Studio Olafur Eliasson
Studio Olafur Eliasson is one of the top Art / Design influencer in Germany with 916722 audience and 0.16% engagement rate on Instagram. Check out the full profile and start to collaborate.
916.7k
Audience
0.16%
Engagement
Germany
Verified account 
Fast reach-out capability Niche categories
Art / Design
Portfolio
Standout projects making waves around the web
Opening next month on March 26, a new public artwork by artist Olafur Eliasson invites residents and visitors of Salt Lake City to gather after dark at Memory Grove. Titled 'A symphony of disappearing sounds for the Great Salt Lake', 2026, the installation brings together a musical composition and a vibrant light work that unfurls across the surface of a large elevated sphere. The musical composition features field recordings of local animals of the region— many increasingly threatened by the decline of the Great Salt Lake — making explicit the relationships that connect Salt Lake City to the lake and its surrounding environment. Commissioned for @wakegsl; supported by @slcartscouncil @slcmayor and @bloombergdotorg through the Public Art Challenge. 'It is an honour for me to have been selected to collaborate with Wake the Great Salt Lake. I'm impressed by the critical work that many in the local community are currently doing to secure the future of the lake. Art, I believe, can contribute by offering fresh ways to connect sensorially with the reality of an issue that we may have become numb to. Personally, I find great inspiration in considering how we humans fit into larger, more-than-human systems that comprise land, water, air, and other species. The artwork I envision for Salt Lake City aims to make tangible some of these often overlooked interconnections. I hope it can amplify the efforts that are already underway and bring people together around a positive vision of a future for the lake and its environment.' — Olafur Eliasson. Images: Behind the scenes at Studio Olafur Eliasson, testing 'A symphony of disappearing sounds for the Great Salt Lake', 2026 (photo: @horanyia | @studioolafureliasson)
2026-02-28
1780
1780
This small polyhedron is one of a series of sixteen related hanging sculptures, the product of decades of research undertaken at SOE. Three concentric polyhedrons, one nestled inside the other, project an elaborate array of geometric shapes, shadows, and colours onto the surrounding walls. The tinted-glass faces of the outermost polyhedron – an eight-sided solid known as a rhombic dodecahedron – are curved outwards to create a segmented sphere or bubble. Within this outer skin, the two interior forms, whose geometries are loosely correlated, turn slowly on a motor. In addition to colourful panes of handblown glass, the artwork incorporates a special material that reflects light of a single colour while allowing the remaining waves to pass through. LEDs integrated into the outer frame illuminate the core and are reflected back out by the inner forms. 'Firefly biosphere (twilighting)', 2022; currently on view as part of 'Tu inconmensurable expansión de llamaradas (Your immeasurable expanse of flares)' @GaleriaElviraGonzalez (photo: Magnus Sigurdsson).
2026-02-28
528
528
'The works on display at Elvira Gonzales contend with things that we cannot see or that we have sometimes found ways to ignore or unsee. These things – like gravity, heat, light, and wind – could be overlooked as background noise, but when they are considered in isolation, they hold significance.' - Olafur on 'Tu inconmensurable expansión de llamaradas (Your immeasurable expanse of flares)', opening today, @GaleriaElviraGonzalez, Madrid. Image: 'The winter solstice flare', 2025; on view as part of this solo exhibition at Galeria Elvira Gonzalez (photo: Jens Ziehe).
2026-02-28
1368
1368
In Olafur's ongoing investigation into light, colour, perception, and various optical phenomena, he explores the relationship between chance, matter, and sensory experience. The works presented in 'Tu inconmensurable expansión de llamaradas (Your immeasurable expanse of flares)' span different lines of inquiry, yet all share the common denominator of the experimental process that takes on a central role. Image: 'The centre of the self', 2025; currently on view as part of 'Tu inconmensurable expansión de llamaradas' @GaleriaElviraGonzalez (photo: Cuauhtli Gutiérrez).
2026-02-28
581
581
The process of experimentation in Studio Olafur Eliasson.
