As a seasoned gamer who has dabbled in art games like “Proteus” and “Everything,” I find myself captivated by Olafur Eliasson‘s immersive exhibit, OPEN. His mastery of light and space resonates deeply with me, as it echoes the immersive environments that are a staple in gaming. The way he uses simple technology to create complex, interactive experiences is truly inspiring.
As a gamer, I can’t help but feel a strong bond with the art of Olafur Eliasson, a Danish-Icelandic artist extraordinaire who masterfully works with light itself. It’s no surprise that this luminary finds such resonance in Los Angeles, a city known for its radiant skies and balanced sunlight – elements that not only fueled the city’s growth but also attracted sun-loving enthusiasts from all corners of the globe.
Eliasson expresses great enthusiasm for this specific show as he’s had a deep connection with Los Angeles, sharing his thoughts about OPEN, his stunning, interactive new exhibition at The Geffen Contemporary at MOCA, which is part of PST ART: Art & Science Collide. This event encompasses 80 arts institutions across Southern California and will be on display until July 2025.
Eliasson, who has exhibited extensively in Los Angeles throughout his career, was attracted to the comprehensive approach of the West Coast’s art scene from the beginning. He cites mid-century artists like Robert Irwin, Larry Bell, and James Turrell as significant influences. “I found a sense of belonging in this artistic lineage and art history,” he said. “Klaus Biesenbach extended an invitation to me here, before Philippe Vergne, who was the director prior to Klaus.
Describing Eliasson as a light and space artist merely touches upon the basics of his work. His latest exhibition creatively explores themes common in this genre, but innovatively uses mirrors and lenses to elevate his body of work beyond the realm of James Turrell’s skylights, the glass cubes manipulated by James Bell, or Olafur Eliasson’s own site-specific installations.
The exhibit titled OPEN, located between the city’s Japantown and arts district, is housed in a spacious area reminiscent of a warehouse. This exhibition showcases approximately two dozen pieces, many of which are being displayed for the first time. Upon entering, visitors find themselves beneath towering kaleidoscopes, their necks instinctively craned upwards as they bask in the vibrant, patchy illumination overhead. Each artwork, while intricate, is driven by simple mechanisms such as lenses, mirrors, and light sources.
To fully appreciate the artist’s vision, OPEN invites its viewers to actively participate by pondering over a series of thought-provoking queries:
- Am I open to my vulnerability?
- Am I open to slowness?
- Am I open to engaging fully with my senses?
- Am I open to asking why instead of how?
- Am I open to wonder?
- Am I open to sharing?
Eliasson wonders if he is open to adaptability, if he can avoid being defensive, and in doing so, he becomes more inclined towards optimism and positivity. This isn’t about transforming the entire world through optimism, but rather it’s a confidence that stems from recognizing one’s own vulnerability. Recognizing my vulnerability encourages me to make welcoming decisions – decisions that acknowledge my own mortality and the fragility of my surroundings. In essence, it means acknowledging that I am an integral part of the ecosystem.
From a young age, Eliasson’s artistic sensibilities were molded by the vast, treeless landscapes of Iceland, dotted with mountains and waterfalls. This influence is evident in his public artworks such as “The New York City Waterfalls” (2008) and “Ice Watch” (2015). The former featured four artificial waterfalls, varying in height from 90 to 120 feet, while the latter involved transporting icebergs from Greenland to Parisian streets. A common motif in his art is the preservation of the environment.
He clarifies that the world is rapidly deteriorating, causing deep concern, and there’s a necessity for us to rethink our perspective on this reality. “The production embodies this concept,” he says, emphasizing its light-hearted approach. “You may find it quite unexpected. It’s also about the courage to envision. Are we open to dreaming or do we become so confined by our own notion of success that we neglect our dreams?
His aspiration lies in the possibility that [OPEN], with its guiding principles, could serve as a blueprint for healing in a country he deeply cherishes, which currently appears to be more fractured than united.
This nation is approaching an election, and while this divisiveness may be beneficial for media sales, I’m unsure that failing to engage in meaningful dialogue is advantageous to anyone. I cherish my connection with this country deeply, and the current narrow-mindedness concerning the situation makes me hesitant to discuss it, as my program welcomes everyone. If we can begin our day by extending a hand to those with differing opinions, then we’ve already had a more productive day.
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2024-09-30 21:55