Olafur Eliason

Borrowed Views

18 september 2022 — 30 July 2023

From September 18, 2022, a first exceptional exhibition will be dedicated to Olafur Eliasson at the Tinaia Al Bosco, with the complicity of Laurence Dreyfus.

Twenty of the artist's works, including twelve exclusively in glass, will compose a poetic and original reflection on the great natural phenomena. These works, acquired over the years, of a rare subtlety, combine technical genius and a profound invitation to contemplation. This collection of works, unique in private hands, will be shown to the public for the first time from September 18, 2022 to July 30, 2023. Caroline and Eric Freymond thus continue their active and faithful support of Olafur Eliasson, to whom they had notably dedicated an exhibition Espace Muraille in Geneva in 2019, curated by Laurence Dreyfus.

At the same time, the Palazzo Strozzi in Florence is devoting a major exhibition to the Danish-Icelandic artist, from September 22, 2022 to January 23, 2023.



The Borrowed Views series is an invitation to a sensory walk. Each work reflects a light, an impression and a feeling linked to a specific place on our earth or to a natural phenomenon on our planet. From the light perceived in Bhutan, "Bhutan Borrowed View" to the aquatic abyss "Deep Ocean Void (pensive)", these superimposed glass plates are poetic witnesses of the different natural lights perceived by the artist through his perigrinations and observations of the surrounding phenomena.

Like an old-fashioned watercolourist on the spot, adding colour to his landscape sketches to preserve a trace of the perceived light, Olafur Eliasson tints his glass plates as a memory and trace of an experienced luminous moment.

The superimposed glass plates create a great depth of field: the eye is immediately caught by this new kind of perspective. This illusion stimulates a subtle destabilization of the perception of space, an illusion that is also given by the repetitive use of the ellipse in the glass.

As we approach the works on display, we observe the porosity and preciousness of each of these worked glass plates, which bear witness to the artist's gesture and not to a manufactured act. The fragility of these glass plates, resting serenely on reassuring wooden logs, metaphorically illustrates the lightness of human existence in the face of the infallibility of the natural element.

The choice of exhibiting several works from this series is intended to highlight and make the viewers of Palazzo Al Bosco attentive and sensitive to the dual genius of this formidable artist-researcher, who was both a poet and a scientist.a


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