2026-02-28
985
985
As we look from one image to another in this series of nine photographs, we see a cloud forming: from nothing, a wisp of white appears, then becomes a beautiful, curved arc of cloud. The photographs draw our attention to an ethereal, swiftly passing phenomena which we otherwise might not notice. The passage of time and the life of our atmosphere is visible in the landscape. Olafur had seen this particular cloud form before, which led him to take these photographs. He says, ‘Often when passing a small bridge, I saw a small cloud sitting there, blown by the wind between valleys.’ He initially planned to photograph the tyre tracks in moss to the left of the image but changed his mind as the process unfolded: ‘I first saw the tracks when I was a child. It’s now several decades since, they are almost gone, so I decided to document them. As I was setting up my camera, I saw the very faint beginning of this cloud forming. Then I shifted the camera and started documenting the cloud instead of the tracks. But the tracks can still be seen in the photos. I have referred to them when talking about the Arctic in the age of the climate crisis. The tracks say something about the impact of human traces and how slowly … The duration between the first and last photograph in the series is about one hour, maybe only half an hour.’ - Olafur on 'The morning small cloud series', 2006; currently on view as part of ‘Olafur Eliasson: Presence’ @QAGOMA, until 12 July 2026 (video: SOE).
2026-02-28
637
637
Olafur investigates how bodily and sensuous experiences lead to insights. Throughout his artistic production, he has been concerned with how the physical world, nature’s fundamental elements, and basic phenomena such as light, darkness, and reflections can result in cognitive experience. In the installation 'Your watercolour machine', 2009, a floodlight projector directs its beams onto a prism, causing the light to be dispersed into separate colours which are then reflected in mirrors and the water surface of a pool and then, finally, projected onto a vertical screen, or canvas, where the field of colours meets us as a picture. A motor tilts the pool at regular intervals, disturbing the surface of the water, which in turn distorts the colours on the canvas, causing corresponding wavy movements. In Olafur’s work, the aesthetic experience arises as a response to a range of very concrete elements. The image on the classic, two-dimensional canvas arises out of basic physical phenomena, in the space occupied by the spectator. Olafur’s installations create situations in which such new relationships between the work of art and the spectator can emerge.
2026-02-28
2406
2406
'... For Turner, colour was never an autonomous phenomenon or an aesthetic end in itself; he used it to establish ephemeral effects, which allowed him to leave traditional depiction behind. This was highly radical. He was convinced that his paintings were of great relevance to the world, and I have for many years been inspired by the sense of confidence communicated through his work and the idea that the ephemeral could carry meaning into society. I find it interesting that Turner seemed to seek whatever truth there is in visual representation in careful observation of external phenomena and the way we perceive light and colour. There have been very few studies extracting this sense of the ephemeral from the objects of desire that his paintings have become, due to their great popularity. I was therefore eager to detach light and colour from their iconic status in his works in order to support what I see as his obsession with these atmospheric effects...' - Olafur on 'Olafur Eliasson: Turner colour experiments', 2014 @Tate Britain (Installation views: Tate Photography | Ana Escobar).
2026-02-28
1748
1748
'Beyond human time', 2020, was produced using pieces of ancient glacial ice that were fished from the sea off the coast of Greenland during production of the large-scale installation 'Ice Watch', 2014. For that work, realised by Olafur and the geologist Minik Rosing on three occasions from 2014 to 2018, the large chunks of Greenlandic ice were allowed to melt in public spaces around Europe to raise awareness of the effects of climate change and to encourage action. Olafur used small fragments from these blocks for the work presented here. The ice was placed on a sheet of thick paper atop thin washes of colour. As the ice gradually melted, the resulting water displaced the pigment, producing organic swells and fades of colour. Employing chance and natural processes, these watercolours are experiments that attempt to enlist the spontaneous behaviour of natural phenomena as active co-producers of the artwork. The artwork thus bears within it traces of time – the days it took to produce it and the millennia it took the glacier to form (photo: Jens Ziehe).
2026-02-28
1464
1464