All posts in Art

If I do something big, I must do something small. If I do something in black and white, the next thing must be in color

Ugo Rondinone (Artist)

I have never thought about it but it’s nice to hear that and to think about it now. Let’s say that’s something I did unconsciously and you found it! For me, the importance of the birds is the perspective of the viewer. You have the impression of looking down at something small.

Ugo Rondinone (Artist)

I do believe in the spirituality of art. ne. ‘You don’t have to understand art, but you have to feel it.

Ugo Rondinone (Artist)

From the beginning there was a dual system in place. I became an artist because I felt that you have a certain freedom to build up your world, and, from the beginning, when I showed the target or the landscape, every connotation to the social world was blended out, to isolate you, to give you freedom of contemplation. In that sense, it is a spiritual device.

Ugo Rondinone (Artist)

What interests me most in art is its inherent slowness. I associate slowness with the possibility of being able to be. When things are going slowly, the scale of measurement and values itself begins to dissolve.

Ugo Rondinone (Artist)

I first wanted to become an art teacher, but instead I became an assistant for an artist at the age of nineteen. The artist’s name was Hermann Nitsch. I am from Brunnen, Switzerland so I moved to Vienna and assisted Hermann Nitsch for the whole year, and then I went to study at the art academy in Vienna. In Switzerland in the ‘80s there were no art schools and I had to go off-road to become an artist. So, I knew that I wanted to become an artist when I was eighteen, not when I was a child.

Ugo Rondinone (Artist)

The result - is just a top of the iceberg and the rest is a constant monologue you have with yourself

Ugo Rondinone (Artist)

My father was an artist as well as a cook on a fishing boat, so I grew up with his artworks and lots of art books. funnily enough, my first physical introduction to the kind of thinking that goes into art making actually came through breakdancing. I started dancing in my early teens, and I became very obsessed with the awareness that dancing gives you of your body and space.

Olafur Eliasson (Artist)

I feel like an onion: there are layers and layers but at the core, nothing.

Olafur Eliasson (Artist)

In a museum, the framework is clearly present. museums offer structures and communications that affect how viewers experience art.

Olafur Eliasson (Artist)

Unlike a painter, who I deem lucky and safe, who can always look at a painting and say: ‘No, I’m not going to take that into the show’, I’ve always had to live with risk. When I did the Turbine Hall, I saw it at the opening along with everyone else. I couldn’t test it in the studio. That is how it is for me.

Olafur Eliasson (Artist)

There is an ethical aspect to this insofar as I could step back and ask myself, Why am I so interested in the introspective ideas of experience and in the notion that our evaluation of a situation is a crucial part of the production of the actual situation?

Olafur Eliasson (Artist)

The problem with putting the model of the person seeing at the center is that it often results in normative ideas of spatiality and personhood. I would like to have the model of the subjective and singular experience at the center, but I would also like it to function non-normatively, which I suppose is a paradox.

Olafur Eliasson (Artist)

Well I do think we should strengthen the relationships between the humanitarian sector and the cultural sector, I have always said that the UN should have cultural peacekeeping forces to send out instead of peacekeeping soldiers. Culture is a much more democratising power.

Olafur Eliasson (Artist)

I have 12 or 14 architects working for me, so I work with architects regardless.

Olafur Eliasson (Artist)

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