Bibliografías temáticas / Olafur Eliasson

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Literatura académica sobre el tema "Olafur Eliasson"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 30 de enero de 2023

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Artículos de revistas sobre el tema "Olafur Eliasson"

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

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Debecque-Michel, Laurence. "Olafur Eliasson à Versailles". Ligeia N° 149-152, n.º 2 (2016): 5. http://dx.doi.org/10.3917/lige.149.0005.

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Strosnider, Luke. "Review: Take Your Time: Olafur Eliasson". Afterimage 35, n.º 4 (1 de enero de 2008): 33. http://dx.doi.org/10.1525/aft.2008.35.4.33.1.

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Shusterman, Ronald. "Olafur Eliasson et la métaéthique de l'art". Nouvelle revue d’esthétique 6, n.º 2 (2010): 101. http://dx.doi.org/10.3917/nre.006.0101.

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Dincer, Demet, Thea Brejzek y Lawrence Wallen. "Designing the Threshold: A Close Reading of Olafur Eliasson’s Approach to ‘Inside’ and ‘Outside’". Interiority 2, n.º 1 (30 de enero de 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 renegotiations and redefinitions of conventionalised notions of their boundaries and a resultant emergence of new design strategies. Eliasson designs thresholds in diverse ways that he analyses and provokes the spatial associations between inside and outside, interior and exterior. While in Eliasson`s work the categories of inside and outside remain mutually exclusive, they physically co-exist at the same time; deliberately refracted, juxtapositioned, connected or confounded in an experimental yet rigorous approach that employs different scales and common characteristics. Seventeen of his works are analysed and grouped into four different threshold design strategies that result in an object, an association, an event and an immersive space.
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Spiegl, Andreas. "Olafur Eliasson Non-Trueness as the Nature of Theatre". Afterall: A Journal of Art, Context and Enquiry 2 (enero de 2000): 97–105. http://dx.doi.org/10.1086/aft.2.20711408.

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

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Eriksson, Olivia. "Reaching out!: Activating space in the art of Olafur Eliasson". NECSUS. European Journal of Media Studies 4, n.º 1 (1 de enero de 2015): 287–93. http://dx.doi.org/10.5117/necsus2015.1.ros3.

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Johnson, Grant. "Citing the Sun: Marc Jacobs, Olafur Eliasson, and the Fashion Show". Fashion Theory 19, n.º 3 (7 de mayo de 2015): 315–30. http://dx.doi.org/10.2752/175174115x14223685749322.

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Frichot, Hélène. "Olafur Eliasson and the Circulation of Affects and Percepts: In Conversation". Architectural Design 78, n.º 3 (2008): 30–35. http://dx.doi.org/10.1002/ad.671.

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Tesis sobre el tema "Olafur Eliasson"

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Plodeck, Judith. "Bruce Nauman und Olafur Eliasson Strategien performativer Installationen". Potsdam Univ.-Verl, 2009. http://d-nb.info/1001019628/04.

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Plodeck, Judith. "Bruce Nauman und Olafur Eliasson : Strategien performativer Installationen". Phd thesis, Potsdam : Univ.-Verl, 2010. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018999025&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Sjöwall, Elina. "Mellan konst och arkitektur : En komparativ studie av Frank Gehrys och Olafur Eliassons konstnärskap". Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-29553.

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In this thesis I am studying the phenomenon of contemporary architecture evolving into art and, similarly, how contemporary art seems to evolve towards architecture. The aim of the study is to examine the blurred line between art and architecture that is significant for our century. Besides overall attempting to explain the relation of art and architecture in past, present and prospective, the particular method in my investigation is a comparative study of two main examples. One of these is in the field of artistic architecture (Frank Gehry’s Fondation Louis Vuitton), followed by one from the field of architectural art (Olafur Eliasson’s Inside the Horizon). By using text- and image-based analysis, I am pointing out both similarities and differences in the examples to determine if and where the fading line still appears. By aiming to understand the phenomenon from several viewpoints, I have been able to conclude that the fusion of art and architecture in most cases is a sign of intrinsic artistic progression. Yet the Art-Architecture Complex as an ongoing event seems to be subject to an infinite debate.
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Ringborg, Theodor. "Spatial works : Jason Dodge, Olafur Eliasson, Alicja Kwade, Tris Vonna-Michell". Thesis, Konstfack, Institutionen för Interdisciplinära Studier (IS), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2863.

