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Journal articles on the topic 'Olafur Eliasson'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Sandquist, Gertrud. "Olafur Eliasson." Afterall: A Journal of Art, Context and Enquiry 2 (January 2000): 106–10. http://dx.doi.org/10.1086/aft.2.20711409.

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2

Debecque-Michel, Laurence. "Olafur Eliasson à Versailles." Ligeia N° 149-152, no. 2 (2016): 5. http://dx.doi.org/10.3917/lige.149.0005.

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3

Strosnider, Luke. "Review: Take Your Time: Olafur Eliasson." Afterimage 35, no. 4 (2008): 33. http://dx.doi.org/10.1525/aft.2008.35.4.33.1.

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4

SalvadorJiménez-Donaire, Martínez. "Tiempo e imagen. Otras formas de experimentar la duración: Idris Khan, Olafur Eliasson." ASRI. Arte y Sociedad. Revista de Investigación en Arte y Humanidades Digitales, no. 19 (March 30, 2021): 140–53. https://doi.org/10.5281/zenodo.7651396.

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La virtual es una era acelerada y saturada de información e imágenes. Analizamos algunas obras de los artistas contemporáneos Idris Khan y Olafur Eliasson para problematizar la experiencia temporal hoy: las suyas son propuestas artísticas que prolongan, a través de diversas estrategias conceptuales, procesuales y sensoriales, nuestro tiempo fragmentado, acelerado y atomizado. Pensadores como Byung-Chul Han advierten de la necesidad de reposo para producir conocimiento. En sus obras, Khan y Eliasson generan temporalidades alternativas a la velocidad imperante

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5

Shusterman, Ronald. "Olafur Eliasson et la métaéthique de l'art." Nouvelle revue d’esthétique 6, no. 2 (2010): 101. http://dx.doi.org/10.3917/nre.006.0101.

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6

Dincer, Demet, Thea Brejzek, and Lawrence Wallen. "Designing the Threshold: A Close Reading of Olafur Eliasson’s Approach to ‘Inside’ and ‘Outside’." Interiority 2, no. 1 (2019): 43–61. http://dx.doi.org/10.7454/in.v2i1.48.

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This article discusses Icelandic installation artist Olafur Eliasson’s approach of the threshold as a productive liminal space rather than as a static boundary between the inside and the outside. Often defined as the physical division between the interior and the exterior in architecture, the authors argue that by looking at Eliasson’s works in detail, the threshold’s inherent capacity of comprising a dynamic dialogue between inside and outside where one is determined by the other unfolds. This paper proposes that designing the relationships between inside and outside involves subtle renegotia

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7

Spiegl, Andreas. "Olafur Eliasson Non-Trueness as the Nature of Theatre." Afterall: A Journal of Art, Context and Enquiry 2 (January 2000): 97–105. http://dx.doi.org/10.1086/aft.2.20711408.

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8

Başak, Danacı Polat, and Kayahan Zeliha. "Olafur Eliasson'un Enstalasyonları Üzerine Değerlendirmeler." JOURNAL OF ACADEMIC SOCIAL RESOURCES (ASR JOURNAL) 9, no. 3 (2024): 336–48. https://doi.org/10.5281/zenodo.12598769.

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Bu makale, Olafur Eliasson'un çevre ve insan deneyimi arasındaki karmaşık etkileşimini yansıtan enstalasyonlarının kapsamlı bir analizini sunmaktadır. Gerçekleştirdiği projelerle hem sanat dünyasının hem de medyanın gündeminde olan, sürükleyici çalışmalarıyla tanınan Eliasson, ışık, ısı, basınç, su ve hava gibi doğal unsurları kullanarak izleyicilerin duyusal ve bilişsel süreçlerine meydan okuyan dinamik alanlar yaratmaktadır. Makale, Eliasson'un enstalasyonlarının çağdaş sanat üzerindeki etkisini değerlendirerek, bu yerle

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9

Shin, Hye-Kyung. "Olafur Eliasson, The social practice and intervention of Art Production." Journal of Aesthetics & Science of Art 54 (June 30, 2018): 203–41. http://dx.doi.org/10.17527/jasa.54.0.07.

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10

Cho, Sin-Jeong. "A Study on Public Participation in the Climate Crisis Project by Olafur Eliasson." Journal of Art and Culture Studies 25 (April 30, 2023): 137–55. http://dx.doi.org/10.18707/jacs.2023.04.25.137.

