Olafur Eliasson

Amid a carnival atmosphere, Eliasson elicits an emotional reaction to the urgent issues of the day

By Figgy Guyver
Lunch served at the Tate Terrace Bar, 2019. Courtesy: Studio Olafur Eliasson and Tate Eats; photograph: Alcuin Stevenson / Studio Olafur Eliasson

The Danish-Icelandic artist has created an environmentally-conscious menu for Tate Modern’s Terrace Bar

By Figgy Guyver

Affect theory is a carefully constructed blind spot, writes Susanne von Falkenhausen, blind to its own ideologies

By Susanne von Falkenhausen

In further news: calls to close tax loopholes for art-filled ‘freeports’; Elmgreen & Dragset memorial to gay Holocaust victims vandalized

By Frieze News Desk

Criticisms of impact are missing the project’s power to change behaviour, argues collaborator and geologist Minik Rosing

By Hettie Judah

The artist’s installation ‘Ice Watch’ places giant melting blocks outside the Tate Modern and Bloomberg headquarters

Five of the best recent artist projects that show alternatives to unsustainable practices

By Ellen Mara De Wachter

In further news: study finds US film critics overwhelmingly white and male; woman sues father over Basquiat

The Icelandic-Danish artist’s creation in Vejle, Denmark, responds to the tides and surface of the water: both artwork and architecture

Olafur Eliasson, Rainbow Assembly, 2016, Leeum, Samsung Museum of Art, Seoul, 2016. Photo: Hyunsoo Kim

Beijing

25 Mar
12 Aug
Olafur Eliasson, ‘Room for One Colour’, 1997, installation view at Moderna Museet, Stockholm, 2015. Courtesy: the artist, Tanya Bonakdar Gallery, New York, neugerrimschneider, Berlin; photo: Anders Sune Berg

London

30 Oct
28 Feb