materials are elemental and ephemeral: light, heat, moisture, steam, and
ice are manipulated by the artist towards aesthetic ends and in response
to a specific site. His work navigates a space between nature and
technology, the organic and the industrial. Your natural denudation
inverted uses steam, which is a natural phenomenon in his ancestral
homeland of Iceland but is here piped from the museumís heating system
to imitate a natural geyser. The components of Elaissonís piece, which
include steel scaffolding, industrially produced steam, and a constructed
container of water, create an experience that is at once physical,
sensory, and emotional.
Olafur Eliasson, Your natural denudation inverted, 1999, scaffold, wood, rubber, water, steam, 8 x 48 x 83 ft. (installation view)
Olafur Eliasson responds to questions in the Artists of the Week section of this site.
Olafur Eliasson’s installations have been presented in many international exhibitions since 1989, including Manifesta 1, Rotterdam (1996); Trade Routes: History and Geography. 2nd Johannesburg Biennale and 5th International Istanbul Biennial (1997); Sydney Biennial and XXIV Bienal de São Paulo (1998); and 48th Venice Biennale (1999). His photographs were shown in Sightings: New Photographic Art, Institute of Contemporary Art, London, and New Photography 14, Museum of Modern Art, New York (1998). Solo exhibitions of his work were presented at neugerreimschneider, Berlin (1995); Kunstmuseet, Malmö (1996); Kunsthalle Basel (1997); Kjarvalstadir Museum, Reykjavik, Galerie für Zeitgenössiche Kunst, Leipzig, and Bonakdar Jancou Gallery, New York (1998); and De Appel Foundation, Amsterdam, and Irish Museum of Modern Art, Dublin (1999).
Haye, Christian. “The Iceman Cometh.” Frieze, no. 40 (May 1998): 62-65.
Birnbaum, Daniel. “Openings: Olafur Eliasson.” Artforum 36, no. 8 (April 1998): 106-107.
Kunsthalle Basel, Switzerland. Olafur Eliasson (1997). Exhibition catalogue, texts by Jonathan Crary and Madeleine Schuppli.
Bonami, Francesco. “Psychological Atmospheres.” Siksi 12, no. 3 (fall 1997): 49-55.