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11

Eriksson, Olivia. "Reaching out!: Activating space in the art of Olafur Eliasson." NECSUS. European Journal of Media Studies 4, no. 1 (2015): 287–93. http://dx.doi.org/10.5117/necsus2015.1.ros3.

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12

Johnson, Grant. "Citing the Sun: Marc Jacobs, Olafur Eliasson, and the Fashion Show." Fashion Theory 19, no. 3 (2015): 315–30. http://dx.doi.org/10.2752/175174115x14223685749322.

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13

Frichot, Hélène. "Olafur Eliasson and the Circulation of Affects and Percepts: In Conversation." Architectural Design 78, no. 3 (2008): 30–35. http://dx.doi.org/10.1002/ad.671.

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14

Yayan, Gonca, and Yusuf Han. "Mehmet Kavukçu ve Olafur Eliasson’un Eserlerinde Küresel Bir Sorun Olan Su." International Journal of Social Sciences 6, no. 24 (2022): 18–35. http://dx.doi.org/10.52096/usbd.6.24.2.

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Oxygen and water are two basic elements for the survival of all living things on Earth. Water is defined as a basic element that ensures the sustainability of biological life. Today, water is a very effective substance not only on the living environment but also on the inanimate environment due to its properties. Because life began in water. Today the effects of climate change on water resources and the amount of water on earth are oxygen and water are. The reduction of water resources as a result of the climate crisis and global warming has also started to pose an important problem for the cr

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15

Chen, Feiran. "A Case Study in Participatory Environmental Art." Highlights in Art and Design 7, no. 2 (2024): 62–65. http://dx.doi.org/10.54097/df74w925.

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This study examines Olafur Eliasson's "Ice Watch" series (2014-2018) as a participatory environmental art initiative to raise awareness of climate change. Eliasson demonstrates the effects of global warming by deliberately placing substantial pieces of glacial ice in urban centers such as Copenhagen, Paris, and London. The project integrates geological and human temporal dimensions by promoting public engagement and fostering a sense of intimacy and connection with the melting ice. The installation's ephemeral quality underscores the urgency of addressing climate change and prompts reflection

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16

Shusterman, Ronald. "Prouesses d’un art épistémologique : l’univers lumineux et engagé d’Olafur Eliasson." Figures de l'Art. Revue d'études esthétiques 17, no. 1 (2009): 199–215. http://dx.doi.org/10.3406/fdart.2009.878.

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Dans les arts plastiques, les matériaux mêmes semblent réellement capables d’interroger, voire de modifier, nos modes de perception. Cet art épistémologique trouve peut-être sa plus grande puissance chez les explorateurs et les manipulateurs de la lumière, chez ceux pour qui la lumière est souvent une fin en soi. C’est bien cette finalité cosmologique ou scientifique qui fournit la motivation profonde des oeuvres d’artistes tels que Turrell, Kapoor ou Olafur Eliasson. Ce dernier notamment fait un art d’exploration et d’illustration de la science par le biais d’installations de lumière. Or, si

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17

Hillier, Jean. "Liquid Spaces of Engagement: Entering the Waves with Antony Gormley and Olafur Eliasson." Deleuze Studies 6, no. 1 (2012): 132–48. http://dx.doi.org/10.3366/dls.2012.0051.

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Antony Gormley's Another Place and Olafur Eliasson's Your watercolour machine exemplify passages and combinations of smooth and striated space as beings of sensation on planes of technical and aesthetic composition. They are frames which striate the smoothness of light, water, molten iron, etc., using scientific planes of reference. Smooth and striated mix as boundaries between visitors’ bodies and installation become permeable. Optic becomes tactile, becomes haptic, generative engagement. Both artists experiment with the interface between striated and smooth to encourage visitors to experimen

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Araujo, Mariany Silva Gomes, and Pedro Fiori Arantes. "Experiências-limite em estruturas arquitetônicas e artísticas contemporâneas." Oculum Ensaios 21 (May 8, 2024): 1–16. http://dx.doi.org/10.24220/2318-0919v21e2024a6916.