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The remarks on this subject stem from the conditions spatial works engender in the encounter with the viewer. The aim has been to provide the reader with a framework within which to place individual experiences of the works. The exhibition Spatial Works, to which this research paper is connected, exemplifies variations within spatial work. By organizing an exhibition around this context, the variations presented is fleshed out. The research preceding the exhibition has resulted in the development of a specific terminology; an articulation of different practices in installation art. Psychodramatic, Thespian, Temporal and Permutation are here seen as mannerisms of spatial works of art. The expanded significance presented in this paper is a feature of composition, as the dramatic condition characterizes the encounter between object and subject. The polyphony of information encountered by the viewer is not only created by the art work itself, but also by its signifying composition, so to say `al fresco´ of the work, of which the observer gains certainty of the pieces spatiality as well as understands of the work of art.
WIRE, Critical Writing and Curatorial Practice
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Marinus, Jensen Lene. "Sensing Space : En undersökning av rum och perception utifrån ett verk av Olafur Eliasson". Thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-115797.

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Uppsatsen behandlar relationen rum, verk och betraktare utifrån et verk av konstnären Olafur Eliasson. Undersökningen styrs av frågan om vilka fysiska faktorer som påverkar betraktaren i mötet med rummet och genom att studera verket Beauty (1993). Dessutom diskuteras Olafur Eliasson relation till betraktaren som en del av verket. Metoden har varit en kombination av litteraturstudier och fallstudie av verket Beauty som visades på AroS 2005. Grundläggande för hela undersökningen är ett receptionsteoretiskt perspektiv, där fokus är flyttat från verket till betraktaren.   De fysiska faktorer som anses påverka vår visuella perception är ljus, färg, form, rum och rörelse. När parametern ljus tas bort ökar uppmärksamheten av andra sinnen. En förhöjt uppmärksamhet i situationen verkar öppna för en blick utåt mot andra deltagare i rummet. Olafur Eliasson relaterar till betraktaren mera som en aktiv deltagare och en fysisk del av verket. Deltagaren blir betydelseskapande för verket.
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Tucker, Ashton. "Virtual and Physical Environments in the work of Pipilotti Rist, Doug Aitken, and Olafur Eliasson". University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337084536.

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Phillips, Jessica. "The art of perception". This title; PDF viewer required. Home page for entire collection, 2009. http://archives.udmercy.edu:8080/dspace/handle/10429/9.

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Handran, Christopher. "Looking into the light : reinventing the apparatus in contemporary art". Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63634/1/Christopher_Handran_Thesis.pdf.

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Technical images such as photography, film and video, are dependent on apparatuses for their production and dissemination, yet the apparatus itself is often hidden or obscured in the experience of the work and the discourse that surrounds it. This practice-led research identifies key practice strategies to foreground the apparatus both in the production of work and in its presentation. It therefore develops critical and generative strategies to explore and interrogate the workings of the 'apparatus-audience complex,' and the particular modes of spectatorship that this entails.
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Grossmann, Ralph. "Penser le territoire, sculpter le paysage Robert Smithson, les "Nonsites" au regard des géosciences : un modèle pour les échanges entre Arts et Sciences en résonance avec les démarches de Giuseppe Penone et Olafur Eliasson". Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH159.

