Interior Environments

  • Publish On 18 November 2017
  • Olafur Eliasson

To question our notions of nature and culture, artist Olafur Eliasson recreates artificial environments within enclosed spaces. He thus shakes up the mysteries of the origins and temporality, and blurs the boundaries of reality in such a way that leaves viewers wondering whether mist, earth, rocks, and water are involved as sculptural elements or as agents and co-authors of the artworks themselves.

Published for the first time on our site, this portfolio was proposed by Oliafur Eliasson in Stream 04  The Paradowes of the Living.

He raises here a crucial question: the artistic manipulation of the living cannot be done without considering of the living.

 

 

Mediated Motion

Designed in collaboration with the landscaper Günther Vogt, Mediated Motion dialogues with the architecture of Pether Zumthor through sequences of interior landscapes that have been reconstituted on the four floors of the museum, disturbing the geometrical and formal rigor of the building.

The spectator is plunged into a journey that transforms the museum into a “vision machine” and challenges one’s senses and thinking through a variety of atmospheres and sensorial experiences; the vital odors, colors, and textures are constantly evolving, calling upon perceptive memory and our perception of the real and the artificial.

Your disapearing garden

Your disappearing garden involves notions of time, landscape, and movement through the piles of obsidian rocks in the space of a room, recreating a section of the volcanic landscape, that of the obsidian fields of the high plateaus of Iceland that are so familiar to the artist. The perception of space is affected by the spectator’s involvement, their movements participate in the reflections that move across the dark and brilliant black of the volcanic rock. These complex visual stimuli, associated with the telluric visual force of the artwork, blur the boundaries between reality and representation, exploring the contradiction between knowledge of, and experience of, the visible.

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Our dense, mineral-rich capital is ill-suited to the extreme heat we’ll increasingly have to cope with. So what adaptation strategies can we implement? This is what we asked to Alexandre Florentin, Paris councillor responsible for resilience and climate issues. He chaired the “Paris at 50 degrees” mission, which delivered its report a few months ago: what fields of action for architects and urban designers?

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AI is a new form of intelligence whose development is stirring up concerns and dystopian fables. Far from replacing human intelligence, AIs are emerging as new tools to be trained, controlled and shaped to achieve the desired result. For the artist, photographer, architect, film-maker, musician or illustrator, AIs become an agent with which to collaborate, resulting in co-creation. Inaugural lecture of the “AI and Creation” series at the Stream Innovation Center.

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The art of artificial life

Justine Emard is a visual artist. Her installations use AI to understand the living, exploring the boundaries between organic life and artificial intelligence. Bee swarms, encephalographic recordings and prehistoric paintings become learning supports for algorithms that, contrary to dystopian imaginations, generate new supra-hyper-organisms.

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“ Bringing the artist back at the heart of the city. ”

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“ Bringing the artist back at the heart of the city. ”


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Claudia Ferrazzi, former government advisor on culture and audiovisual affairs, aims to put the artist back at the heart of the city by bringing together disciplines and industries. Founder of VIARTE, she uses art to support the implementation of new management methods. By adopting a narrative rather than a medium-based approach, she seeks to build bridges between the corporate world and artistic practice.

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Which architecture for the ephemeral?

Eric Mangion has been director since 2006, after managing the Frac Provence-Alpes-Côte d’Azur from 1993 to 2005. His research has long been focused on the artistic gesture of disappearance – in all its forms, from the alteration of the work to the disappearance of the artist. At the Villa Arson, he develops a program around ephemeral practices.  He develops here the link between his research topics – the disappearance, the ephemeral, in the art and more generally, in the culture – and the evolution of the architecture.

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Nose to nose with the world

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