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A partir de obras que conjugam arte e arquitetura, este ensaio procura discutir meios pelos quais a percepção contemporânea pode ser turvada e ofuscada quando lida com estruturas históricas de amplos efeitos subjetivos, sociais e políticos. Duas obras, produzidas no início do século XXI e promotoras de experiências próprias a uma era de indeterminação, trabalham tais efeitos alegoricamente: as imersivas Blur Building, de Elizabeth Diller e Ricardo Scofidio, e Weather Project, de Olafur Eliasson. Frente à instabilidade desenfreada do contemporâneo, procura-se, assim, pensar suas possíveis manif

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19

Julie L. Mellby. "YOUR HOUSE BY OLAFUR ELIASSON AND THE HOLE IN MODERN VISUAL NARRATIVES." Princeton University Library Chronicle 69, no. 1 (2007): 151. http://dx.doi.org/10.25290/prinunivlibrchro.69.1.0151.

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20

Neves, Alexandre Emerick, and Camila de Souza Silva. "Fotografia, paisagem, deslocamento." Revista Visuais 3, no. 4 (2017): 3–18. http://dx.doi.org/10.20396/visuais.v3i4.12188.

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Tema recorrente na arte contemporânea, a construção de paisagens é exemplificada aqui por obras como as de Olafur Eliasson e Douglas Huebler, com apoio na ideia de construção de paisagem apresentada por Javier Maderuelo. Propomos um aprofundamento da questão com base na apropriação de imagens fotográficas por meio de deslocamentos virtuais pela web em obras como as de Corine Vionnet, sobretudo a partir da convergência dos conceitos heideggerianos de habitar e construir com o conceito de espaço discursivo da fotografia de Rosalind Krauss. Diante disso, segue como estudo de caso um projeto da ar

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21

Ramos, Paula Nogueira, and Luís Felipe Abbud. "Espelhamentos e justaposições: as intervenções de Paulo Mendes da Rocha, Iole de Freitas e Olafur Eliasson no edifício da Pinacoteca de São Paulo." PosFAUUSP 30, no. 57 (2023): e202312. http://dx.doi.org/10.11606/issn.2317-2762.posfauusp.2023.202312.

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Este artigo está centrado nas análises comparadas de obras de Iole de Freitas (Belo Horizonte, 1945) e Olafur Eliasson (Copenhague, 1967) que, em momentos distintos, foram situadas em um dos pátios internos do edifício da Pinacoteca do Estado de São Paulo. Esse espaço, originalmente projetado por Ramos de Azevedo (São Paulo, 1851 – Santos, 1928), sofreu importantes alterações após a reestruturação concebida pelo arquiteto modernista Paulo Mendes da Rocha (Vitória, 1928 – São Paulo, 2021), junto a seus colaboradores, finalizada em 1998. Com o intuito de delinear similaridades e diferenças entre

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22

HWANG Wookhyun and 최익서. "A Study on the Spatial Interactivity reflect on Artificial Nature's Specific expression of Olafur Eliasson." Journal of Korea Intitute of Spatial Design 8, no. 2 (2013): 31–38. http://dx.doi.org/10.35216/kisd.2013.8.2.31.

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23

Cunha, Lucas, and Biagio D'Angelo. "Paisagens como instalações." Revista Estado da Arte 2, no. 2 (2021): 1–21. http://dx.doi.org/10.14393/eda-v2-n2-2021-59888.

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A natureza sempre foi objeto de apreciação das paisagens, historicamente concebidas em pinturas que guardam em si grande potencialidade retórica. Contudo, na contemporaneidade, as instalações – reconhecidas como elementos do campo escultórico – mudam a relação entre observador e imagem e agregam à paisagem natural uma nova dimensão, que é adicionalmente mediada pelos espaços expositivos. Estes são os casos das obras “Riverbed”, de Olafur Eliasson, e “Paraíso”, de Oscar Oiwa. Ambas as instalações, objetos de análise deste artigo, retratam a natureza de maneira diferente da tradição dos quadros

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24

Teira Muñiz, Ismael. "Hacer camino." AusArt 13, no. 1 (2025): 189–205. https://doi.org/10.1387/ausart.26957.

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Se propone el acto de caminar y hacer camino como herramienta artística y pedagógica, una metodología particular que fomenta la creatividad, la percepción espacial y la observación del entorno en el caso concreto de los ‘caminos del deseo’. Para aproximarnos a dicho fenómeno se parte del trabajo de algunos artistas como Richard Long, Olafur Eliasson o Esther Ferrer que han utilizado el caminar como un medio para cuestionar el productivismo y explorar la relación entre el cuerpo y el espacio. El texto subraya la importancia de investigar estos caminos en contextos como campus universitarios, do

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Moncrieff, Lilian. "Law, Scale, Anti-zooming, and Corporate Short-termism." Law, Culture and the Humanities 16, no. 1 (2016): 103–26. http://dx.doi.org/10.1177/1743872116654670.

