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.

Zugl.: Potsdam, Universiẗat, Diss., 2009. / Online-Ausg. im Internet.

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.

Thesis (M.Arch.)--University of Detroit Mercy, 2009. / Includes bibliographical references (p. 124).

Zugl.: Potsdam, Univ., Diss., 2009

Die Analyse vergleicht Installationen von Bruce Nauman und Olafur Eliasson ausgehend von der Fragestellung, wie sich die künstlerischen Performativitätsstrategien der 1960er/70er Jahren und die der zeitgenössischen Kunst in ihren Wirkungen und Effekten unterscheiden lassen. Dabei werden die Positionen der beiden Künstler als paradigmatisch für eine Ästhetik des Performativen angesehen. Neben dem Vergleich der Künstler steht die theoretische Auseinandersetzung mit der Diskursfigur der Performativität sowie deren methodischen Anwendbarkeit in der Kunstwissenschaft im Vordergrund. Während sich Installationen der 1960er/70er Jahre besonders durch die psycho-physische Einwirkung auf die Sinneswahrnehmung des Betrachters auszeichnen und durchaus Schockeffekte beim Betrachter hervorrufen, befasst sich die zeitgenössische Kunstpraxis vornehmlich mit visuellen und poetischen Effekten, die eine kontemplative Rezeptionshaltung des Betrachters einfordern. Bruce Nauman war es ein Anliegen, den tradierten Status des Kunstwerks als ein zu Betrachtendes, das sich durch Begriffe wie Form, Ursprung und Originalität fassen ließ, in Frage zu stellen und stattdessen eine reale leibliche Erfahrung für den Betrachter nachvollziehbar werden zu lassen. Künstlern wie Olafur Eliasson geht es in den künstlerischen Produktionen vor allem um die Wahrnehmung der Wahrnehmung sowie der Erzeugung von Präsenzeffekten. Mit dem Aufkommen solcher Verfahren wurde deutlich, dass performative Installationen nach anderen Beschreibungsformen verlangten und, dass diese durch eine Ästhetik des Performativen gefasst werden können. Wie genau vollzieht sich der Wandel von den performativen Strategien der 1960er/70er Jahre zu denen der zeitgenössischen Installationskünstlern? Verläuft dieser vom Schock zur Poesie? / This analysis compares installations by Bruce Nauman and Olafur Eliasson based on the following question: How can artistic performative strategies of the 1960s/70s and those of contemporary art be differentiated in their impact and effect. As part of the analysis, both artists’ positions are considered as being paradigmatic for an aesthetic of the performative. In addition to the comparison of the artists, we are confronted with the theoretical discussion about the discursive figure of performativity as well as its methodological applicability in the science of art. Installations of the 1960s/70s are mainly characterized by the psychological and physical impact on the viewer’s perception and their ability to evoke shock effects from the viewer. By contrast, contemporary art practice deals predominantly with visual and poetic effects, demanding a contemplative state of reception. It was one of Bruce Nauman’s intentions to question the traditional status of a work of art as an object that needs to be viewed and defined through concepts, such as form, origin and originality. Instead, he intended to allow the viewer to comprehend it as a real and physical experience. Artists such as Olafur Eliasson, on the other hand, aim in their artistic productions at producing effects of presence by perceiving the perception. Through the emergence of such procedures, it has become evident that performative installations require other forms of description and can be understood through an aesthetic of the performative. How exactly did performative strategies of the 1960s/70s change compared to works by contemporary installation artists? Did they in fact evolve from shock to poetry?

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

This thesis argues that the environmental undertones of artists Edward Burtynsky’s and Olafur Eliasson’s work have clearly aligned them; however, the focus of my study is not an evaluation of the artists’ abilities to express environmental concerns, but rather an exploration of the effects of their representations on our understanding of the surrounding environment, and of the artists’ contributions toward a definition of Nature that now includes its own demise as a site of aesthetic pleasure. This study focuses on Olafur Eliasson’s New York City Waterfalls and on Edward Burtynsky’s Nickel Tailings photographs. Burtynsky’s Nickel Tailings photographs, among them in particular, his well known Nickel Tailings No. 34, depict a barren grey and black landscape centered primarily around an intensely coloured red and orange river of molten metal. Eliasson’s recent New York City Waterfalls consists of four artist-constructed waterfalls, ranging from 90 to 120 feet tall, located within the waters of Lower Manhattan, Governs Island, and beneath the Brooklyn Bridge. In his monumental New York City Waterfalls, Eliasson has made an intervention into the landscape that effectively works to contaminate the established aesthetic upon which it is based. In his monumental photographs, in contrast, Burtynsky does the opposite; he aestheticizes the contaminated. Here I would add that both artists have carefully called upon the elemental in order to reference the idea of wilderness or a “pure” form of Nature. Reference to the elemental in Nature—to air, water, and fire— has allowed these artists to challenge the viewer’s perception and experience of the nonhuman world. These manufactured landscapes are undeniably owned by humanity, yet is this the type of landscape we are comfortable to claim as our own? / Thesis (Master, Art History) -- Queen's University, 2011-12-03 14:03:08.43

M.Tech. (Fine Art) / The development of contemporary artistic practice, often termed ‘new media’ art, has bought about new challenges in the re-interpretation of conservational data for the curatorial re-presentation of such artworks. These challenges are intensified in artworks of a non-traditional, transient, intangible and / or ephemeral nature. As such, new media works embrace dynamism and fluidity as part of their intangibility and ephemerality. The conservation of such works now requires consideration of the various elements that make up the work, particularly those where the medium predicates meaning. In this study I investigate the institutions and systems which intervene in this conservation of intangible and ephemeral art for future re-presentation and exhibition. I argue that, by compiling notational data (as a work’s ‘score’) of culturally significant ephemeral and intangible artworks the curator is required to refer to the gathered notational data as a reliable guideline for the re-presentation of a work’s ‘true nature’. This raises questions about which parts of an artwork form its true nature and which components are considered variable allowing them to be altered, replaced or migrated. Any re-presentation of the work is therefore dependent on a thorough investigation of the artwork’s essential elements in terms of the artist’s intent, as well as an in-depth contemplation of external / environmental influences. The dynamic (and thus true) nature of specific ephemeral and intangible art objects in the work of Olafur Eliasson, James Webb as well as my own upon, re-presentation, is the focus of this research study.

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