Olafur Eliasson
Nothingness is not nothing at all

Todd Meyers
Long Museum, Shanghai March 20 — June 19, 2016
87_CR11_Meyers_Eliasson_Meteoroogical circles
Olafur Eliasson Meteorological circles, installation view, Long Museum, Shanghai, 2016.
Photo : Anders Sune Berg, © Olafur Eliasson, courtesy of the artist; Vitamin Creative Space, Guangzhou; neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York
Long Museum, Shanghai March 20 — June 19, 2016

There is something alluring about the work of Olafur Eliasson. His excursions into the structure and physics of human perception play off of our desire to distort assumptions about the material world. Eliasson is comfortable creating work at the Kantian border of beauty and the sublime. Using the formlessness of light and color, he creates objects that are not so much freed of form but reflect a visual effort to erase their trace. His work is often seen as a blend of asceticism and scientism — exactitude, distance, and experimentation, never quite shaking its ever too obvious mathematical (Field Theory in action) features. But after a while, symmetry loses its appeal.

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This article also appears in the issue 87 – The Living - The Living

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