Olafur Eliasson

  • Olafur Eliasson

    I LIKE TO DISTINGUISH between the museum as a reality producer and the museum as a reality container, with the museum of the future taking upon itself the responsibility of being, with its visitors and the artist, a coproducer—of models, of reality.

    Let me offer an example. In 2006, the management of the Hirshhorn Museum and Sculpture Garden in Washington, DC, diagnosed a crisis in the communication of its collections to the general public and, looking to an artist for inspiration and help, invited me to conduct what they termed an “infrastructural reassessment.” I was both surprised and enticed

  • IN CONVERSATION: DANIEL BUREN AND OLAFUR ELIASSON

    ON THE VERY SAME EVENING in late March—indeed, at the very same hour—artists Daniel Buren and Olafur Eliasson were onstage for different speaking engagements in New York. Uptown, Buren was at the Guggenheim Museum discussing his newly opened “Eye of the Storm,” a large-scale installation featuring a mirrored wedge slicing vertically through Frank Lloyd Wright’s celebrated rotunda. Eliasson, meanwhile, appeared downtown at the invitation of the Public Art Fund, lecturing on his work—from the modest pieces that first garnered attention on the international scene some ten years ago to his own recent