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Olafur eliasson

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Studio Olafur Eliasson. Moon by Ai Weiwei & Olafur Eliasson. Exposition Olafur Eliasson Contact. Olafur Eliasson, Parallax planet, 2014 Olafur Eliasson, Dust particle, 2014 Olafur Eliasson, Bridge from the future, 2014 Olafur Eliasson, Big Bang Fountain, 2014 Olafur Eliasson, Contact, 2014 Olafur Eliasson, Map for unthought thoughts, 2014 Olafur Eliasson, Touch, 2014 Olafur Eliasson, Double infinity, 2014 (detail) Olafur Eliasson, Parallax planet, 2014 Olafur Eliasson, Dust particle, 2014 quote Le contact peut se trouver dans un bonjour, un sourire, le fait de sentir la main de quelqu’un d’autre dans la vôtre.Être en contact, c’est être lié aux choses positives de la vie comme avec les choses difficiles de la vie.Le contact n’est pas une image, ce n’est pas une représentation ; il s’agit de votre capacité à lier connaissance, à vous connecter à autrui et peut-être même vous mettre à la place de quelqu’un d’autre.Pour moi, le contact c’est la première étape vers l’inclusion.

Exposition Olafur Eliasson Contact

Olafur Eliassonquote. The Unilever Series: Olafur Eliasson: The Weather Project. Olafur Eliasson on tech in art and Berlin's "exceptional people" A “giddy joy” was described as the feeling evoked by the artwork of Olafur Eliasson when we interviewed him for last year’s Autumn edition of Printed Pages, and with his monumental, often participatory pieces, it’s not hard to see why.

Olafur Eliasson on tech in art and Berlin's "exceptional people"

From his incredible 2003 Weather Project at Tate Modern to its portable, socially-conscious, tiny counterpart Little Sun(which “produces clean, affordable, and portable solar-powered lamps to areas of the world without reliable access to electricity”), his work is a glorious, utterly original ray of light shining on the sometimes impenetrable art world. With Olafur just announced as one of the judges of the Wired and The Space’s Creative Fellowship awards, which selects three emerging digital artists to be given a share of £100,000 to realise their projects, he tells us about his studio, his love of Berlin, and how he reckons emerging artists can best embrace new technologies.

What was your practice like when you first started? What’s next for you?