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Construite sur une analyse approfondie des archives de Robert Smithson, cette thèse réévalue la série des Nonsites (1967-1969) dans sa relation d'inspiration avec les Géosciences. Elle rappelle le contexte culturel des années soixante comme toile de fond pour l’inspiration de l’artiste et détermine l’envergure de son expertise dans le domaine des sciences. Des documents préparatoires inédits viennent éclairer son processus de création et la manière dont il formule ses œuvres complexes, à partir des sources géologiques, de l'information scientifique et de la muséographie. La relation entre arts et sciences apparaît centrale dans l’élaboration des Nonsites. Chaque œuvre de la série est ainsi rattachée à ses sources artistiques et scientifiques et révèle le moment historique de l’émergence de la sculpture post-minimale. Le jeu de l’espace muséal avec la tridimensionnalité est alors enrichi par le déploiement de strates d’informations contextuelles et crée les prémices d’une interaction nouvelle entre œuvre et spectateur.De plus, deux perspectives ouvertes sur un choix d'œuvres de Giuseppe Penone et Olafur Eliasson démontrent comment leurs démarches artistiques sont en résonance avec les préoccupations créatives de Smithson. Il est ainsi possible de problématiser l’expédition scientifique de terrain (et la manière de penser le territoire qui lui préexiste), ainsi que les agencements muséographiques en art comme en sciences comme sources déterminantes dans la confluence de l’art et des sciences
Based on a thorough analysis of Robert Smithson's archives, this dissertation re-evaluates the Nonsites series (1967-1969) in its inspirational relationship with the Geosciences. It recalls the cultural context of the sixties as a backdrop for the artist's inspiration and determines the scope of his expertise in the field of science. Unpublished preparatory documents enlighten his creative process and the way he formulates his complex works from geological sources, scientific information and museography. The relationship between arts and sciences is central to the development of the Nonsites. Each work in the series is thus linked to its artistic and scientific sources and reveals the spectacular historical moment of the emergence of post-minimalist sculpture. The play between the museum space and three-dimensionality is then enriched by the deployment of layers of contextual information and provides the basis for a new interaction between viewer and artwork.In addition, two perspectives are drawn towards the work of Giuseppe Penone and Olafur Eliasson and demonstrate how their artistic approaches resonate with Smithson's creative concerns. It is thus possible to problematize the scientific field expedition (and the analysis of the territory, its prerequisite), as well as the museographic arrangements, as determining sources in the confluence of art and science
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Muirhead, Anna. "Evergreen : [thesis] submitted in partial fulfillment of the requirements of the degree of Masters [Ie Master] of Fine Arts at Otago Polytechnic School of Art, Dunedin, New Zealand /". Conceptual Art Online- Anna Muirhead - About, 2008. http://www.imageandtext.org.nz/anna_m_about.html.

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Thesis (M.F.A.)--Otago Polytechnic, 2008. Includes bibliographical references.
Thesis typescript. Supervisors: Adrian Hall, Michele Beevors. Otago Polytechnic department: School of Art. "October 2008." Accompanied by a website of the exhibition of the author's artistic.
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Libros sobre el tema "Olafur Eliasson"

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1967-, Olafur Eliasson, Birnbaum Daniel 1963- y Speaks Michael, eds. Olafur Eliasson. London: Phaidon Press, 2002.

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Eliasson, Olafur. Olafur Eliasson. Paris: Musées de la ville de Paris, 2002.

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Eliasson, Olafur. Olafur Eliasson: Photographs. Houston, TX: The Menil Collection ; distributed by Art Publishers, 2004.

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1967-, Ólafur Elíasson y Tate Publishing (London England), eds. Olafur Eliasson: OE. London: Tate Publishing, 2013.

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Adolphs, Volker. Olafur Eliasson: Remagine, large version. Bonn: Kunstmuseum Bonn, 2006.

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Glennie, Sarah. Olafur Eliasson: The curious garden. Dublin: Irish Museum of Modern Art, 2000.

