Manufacturing Instructions for Natural Occurrences

is what the Icelandic artist Olafur Eliasson calls his installations. Whoever takes his landscape photography to be a romantic tribute to Iceland, however, is seriously mistaken. It's not a question of nature here, but of cultural history.
An introduction by Oliver Koerner von Gustorf.




My works have nothing to do with the spiritual.

In an interview, Olafur Eliasson explains why the perception of the world has more to do with people than with nature, what he doesn't like about New Age, and why we fail to find redemption in the promises modernism once made.







Mountains of ice in the Musée d'Art Moderne de la Ville in Paris, a geyser in the courtyard of the Carnegie Museum of Art in Pittsburgh, a pond landscape in the Kunsthaus of the Austrian city of Bregenz: in the unusual installations Olafur Eliasson successfully presents worldwide, the artist employs means that are as elementary as they are fleeting: light, heat, damp, steam, and ice. The young Icelander also uses photography in his art. This year, Eliasson's work can be seen both on the art calendar of the Deutsche Bank and in an exhibition in New York: Fleeting Moments in the Lobby Gallery of the Deutsche Bank presents positions in contemporary landscape photography. But are Eliasson's photographs of untouched landscapes really romantic? Maria Morais and Oliver Koerner von Gustorf have visited Eliasson in his studio in Berlin and have formulated an introduction to his work.