı
kökenli sanatçı Olafur Eliasson, yaklaşık 20 yıldır sanatsal çalışmalarındaki
fiziksel ve malzeme tecrübelerini sergilemeye devam ediyor. Bu bağlamda, o
bizim algılama alışkanlıklarımızı sorguluyor. Eliasson, bilim, psikoloji ve
mimariden yararlanarak, gerçek, algılama, su-hava, sis veya buzun yarattığı
görünür temsil gibi çevreler yaratarak, izleyicilerin eş zamanlı olarak
sanatının aktif katılımcısı olmasını sağlıyor.
 |
| Installation view, New Berlin Sphere, 2009, Colored glass (cyan, magenta, yellow), aluminum paint (black, white), Courtesy Studio Olafur Eliasson. |
OLAFUR ELIASSON: BAROQUE BAROQUE
BAROQUE
BAROQUE brings together a significant selection of artworks by Danish-Icelandic
artist Olafur Eliasson from the private collections of Thyssen- Bornemisza Art
Contemporary (TBA21) and Juan and Patricia Vergez and presents them within the
grand baroque setting of the Belvedere’s Winter Palace. The former city
residence of Prince Eugene of Savoy (1663–1736), was an important site of
artistic and scientific patronage in baroque Vienna. BAROQUE BAROQUE is an
encounter between artworks, aesthetics, and worldviews from two vastly
different epochs. The exhibition challenges viewers’ habits of perception and
proposes that reality can be understood as unstable and evolving, as a process
of constant negotiation. Surprising affinities between Eliasson’s works and their
temporary settings become evident as the juxtapositions explore the
relationships between object and viewer, representation and experience, actual
and virtual, giving rise to a concept of the baroque superimposed on itself —
the BAROQUE BAROQUE.
While
emphasizing the way spaces are constructed by history and tradition, Eliasson’s
works address the viewer in her embodied experience. Through the use of
projections, shadows, and reflections, the artworks foreground the relationship
between body, perception, and image. They anchor agency in the body and mind in
motion as they invite the viewer’s active engagement by mirroring, fragmenting,
and inverting her position within space.
 |
| Olafur Eliasson, Die organische und kristalline
Beschreibung, 1996, Light projector, wave-effect machine, colour filter, convex
mirror, Installation view: remote connections, Neue Galerie am Landesmuseum
Joanneum, Graz, 1996 Photo: Courtesy of the artist / Studio Olafur Eliasson,
Berlin. |
Eliasson
says, “I find it inspiring that the baroque exhibited such confidence in the
fluidity of the boundaries between models of reality and, simply, reality. The
presentation of my works at the Winter Palace is based on trust in the
possibility of constructing reality according to our shared dreams and desires
and on faith in the idea that constructions and models are as real as
anything.”
TBA21
Founder, Francesca von Habsburg says: “This exhibition brings together several
elements that I think support the vision of collectors and their responsibility
as well as their ability to create art projects that defy traditional
categorization. Both Patricia and Juan Vergez and I have been collecting and
supporting Olafur Eliasson for many years with great enthusiasm, as he is
indeed a renaissance man of many talents! In this presentation we wanted to
introduce a parallel, that Olafur himself has mirrored in the exhibition rooms,
that juxtaposes the precious Baroque cultural heritage of Vienna with the work
of an artist that I feel very close to.”
 |
| Olafur Eliasson, Power tower, 2006, Stainless
steel, light, wood, cable, 410 x 110 ø cm, Photo: Courtesy Studio Olafur Eliasson. |
In
the entrance Vestibule, the light installation Die organische und kristalline
Beschreibung (1996) floods the walls, floor, and ceiling with swelling washes
of blue and yellow light, an ocean of color that loosens the viewer’s sense of
the stability of her environment. In Yellow corridor (1997), monofrequency
light is used to heighten the precariousness of our relationship to visible
space. Eliasson’s optical machines and installations — such as Kaleidoscope
(2001), New Berlin Sphere (2009), Your welcome reflected (2003), and Seu
planeta compartilhado (Your shared planet, 2011) — reflect the artist’s ongoing
investigations of color, perception, transformation, and deconstruction, an
inquiry that is particularly interesting in relation to the baroque context. A
site-specific intervention in the form of a continuous mirror traversing the
enfilade of grand rooms further disorients the viewer by folding and re-folding
the complex spaces it produces. Wishes versus wonders (2015), a steel half-ring
mounted to the mirror wall in the Hall of Battle Paintings, stages an encounter
between reality, illusion, and the elaborate artifice of the surroundings,
simultaneously multiplying lines of potentiality.
Within
this terrain of doubling and paradox, Eliasson calls into question our received
habits of seeing and experiencing space. His artworks make us wonder and
reconsider, giving meaning to the enigmatic doubling inherent in BAROQUE
BAROQUE.
 |
| Olafur Eliasson, Kaleidoscope, 2001, Metal,
foamcore aluminium mirror, 180 x 180 x 728 cm, Installation view: Surroundings
surrounded, ZKM Karlsruhe The Juan and Patricia Vergez Collection Photo: Franz
Wahmhof, 2001. |
 |
| Olafur Eliasson Seu planeta compartilhado, 2011, Stainless steel, aluminum, color-effect filter glass, mirrors, 195 x 325 x 200 cm, Thyssen-Bornemisza Art Contemporary, Vienna, Photo: Jens Ziehe, Berlin. |