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Eliasson, Olafur. Olafur Eliasson: Minding the world. [Århus, Denmark]: ARoS Aarhus kunstmuseum, 2004.

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Madeleine, Grynsztejn, Bal Mieke 1946-, San Francisco Museum of Modern Art, Museum of Modern Art (New York, N.Y.), P.S. 1 Contemporary Art Center y Dallas Museum of Art, eds. Take your time: Olafur Eliasson. San Francisco, Calif: San Francisco Museum of Modern Art, 2007.

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Eliasson, Olafur. Take your time: Olafur Eliasson. San Francisco, Calif: San Francisco Museum of Modern Art, 2007.

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Ismail, Soyugenc, Torchia Richard y Arcadia University Art Gallery, eds. Olafur Eliasson: Your colour memory. Glenside, Pa: Arcadia University Art Gallery, 2006.

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Capítulos de libros sobre el tema "Olafur Eliasson"

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"OLAFUR ELIASSON". En Modern Sculpture, 329–32. University of California Press, 2022. http://dx.doi.org/10.2307/j.ctv2vr8v47.91.

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"Realfiktionen. Versuchsanordnungen von Olafur Eliasson". En Modernisierung des Sehens, 287–98. transcript-Verlag, 2008. http://dx.doi.org/10.14361/9783839409121-019.

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Flach, Sabine. "Realfiktionen. Versuchsanordnungen von Olafur Eliasson". En Modernisierung des Sehens, 287–98. transcript Verlag, 2008. http://dx.doi.org/10.1515/9783839409121-019.

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"»Espèces d’espace« – situations in contemporary art: Olafur Eliasson, Rikrit Tiravanija, Qinyun Ma". En Raum - Dynamik / dynamique de l'espace, 291–300. transcript-Verlag, 2004. http://dx.doi.org/10.14361/9783839402511-019.

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Obrist, Hans-Ulrich y Jens E. Sennewald. "»Espèces d’espace« – situations in contemporary art: Olafur Eliasson, Rikrit Tiravanija, Qinyun Ma". En Raum - Dynamik / dynamique de l'espace, 291–300. transcript Verlag, 2004. http://dx.doi.org/10.1515/9783839402511-019.

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"Olafur Eliasson, Art as Embodied and Interdisciplinary Experience: In Dialogue with Else Marie Bukdahl". En Aesthetic Experience and Somaesthetics, 59–70. BRILL, 2018. http://dx.doi.org/10.1163/9789004361928_006.

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"Embodied Time: Chronotope Formations in Works by Julius von Bismarck, Yayoi Kusama, Olafur Eliasson, and Walter de Maria". En Architecture and Control, 26–45. BRILL, 2017. http://dx.doi.org/10.1163/9789004355620_004.

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Zukin, Sharon. "A Tale of Two Globals: Pupusas and IKEA in Red Hook". En Naked City. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195382853.003.0012.

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It’s a Saturday afternoon in mid-July and the city is swooning in 96-degree heat and fearsome humidity. You think it will be cooler out on the water than in the subway, so you line up at the Wall Street pier in Lower Manhattan to take the free water taxi across the East River to Red Hook, on the Brooklyn waterfront. The ride is sponsored by IKEA, the Swedish big-box chain that opened its first New York City outpost in Red Hook a few weeks earlier. Because the neighborhood is notoriously difficult to reach on public transportation and IKEA is hoping to lure shoppers whose apartments are starved for Scandinavian modern couches but who don’t own cars, the store has decided to sponsor water taxis from Manhattan. They have a system to discourage free riders from Brooklyn. You get your hand stamped before you walk onto the ferry so the taxi company’s employees, on IKEA’s instructions, can refuse to carry any passenger on the return trip who didn’t come to Brooklyn to make a purchase. Sitting on the top deck of the ferry, you’re caught up in an air of joyful anticipation. The small boat is full, with more than thirty passengers, some of them young children and their parents, all smiling and laughing from the unusual pleasure of being out on the water on a sunny afternoon, and from the pleasure of a shopping trip as well. The kids snap photos with cell phone cameras, everyone admires the Statue of Liberty on the other side of the harbor, and a few passengers point out the artificial waterfalls designed by the Scandinavian artist Olafur Eliasson that have been installed on the river for the summer as a public art project. Though the ride takes less than ten minutes, it’s the kind of entertainment New Yorkers love: a chance to act like tourists on the town.
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"Reclaiming Futures: Olafur Eliasson’s Weather Project". En Environmental Apocalypse in Science and Art, 168–206. Routledge, 2013. http://dx.doi.org/10.4324/9780203094716-15.