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This article uses “Contact,” an art installation by Olafur Eliasson, and “anti-zoom,” an essay by Bruno Latour to reimagine the problem of corporate short-termism. It investigates what it means to propose, under the gaze of law, that directors and investors look to the “long-term” when pursuing corporate purposes. The article contests that it is possible to zoom, as if using a telescopic lens, between the demands of different time frames. It is only after an extended amount of “contact” that one is able to plot the relation of the short to the long term and make sense of it, a finding that pro

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26

ÇEVİK, Naile. "Çağdaş Sanatta Bir Tema Olarak “Merdiven” Kavramı Üzerine Bireysel Söylemler." Sanat ve Tasarım Dergisi, no. 32 (October 30, 2023): 105–23. http://dx.doi.org/10.18603/sanatvetasarim.1404952.

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Antik çağlarda bir temel ihtiyaç olarak ortaya çıkan merdiven kullanımı, insanların barınmak için yaptıkları mekânları zeminden yükseğe taşıma ana amacına hizmet ediyordu.Daha sonraki dönemlerdemerdivenler, bu somut anlamının yanı sıra soyut ve ilahi anlamlarda kazanmıştır. Günümüzde ise merdivenler bulunduğu mekâna ve bağlama göre bazen işlevsel bazen de işlevini yitirerek yalın bir heykelsi form olarak mekâna yeni anlamlar kazandırmaktadır. Bir kullanım nesnesine dair yaşanan değişimlerin sanatta da bir karşılığı olmuştur. Bu çalışma kapsamında; merdiveni sa

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27

Waibel, Violetta L. "Light is Space." Yearbook for Eastern and Western Philosophy 2018, no. 3 (2019): 76–92. http://dx.doi.org/10.1515/yewph-2018-0007.

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AbstractThe sculptor Olafur Eliasson produces works together with his team that have two main goals: first, he intends to sensitize our daily perception of the world and our surroundings, and second, Eliasson’s works are not only works of art, but they also explore nature, the physical properties of light, of energy, of water, and other elements. With the famous project Little Suns, small plastic lamps with LED light bulbs and solar cells, he contributes to the amelioration of daily life for those who do not have access to electricity even today. In other works he focuses on elementary phenome

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28

Ouellet, Maryse. "Par-delà le naturalisme : médiatisation du sublime dans les oeuvres d’Olafur Eliasson et Ryoji Ikeda." RACAR : Revue d'art canadienne 41, no. 2 (2016): 105–20. http://dx.doi.org/10.7202/1038075ar.

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Although the sublime is commonly associated with nature, the historical determinants of this relation are frequently ignored. Art historians and curators who attempt to define a contemporary sublime often anachronistically link recent artworks with modern categories marked by a now contested representation of the world. Such is the case of the “natural sublime,” which emerged around the turn of the eighteenth century and exemplifies what Philippe Descola describes as a “naturalistic” cosmology characterized by a separation between Nature and Culture. Starting from a case study of two recent ar

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29

Ebbesen, Toke Riis. "Little Sun: An Indicative Framework for the Analysis of Art and Design Objects." Design Issues 33, no. 1 (2017): 48–60. http://dx.doi.org/10.1162/desi_a_00425.

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Designs that mix art and design are especially hard to decode because of the hidden complexities of their object. This paper is an attempt to understand the tensions of art and design objects in relation to semiotic concepts of agency, intentionality, and indication. It does this by examining the ideas of Alfred Gell's anthropology of art and the indicative framework derived from Argentinian semiotician Juan Pablo Bonta and Jørn Guldberg. The toy-like solar lamp Little Sun by Olafur Eliasson and Frederik Ottesen is used as a case that blends the registers of social design and art, and as an ex

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이수홍 and Shin, Seung Yun. "Transference from physical space to sensorial space - Focused on the Works of Anish Kapoor and Olafur Eliasson –." Korean Journal of Art and Media 14, no. 2 (2015): 55–74. http://dx.doi.org/10.36726/cammp.2015.14.2.55.

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31

Fabbrini, Ricardo. "Poética dos materiais na arquitetura contemporânea." Rapsódia, no. 14 (December 3, 2020): 5–32. http://dx.doi.org/10.11606/issn.2447-9772.i14p5-32.

