{"id":767,"date":"2018-09-26T16:50:38","date_gmt":"2018-09-26T16:50:38","guid":{"rendered":"https:\/\/antonyhallphd.wordpress.com\/?p=767"},"modified":"2018-09-26T16:50:38","modified_gmt":"2018-09-26T16:50:38","slug":"carsten-holler-olafur-eliasson","status":"publish","type":"post","link":"https:\/\/antonyhall.net\/blog\/carsten-holler-olafur-eliasson\/","title":{"rendered":"Carsten Holler \/ Olafur Eliasson"},"content":{"rendered":"

Carsten Holler is a key example within this study, often re- appropriating science for the purposes of art. Staging \u2018Quasi-scientific\u2019 experiments (Windsor, 2018) which transform the gallery into a laboratory. Often disorientating the viewer, or more appropriately, the participant. As well as the large-scale installations smaller performative works such as \u2018Kit for Exploration of the Self\u2019 (Carsten. Holler, 1995) take the form of durational perception changing instruments such as \u2018Upside Down Glasses\u2019 (Carsten Holler, 1994-2018). These both directly re-appropriate methods from experimental psychology (Stratton, 1896). Many of the works require the participant to travel through them or offer the opportunity to make decisions of which there are no return or unknown outcomes, further reinforcing this active notion of experience as experiment.<\/p>\n

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Carsten Holler Flugmaschine (Flying Machine), 1996 Steel, electric motor, cable. From\u00a0https:\/\/gagosian.com\/artists\/carsten-holler\/<\/a><\/figcaption><\/figure>\n

When asked if his work bridges art and science, he claimed that he only uses the experimental form rather than simply introducing an experiment to the gallery; \u201cIn art the experiment is more of an experiment with oneself, without tangible results\u2014there\u2019s no objective observer collecting data and drawing conclusions\u201d\u00a0(Birnbaum, 2017). Hollers work is a good example of \u2018Somaesthetic\u2019 art[1]<\/a>. Additionally, his notion of the experiment as performance provides another reference for the Action Lab methodology. This research differs in that it imposes an additional layer to the experience, offering a space in which to reflect on the experiences from which data is captured, and from which work is generated. As well as offering an accessible toolkit for practical use.<\/p>\n

Olafur Eliasson creates immersive environments, large-scale architectural interventions which employ the use of elemental materials and perceptual phenomena. The experience of the work, and movement through its space are crucial. The use of immaterial phenomena, such as light, force the \u2018participant\u2019 to become aware of their own inner perceptions. Works using mirrored materials for example, which allow you to \u2018see yourself sensing\u2019 (Olafur, 2001). This focus on the inner experiences of the \u2019viewer\u2019 is an idea further reinforced through the titles of the work, such as \u2018Your Black Horizon\u2019(Olafur, 2005). Eliasson believes that he is sharing the work with \u2018you\u2019. The work is the experience. He writes that at the moment of sharing the work, the viewer takes ownership \u201c\u2026it takes shape in your presence. Just like a building, an artwork is, essentially, a relationship. It is reality-producing.\u201d (Eliasson, 2016) Could these mechanisms or \u2018experience machines\u2019 (Eliasson<\/em>, 2015) be repurposed as experiential tools which enhance our daily lives beyond the scope of the gallery? Action Lab adopts and adapts this kind of use of space, in which the viewer can exercise their own subjective perceptual experience. It differs from this work employing the use of discrete mechanisms to alter perception, temporarily modifying the way we interact with our environment.<\/p>\n

[1]<\/a> Holler was directly inspired by Shusterman\u2019s early text \u2018Pragmatic Aesthetics\u2019 1992<\/p>\n

Bukdahl, E. M. (2015) Embodied Creation and Perception in Olafur<\/p>\n

Eliasson\u2019s and Carsten Ho\u0308ller\u2019s Projects. Vol. 1. The Journal of Somaesthetics No. 1, 2015: The Journal of Somaesthetics No. 1, 2015.<\/p>\n

Eliasson, O.<\/em> (2015) The Experience Machine.<\/p>\n

Eliasson, O. (2016) Olafur Eliasson: Nothingness is not nothing at<\/p>\n

all\u00a0Shanghai<\/p>\n

Holler, C. (1994-2018) Upside Down Glasses.<\/p>\n

Holler, C. (1995) Kit for exploration of the self\u00a0 \u00a0<\/em><\/p>\n

Windsor, M. (2018) ‘Art of Interaction: A Theoretical Examination of Carsten H\u00f6ller\u2019s Test Site.’ https:\/\/www.tate.org.uk\/research\/publications\/tate-papers\/15\/art-of-interaction-a-theoretical-examination-of-carsten-holler-test-site<\/a><\/em>. Tate Papers no.15<\/em>, [Online] 15. [Accessed\u00a0 https:\/\/www.tate.org.uk\/research\/publications\/tate-papers\/15\/art-of-interaction-a-theoretical-examination-of-carsten-holler-test-site<\/a><\/p>\n

Stratton, G. M. (1896) SOME PRELIMINARY EXPERIMENTS ON VISION WITHOUT<\/p>\n

INVERSION OF THE RETINAL IMAGE. The University of California.<\/p>\n","protected":false},"excerpt":{"rendered":"

Carsten Holler is a key example within this study, often re- appropriating science for the purposes of art. Staging \u2018Quasi-scientific\u2019 experiments (Windsor, 2018) which transform the gallery into a laboratory. Often disorientating the viewer, or more appropriately, the participant. As well as the large-scale installations smaller performative works such as \u2018Kit for Exploration of the…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[240],"tags":[6,36,47,49,61,114,71,20,75],"_links":{"self":[{"href":"https:\/\/antonyhall.net\/blog\/wp-json\/wp\/v2\/posts\/767"}],"collection":[{"href":"https:\/\/antonyhall.net\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/antonyhall.net\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/antonyhall.net\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/antonyhall.net\/blog\/wp-json\/wp\/v2\/comments?post=767"}],"version-history":[{"count":1,"href":"https:\/\/antonyhall.net\/blog\/wp-json\/wp\/v2\/posts\/767\/revisions"}],"predecessor-version":[{"id":932,"href":"https:\/\/antonyhall.net\/blog\/wp-json\/wp\/v2\/posts\/767\/revisions\/932"}],"wp:attachment":[{"href":"https:\/\/antonyhall.net\/blog\/wp-json\/wp\/v2\/media?parent=767"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/antonyhall.net\/blog\/wp-json\/wp\/v2\/categories?post=767"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/antonyhall.net\/blog\/wp-json\/wp\/v2\/tags?post=767"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}