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van Niel, Fiepke. "Ice Art Ethics: On Olafur Eliasson’s Ice Watch". En Ung Uro, 59–68. Cappelen Damm Akademisk/NOASP, 2021. http://dx.doi.org/10.23865/noasp.127.ch5.

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On the occasion of the publication of the Intergovernmental Panel on Climate Change’s (IPCC) Fifth Assessment Report on Climate Change in 2014, a rather unique clock was installed in front of the Copenhagen City Hall. Olafur Eliasson’s Ice Watch (2014–2019) is an ecological artwork that aims to raise awareness about climate change by engaging its audience. The artwork consisted of twelve enormous ice blocks installed in the shape of a clock. Drops of water slowly dripped to remind the audience of the precarious situation that our planet is currently in. This chapter addresses and explores the paradoxical nature of ecological artworks, with Ice Watch as a case study. By drawing on Arne Næss’ concept of deep ecology and Donna Haraway’s call for ‘staying with the trouble’, this chapter explores whether anthropocentrism can truly be criticised by ecological artworks.
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Actas de conferencias sobre el tema "Olafur Eliasson"

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Chen, Luciana y Myrna Arruda Nascimento. "Cuerpo, espacio y tiempo: (in) visibilidades en las obras de Kusama, Salat e Eliasson". En IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9334.

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Las relaciones entre imagen, cuerpo y espacio teniendo en vista el interés creciente que la articulación entre tales dimensiones adquirió en la contemporaneidad, evidencia el papel de estos elementos en la interacción manifestación / destinatario o producción / público objetivo. El contexto actual reconoce la visibilidad como objeto de valor, y la imagen como protagonista y como medio para estudiar tal visibilidad, teniendo en vista las nuevas formas de interacciones relativas al cuerpo y al espacio, por ella elaboradas y reveladas. Sin embargo, teóricos del arte, estudios desarrollados a partir de las semióticas greimasiana y peirceana, de la antropología de la imagen, y de las artes visuales aplicadas en otros campos del conocimiento, revelan que algunos eventos estéticos modifican las nociones de tiempo y espacio en las salas de exposiciones, permitiendo al receptor una experiencia atemporal y desconectada de la habitual relación que el cuerpo establece con el espacio. Estas transformaciones derivadas de las vivencias cuerpo / espacio / tiempo, en las obras de artistas Yayoi Kusama, Serge Salat, Olafur Eliasson, exploran los límites de la visibilidad para crear campos de invisibilidad, en que las nociones de temporalidad y / o espacialidad se abstraen convirtiéndose rehenes de la experiencia subjetiva, parcial e imperfecta de cada espectador de sus instalaciones. Nuevas posibilidades de significados son descubiertas por los interactores al reconocer la imperfección como analogía para amplificar sus sensibilidades a los fenómenos que estimulan y desplazan la atención y los sentidos. Para esta reflexión investigamos a autores como A.J. Greimas (Da Imperfeição, 2002), E. Landowski (A sociedade refletida, 1992 e Interações Arriscadas, 2014), Jochen Volz (Olafur Eliasson: Seu corpo da obra, 2011). Serge Salat (Les labyrinthes de l'éternité, 2002) Philip Larratt-Smith & Frances Morris (Yayoi Kusama: Obsessão Infinita, 2014).
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Beneytez, Rafael y Ophelia Mantz. "Airscapes: Atmosphere as Form in Architecture/ No Molds but Modulators". En 2018 ACSA International Conference. ACSA Press, 2018. http://dx.doi.org/10.35483/acsa.intl.2018.63.