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Este artigo trata da convergência entre arte e arquitetura em uma poética dos materiais. Partindo da reflexão de “Dentro do nevoeiro” (Ubu, 2018), de Guilherme Wisnik, investigamos em que medida certa arte e arquitetura ainda podem promover o sentimento de assombro em um mundo caracterizado pela dimensão global do espetáculo midiático e da tecnociência. É na poética do nublamento que localizamos formas residuais e emergentes de resistência à arte e arquitetura hegemônicas no capitalismo neoliberal, tais como as fotografias de Michael Wesely; as instalações de Olafur Eliasson; e as construções

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32

Blair, Gregory. "Street art and the disruption of the expected." Visual Inquiry 13, no. 1 (2024): 21–33. http://dx.doi.org/10.1386/vi_00109_1.

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One of the most powerful aspects of street art is its potential to disrupt the expectations that we have about certain spaces and also how it urges us to question why those expectations existed in the first place. Street art interventions are often intended to make the viewer think about the space in which the intervention is produced, and how the identity of that space has been formed, along with the normalized behaviours that correlate with that space. This article examines recent examples of street art interventions created by Mobstr, Olafur Eliasson and Selma Selman and places them in cont

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33

Bernal Rivas, Gonzalo Enrique. "Laberintos de espejos y caleidoscopios habitables: paralelismos catóptricos entre la arquitectura temporal y las instalaciones." ANIAV - Revista de Investigación en Artes Visuales, no. 9 (September 29, 2021): 51. http://dx.doi.org/10.4995/aniav.2021.15191.

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<p>Desde el siglo XIX, la arquitectura temporal y las instalaciones han transitado caminos que a veces coinciden en el uso el uso de ciertos elementos, entre ellos, los espejos. Este texto, centrado en el estudio de dos casos particulares de espacios hechos con espejos, tiene como objetivo identificar vínculos entre algunas obras creadas desde ambas prácticas artísticas. Para conseguirlo, este artículo se divide en dos partes, la primera, dedicada a los laberintos de espejos y, la segunda, a los caleidoscopios habitables. Cada sección propone primero, un recorrido histórico a través de a

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34

Woo, Jung-Ah. "The Discursive Genealogy of Immersion and a Potential Utopia: Comparative Study of James Turrell, Olafur Eliasson, and teamLab’s Artworks." Journal of the Association of Western Art History 53 (August 31, 2020): 119–53. http://dx.doi.org/10.16901/jawah.2020.08.53.119.

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Lee, Song-Hak, and Jong-Jin Kim. "Spatial Experience and Design Method in the Installation Projects of Olafur Eliasson - Focusing on Relationship between Human and Surrounding -." Korean Institute of Interior Design Journal 23, no. 5 (2014): 33–40. http://dx.doi.org/10.14774/jkiid.2014.23.5.033.

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Janzen-Ulbricht, Natasha. "Teaching tool codified gestures - Can more people learn more? Experiences with the Earth Speakr app from digital teacher training." Scenario: A Journal for Performative Teaching, Learning, Research XVI, no. 2 (2022): 21–40. http://dx.doi.org/10.33178/scenario.16.2.2.

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During spring of the academic year 2020-2021, the English Didactics department of the Freie Universität Berlin offered a seminar on drama pedagogy. Given the pandemic and a syllabus which promised future teachers ‘teaching through actual classroom practice’ it was decided to take the in-person sessions between university students and grade six students online. The result of these collaborative drama lab sessions were Earth Speakr messages which, after being practiced online, were recorded in person at school in the Earth Speakr app by the English teacher, a university student assistant and the

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Shirokova, Ol'ga, and Alena Pavlyuk. "The influence of human socio-cultural needs on the architecture and planning decisions of colivings." Construction and Architecture 11, no. 2 (2023): 2. http://dx.doi.org/10.29039/2308-0191-2023-11-2-2-2.

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Architectural solutions should always be aimed at meeting the socio-cultural needs of a person. Le Corbusier, Ralph Erskine, Jane Jacobs, Kevin Lynch, Richard Sennett are devoted to the study of the impact of social development on urban planning and residential development. The need for housing to a large extent depends on the period of a person's life. In this regard, Le Corbusier advocated the creation of a flexible architecture that changes depending on the phase of life. Housing should correspond to the social status and personal needs of each family member. One way to fulfill this need is

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38

Beaufort, Charlotte. "L’“art phénoménal” du Light and Space. Pour une phénoménologie de l’évanescence." Figures de l'Art. Revue d'études esthétiques 12, no. 1 (2006): 133–49. http://dx.doi.org/10.3406/fdart.2006.1432.

