Olafur Eliasson: the ecological transgression





The Scandinavian artist is the protagonist of the exhibition that celebrates the three decades of history of the Portuguese Museum reflecting on the future of the planet in an environmentalist way

The artist Olafur Eliasson.

On the outskirts of the urban center of Porto, where the Duero is no longer in a hurry to reach the Atlantic, the 18 hectares of the Serralves Park open. This green refuge, which was conceived at the end of the last century as a brave reserve in front of the Iberian ball, keeps inside one of the most popular contemporary art museums in the entire old continent. Surrounded by residential luxury homes and high-end cars that contrast with the ramshackle of the mobile park and closer to the tourist mass, the Portuguese garden is the new home of the artistic production of Olafur Eliasson (Copenhagen, 1969).

The artist, of Father Dans and Icelandic mother but whose Nordic vein seems a vague memory understanding his nervous bro when speaking, has chosen Serralves to deploy your Your / Our future is now, an exhibition sponsored by Caixa Forum. Well given to the ecological moral, now s, of Scandinavian hue, Eliasson proposes a series of immersive installations that aim to "awaken the visceral" in the visitor.

The description of the curator of the exhibition, Philippe Vergne, becomes explicit in the place thanks to a dozen installations that are distributed throughout the park reflecting on the future of the planet, that of the arts as a science and even its direct relationship to With the math. The most impressive of the works, and the central image of the exhibition, is welcomed by the reception of the Serralves Museum: Yellow Forest it is understood with the naked eye as a halo of lumnic contrast between the natural of the trees and the artificial of the plastic from which they arise, but hides in his interpretation a reverence to the imposing nature in an exercise that the author defends as "the right moment in which ethics is mixed with aesthetics."

Beyond questions of form, Eliasson's impossible lines have much of the philosophy that only an art teacher could print, but they also breathe an unstoppable and unstoppable science: "These giant logs symbolize our journey as a species, but also our cyclical neglect ", details the author of Arctic Tree Horizon, before being completed by its curator: "The work, which consists of the random arrangement of large timbers, has been completed from the trip of these logs, which begins with its cutting in the forests that overlook the North Sea and which, thanks to the sea currents, go around the globe and can end up near the Gulf of Mexico, "he clarifies, inviting visitors to touch the facility to" be part of it. "

As the coincidences do not exist, the exhibition that stars Eliasson coincides in time, space and even way of conceiving art with the living anthology that consecrates the park to the filmmaker Manoel de Oliveira. At the end of the tour, when the eternity of the park looms over the ignavo visitor, the museum house dedicated to the director of The Canbales or Journey to the beginning of the world reproduce fragments of his works and a loop interview: "The human is not able to create. He is able to try to copy what his experience dictates. Artists can only play art as if we play tennis, but at a disadvantage. We can not take out, just return the balls that throws us our own experience. "

Eliasson, aware of stepping on the native port of Oliveira, picks up the glove: "You always have to try to shape things from what one feels, not from what has happened objectively. I like to think of my art as a letter to the future myself, in 30 years, and I would be much more interested in knowing what it felt like, because that is much easier to verify, "says the head of the exhibition that celebrates the 30 years of Serralves and to be open to the public until June 14, 2020.

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. (tagsToTranslate) culture (t) art (t) Sculpture (t) Exhibitions (t) Portugal


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