Studio Olafur Eliasson
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Opening end of the month, on 29 November 2025, 'Olafur Eliasson: Your curious journey' @MuseumMACAN, Jakarta, reflects on Olafur's three-decade-long career, showcasing artworks that span installation, painting, sculpture, and photography. 'Your curious journey' is an artistic exploration that transcends borders and engages the senses. This travelling exhibition, launched in 2024, has already received enthusiastic feedback at the Singapore Art Museum, Auckland Art Gallery Toi o Tāmaki in New Zealand, and the Taipei Fine Arts Museum, before arriving at Museum MACAN, Jakarta. It will conclude at the Museum of Contemporary Art and Design, Manila, further deepening the connections and conversations among audiences, museums, and the world through contemporary art. Image: 'Complementary colour chart', 2009; previously installed at PKM Trinity, Seoul, 2009.
2025-11-19
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3029
‘The role of culture is explaining to us, the world, where we need to get to… We need a cultural excitement of another world of relationships of well-being, of equality, of a better hope.’ – Mary Robinson As an advocate for the hungry and the hunted, the forgotten and the ignored, Mary Robinson, chair of @theelders_org, joined us at the studio a few years ago to discuss the motivation behind her passionate campaign for climate justice when she launched her book, ‘Climate Change: Hope, Resilience, and the Fight for a Sustainable Future’ (2018). This is an excerpt of 'Studio Visits: Mary Robinson – Climate justice is a very people-centred approach to climate change.' Robinson served as the first female president of Ireland as well as United Nations High Commissioner for Human Rights, and she now fights to raise the voices of those most vulnerable to the consequences of climate change, particularly women in the Global South. #COP30
2025-11-19
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A weathered piece of driftwood, harvested from the Icelandic coast, hangs from the ceiling. One end of the log has been planed down to a sharp angle, and the exposed wood painted with a design based on the figure of a compass rose, a star shape that is typically found on maps and nautical charts to indicate the cardinal directions. The other end has been planed along the perpendicular axis to create a point. A magnetic rod suspended from the driftwood orients the log along the north–south axis, transforming the artwork into a functioning compass. Eliasson’s interest in compasses springs from the way that the instrument, by allowing us to situate ourselves in relation to a map or a grid, enables us to see ourselves within a larger context. The particular visual sensation of the compass is something we all share. The instruments orient us not only geographically and topographically, but also socially, connecting us to one another by way of a common point of orientation. ‘Climate justice navigator’, 2018 (photo: Jens Ziehe).
2025-11-19
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This is one of a series of watercolours produced using chunks of ancient glacial ice that were fished from the sea off the coast of Greenland. The ice was placed atop thin washes of colour on a sheet of thick paper. As the ice gradually melted, the resulting water displaced the pigment, producing organic swells and fades of colour. ‘Glacial landscape no. 5’, 2018 (photo: Jens Ziehe).
2025-11-19
1936
1936
We would like to thank the curatorial team of Festival of Future Nows 2025 – Christina Werner, former co-director of Institut für Raumexperimente; Sophie Uebach, Institut für Raumexperimente; Lisa Botti, curator at Neue Nationalgalerie; and Ricarda Bergmann and Nikola Richolt, Neue Nationalgalerie – for their vision and thoughtful guidance in shaping the third edition of this festival. Returning to its original home at the Neue Nationalgalerie, the Festival continues to evolve from the pioneering spirit of the Institut für Raumexperimente, an experimental education and research project led by Olafur Eliasson and Christina Werner, who has been foundational in the festivals’ creation. Photo: Ágoston Horányi
2025-11-19
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554
Olafur began building drawing machines in the late nineteen-nineties together with his father, Elias Hjörleifsson, who was an artist as well as a cook on a fishing boat. Olafur’s drawing machines enlist elements of chance to make marks in ink, paint, or coloured pencil on circular sheets of paper or canvas. For this drawing machine, a circular sheet of paper, mounted to a round table, revolves slowly. A stylus held above the paper by two levers is also in constant, yet slow, motion as it marks the paper. Meteorological data are used to control the speeds of the four motors that drive the machine, causing the movements of the levers and the traces that are left on the page to reflect the intermittences of the weather. The density of the marks is determined by the amount of solar radiation detected at the time of drawing. The pattern appears thicker when it is sunny and thinner when there is cloud cover. The frequency of the wavelengths reflects the difference between the current temperature and that of the same calendar day fifty years ago. The drawings are individual registrations of a particular moment in time. A different drawing is produced each day and hung on the surrounding walls, so that the display changes over the course of the exhibition. While the resulting compositions look as though they could potentially be deciphered, the data are used not to convey information for scientific purposes but rather as unpredictable, more-than-human collaborators. 'Weather-drawing observatory for the future’, 2024; Previously part of the exhibition ‘Olafur Eliasson: OPEN' at The Geffen Contemporary @MOCA, Los Angeles.
2025-11-19
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844
Colourful panes of hand-blown glass rest upon a driftwood shelf. The sheets overlap to create a variety of hues, while circular and elliptical cutouts allow surprising tones to shine through the layers. Among the layers are a circle and two ellipses drawn in a reflective silver coating. Because of the handmade quality of the glass, water-like ripples distort the reflections in the mirror surfaces. Olafur salvaged the logs of driftwood used for the shelf from the coast of northern Iceland, where the wood washes up from as far away as Siberia. Driftwood was long an important source of lumber on the sparsely forested island. Here, the driftwood has been planed into a shelf on one side and left raw on the other, revealing the traces of its long journey across the Arctic. 'Scenery from a lost fairy tale’, 2025, is an extension of Olafur’s abiding interest in colour, transparency, and layering – topics he initially began addressing in watercolour paintings, to which the glass works are closely related. Both groups of works use compositions of circles and ellipses to create a sense of movement and depth or of space and time (photo: Jens Ziehe).
2025-11-19
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As crucial talks take place at COP 30 in Belém, Brazil, we reflect on a conversation between Olafur and Katherine Richardson, professor of biological oceanography at the University of Copenhagen, on 'Systemic Change and Social Tipping Points. In November 2019, the two sat down to discuss the Sustainable Development Goals, planetary boundaries, and Olafur's photographs of melting glaciers - ‘The glacier melt series 1999/2019’. When it comes to the climate crisis, ‘we have our backs against the wall, and a knife to our throats’, says Richardson, and there is much to be hopeful for – in systemic change and social tipping points. Watch the full conversation on SOE.tv via our Linkin.bio #COP30
2025-11-19
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1224
‘Parabolic planet,’ 2010, is an illuminated volcanic rock hung in front of a concave mirror that turns slowly on its axis. Because of the shape of the mirror, the reflection of the rock is enlarged and distorted as it turns. The artwork presents a collection of experimental set-ups that embody recurring elements and themes in Olafur’s practice: convex mirrors distort, magnify, and invert the world before them, extra-terrestrial visitors in the form of meteorites; volcanic stones from the Icelandic wilderness; magnets that counteract gravity.
2025-11-19
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1304