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Comme l’éphémère, l’expérience perceptive visuelle apparaît puis disparaît. La lumière, insuffisante ou éblouissante, en détermine les conditions de possibilité ou d’impossibilité. Pour cette raison, l’éphémère est au coeur des préoccupations de l’art de la lumière, cette pratique artistique nouvelle qui apparut avec le mouvement Light and Space lancé par Robert Irwin dans la Californie des années 1960 (il comprenait aussi James Turrell, Larry Bell, Eric Orr, Maria Nordman) et qui se poursuit encore aujourd’hui chez des artistes plus jeunes, dont Anthony McCall, Ann Veronica Janssens ou Olafur

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Xavier, Isabel. "Tutor: Olafur Eliasson. In:MORRILL, Rebecca (Org.). AKADEMIE X: Lessons in Art & Life. Phaidon Press Ltd, 2015. Tradução: Isabel Xavier." Revista Apotheke 5, no. 1 (2019): 176–97. http://dx.doi.org/10.5965/24471267512019176.

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40

Zhitkova, Natalia. "EXPERIMENTAL DESIGN AS A STAGE IN THE FORMATION OF THE FUNDAMENTAL PRINCIPLES OF THE ARCHITECTURE OF INDUSTRIAL BUILDINGS." Current problems of architecture and urban planning, no. 58 (November 30, 2020): 202–10. http://dx.doi.org/10.32347/2077-3455.2020.58.202-210.

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The topic of the article examines the special connection between an industrial enterprise and the urbanistic environment, taking into account certain features of the location of an enterprise in an urban planning environment, as well as the corresponding factors of the architectural and construction scheme of modernization of production to understand the modern process of reconstruction and renovation of industrial facilities in a historical context. In search of figurative plastic stylistic expressiveness, architects in the 1920s and 1940s drew attention to engineering structures, machines an

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Şahin, Büşra, and Bilge Kınam. "Sanat ve Tasarımda Sanal Su ve Su Ayak İzinin Yansımaları." Art and Interpretation, no. 45 (March 21, 2025): 62–71. https://doi.org/10.47571/sanatyorum.1476937.

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Su, hayatın devamlılığı için en temel yaşam kaynağıdır. Su, büyük ölçüde yaşamı, küçük ölçüde ise ekonominin döngü dinamiğini etkileyen en önemli unsurdur. Tarımsal ve endüstriyel faaliyetler, evsel atıklar su havzalarını kirletmektedir. Bununla beraber nüfus artışı, çevresel ve küresel sorunlar, kuraklık, bilinçsiz tüketim gibi faktörlere bağlı olarak %2,5 oranında bulunan tatlı su kaynakları dünya üzerinde tükenme tehlikesi altındadır. Devlet politikaları, sivil toplum ve çeşitli kamu kuruluşları, tatlı su kaynaklarının azalması problemiyle ilgili kamu farkındalığını artırmayı amaçlayan çeşi

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Lee seunghyeun, Hwang Yeon-Sook, and MOON Jayoung. "A Study on the Characteristics of Space Perception Elements of A phenomenological installation work - Focused on Olafur Eliasson, James Turrell, Yoshioka Tokujin -." Journal of Korea Intitute of Spatial Design 14, no. 3 (2019): 181–93. http://dx.doi.org/10.35216/kisd.2019.14.3.181.

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Jalving, Camilla, and Marie Laurberg. "Performative utopier i samtidskunsten." K&K - Kultur og Klasse 40, no. 114 (2012): 109–22. http://dx.doi.org/10.7146/kok.v40i114.15706.

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PERFORMATIVE UTOPIAS IN CONTEMPORARY ART | The article deals with the current interest in the notion of utopia within contemporary visual art and theory. It is argued that utopia as a concept and area of investigation has returned on the contemporary art scene, albeit in a remarkably new way. If modernism presented utopia as a final vision for a better society, utopia is now articulated in a less ambitious way, in the vein of the much more modest question “what if”? Basing its argument on art projects by Andrea Zittel, Olafur Eliasson, Francis Alÿs and Tomàs Saraceno among others, the article

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Kim, Kyung-Jin. "Concerning Mediality from the Perspective of the Chronotope Concept - Focusing on Perception and Memory in the Works of Olafur Eliasson, Anishi Kapoor and Hiroshi Sugimoto -." Journal of the Korean Institute of Interior Design 28, no. 5 (2019): 134–41. http://dx.doi.org/10.14774/jkiid.2019.28.5.134.