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Atmosphere, atmospheric, or atmotopo attempts to capture a crucial cultural moment that weaves together different schemes of thought with myriad technologies of communication and visualization. The methods of representation are arguably more varied than ever, and with them, design methods cross all kinds of knowledge. But almost none of the elements that constitute the problem of the atmosphere are aligned under the same ideology. Therefore, addressing the atmosphere within architectural thought becomes a pressing issue today. It involves the acceptance of heterogeneities, contradictions, and antagonisms between the different ways that the term is being used. From Fumifugium: or the Inconvenience of Aer and Smoak of London Dissipated, (1661) of John Evelyn´s to the implants of nature (2003) of Olafur Eliasson on weather dispositions (arrangements), nature, ecology, energy, economy, urbanism, and architecture are aligned under the context of the term “atmosphere.” Embracing such differences, “Airscapes” is a collection of seven ideological schemes that frame atmosphere as form in architectural thought. “Airscapes” categorizes significant works of atmospheric activism in theory and practice through an atlas of different underlying structures of thoughts (schemes) of Western culture. “Airscapes” categorizes significant works of atmospheric activism in architecture theory and practice through an atlas of diverse underlying structures of thoughts (schemes) of Western culture. Gravity versus Atmosphere, Figure versus Ground, Island versus Clouds, Beauty versus Sublime, Quantitative versus Qualitative, Stable versus Unstable, Chronology versus Heterochrony.
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González-Diez, Miguel. "POUCH. De un trayecto por el socious, la psique y la "naturaleza" o De los nuevos modos de vida humanos". En III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.4576.

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Dice Olafur Eliasson que “no estamos simplemente en el mundo; somos del mundo”. Y admitiendo este hecho se admite que las acciones humanas tienen consecuencias para el contexto local y global. El proyecto POUCH de Umasensio, y comisariado por Miguel González-Diez, que se completa con su serie En casa, reivindica la práctica perceptiva como forma de exploración de otros modos de conocer el mundo y de sensibilizarse estéticamente con un equilibrio ecosistémico. La artista evidencia la naturaleza y el cuerpo como aquellos únicos lugares en los que es posible darse el habitar. El cuerpo sintiente sensible surge como un elemento desde el cual alcanzar cuestiones fundamentales en el ser humano como la identidad, la empatía, la alienación y la inestabilidad. La Tierra vive un instante de desequilibrio ecológico que amenaza la vida sobre su superficie. Quizás se deba a que los modos de vida humanos afrontan en su avance un estado de fatiga continua. La cuestión es, tal como la plantea Félix Guattari, saber cómo “se va a vivir de aquí en adelante sobre este planeta [de manera sostenibles], en el contexto de la aceleración de las mutaciones técnico-científicas y del considerable crecimiento demográfico”. Guattari propone un conocimiento ecosófico proyectado a través de tres registros ecológicos: el de las relaciones sociales, el de la subjetividad humana y el del medio ambiente. De este modo surgen nuevos sistemas de valorización alejados de las retribuciones financieras y del mercado basado en el beneficio, bajo los cuales [re]crear permanentemente la identidad del mundo, pensándose transversalmente las relaciones de naturaleza y cultura. POUCH se articula en última instancia como un diálogo entre el pensamiento ecosófico y la práctica artística contemporánea desde un enfoque holístico, intercultural y laico, que supone una posible abertura para el individuo ensombrecido bajo las alienantes furias de los mercados capitalistas.http://dx.doi.org/10.4995/ANIAV.2017.4576
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