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Demitere, Maija, and Jan Georg Glöckner. "Two Perspectives on Ecological Art." Scriptus Manet: humanitāro un mākslas zinātņu žurnāls = Scriptus Manet: Journal of Humanities and Arts, no. 13 (November 8, 2021): 33–43. http://dx.doi.org/10.37384/sm.2021.13.033.

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In the paper “Two perspectives on ecological art”, we will compare two perspectives on sustainability and the practicality of an ecological artwork. One perspective is from Latvian media artist Maija Demitere, researching slow media art, deep sustainability, and food production. Demitere uses micro-gardening prototypes as an instrument to inform the public on the problems of food production (local food, biodiversity, pesticides, herbicides, pollution caused by agriculture). Demitere uses gardening in combination with DIY (Do it Yourself) technologies to talk about slow living, ecology of the m

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Molina Franjola, Sandra Elisa. "Poética de lo transitorio: una revisión de Inert Gas Series/Helium, Neon, Argon, Krypton, Xenon/ From a Measured Volume to Indefinite Expansion, de Robert Barry (1969)." Cuadernos de Música, Artes Visuales y Artes Escénicas 15, no. 2 (2020): 54–67. http://dx.doi.org/10.11144/javeriana.mavae15-2.pdlt.

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Este estudio busca indagar la poética de la transitoriedad desplegada de Inert Gas Series/Helium, Neon, Argon, Krypton, Xenon/From a Measured Volume to Indefinite Expansion (Serie de gases inertes / Helio, neón, argón, criptón, xenón / De un volumen medido a una expansión indefinida), de Robert Barry (1969). Esta obra consistió en la liberación de gases desde sus contenedores a la atmósfera en diversos lugares de California, la cual fue anunciada por medio de un cartel blanco en el que se publicaron los datos de una dirección de correos y un número de teléfono, al que respondía una máquina con

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Koerner, Joseph Leo. "On Peter Weibel." October, no. 184 (2023): 147–50. http://dx.doi.org/10.1162/octo_a_00488.

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Abstract He was always the youngest in the group. In 1966, the core participants in what he—with Valie Export—would later dub “Viennese Actionism” applied for government funding to attend the Destruction in Art Symposium in London. The group sent him, just twenty-two years old, to the ministry to argue their case. He remained their go-to spokesperson. On June 7, 1968, at the Kunst und Revolution event in Lecture Hall 1 of the University of Vienna, it was he who introduced the wild proceedings with an “Inflammatory Speech,” his raised right asbestos-gloved hand in flames. Ending quickly in a cr

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ÖZESKİCİ, Evrim. "OLARFUL ELİASSON ESERLERİNDE BİR İMGE OLARAK RENK VE BİÇİM İLİŞKİSİ." Journal of Social Sciences 75, no. 75 (2025): 62–69. https://doi.org/10.29228/sobider.81257.

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Kalaga, Wojciech. "Er(r)go..." Er(r)go. Teoria - Literatura - Kultura, no. 44 (June 25, 2022): 5–8. http://dx.doi.org/10.31261/errgo.13687.

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Er(r)go... …zbiorowa ślepota ludzkości: antropocen, entropocen. Mnożą się rozmaite entropie: entropia termodynamiczna, entropia biologiczna, entropia psychospołeczna, entropia informacyjna, antyentropia, antropia, negentropia. Niektórzy – nie wszyscy – zauważają pewne konsekwencje: niszczenie bioróżnorodności, nieuporządkowanie, dezorganizację, destrukcję socjoróżnorodności, rozprzestrzenianie fałszywych informacji, destrukturyzację, rozrzedzenie zasobów mineralnych, deregulację klimatu, niszczenie ekosystemów, topnienie lodowców, podnoszenie się poziomu mórz, fale upałów, powodzie, susz

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Sin, Youngrai. "A Study on Climate Change and Human-Environment Interaction Through Olafur Eliasson’s Art." Europe Culture Arts Association 16, no. 1 (2025): 163–86. https://doi.org/10.26854/jeca.2025.16.1.163.

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