825b

free-parking: Olafur Eliasson, The Weather Project In this installation, The Weather Project, representations of the sun and sky dominate the expanse of the Turbine Hall. A fine mist permeates the space, as if creeping in from the environment outside. Throughout the day, the mist accumulates into faint, cloud-like formations, before dissipating across the space. A glance overhead, to see where the mist might escape, reveals that the ceiling of the Turbine Hall has disappeared, replaced by a reflection of the space below. At the far end of the hall is a giant semi-circular form made up of hundreds of mono-frequency lamps. The arc repeated in the mirror overhead produces a sphere of dazzling radiance linking the real space with the reflection. Generally used in street lighting, mono-frequency lamps emit light at such a narrow frequency that colours other than yellow and black are invisible, thus transforming the visual field around the sun into a vast duotone landscape. (via) free-parking: Olafur Eliasson, The Weather Project In this installation, The Weather Project, representations of the sun and sky dominate the expanse of the Turbine Hall. A fine mist permeates the space, as if creeping in from the environment outside. Throughout the day, the mist accumulates into faint, cloud-like formations, before dissipating across the space. A glance overhead, to see where the mist might escape, reveals that the ceiling of the Turbine Hall has disappeared, replaced by a reflection of the space below. At the far end of the hall is a giant semi-circular form made up of hundreds of mono-frequency lamps. The arc repeated in the mirror overhead produces a sphere of dazzling radiance linking the real space with the reflection. Generally used in street lighting, mono-frequency lamps emit light at such a narrow frequency that colours other than yellow and black are invisible, thus transforming the visual field around the sun into a vast duotone landscape. (via) free-parking: Olafur Eliasson, The Weather Project In this installation, The Weather Project, representations of the sun and sky dominate the expanse of the Turbine Hall. A fine mist permeates the space, as if creeping in from the environment outside. Throughout the day, the mist accumulates into faint, cloud-like formations, before dissipating across the space. A glance overhead, to see where the mist might escape, reveals that the ceiling of the Turbine Hall has disappeared, replaced by a reflection of the space below. At the far end of the hall is a giant semi-circular form made up of hundreds of mono-frequency lamps. The arc repeated in the mirror overhead produces a sphere of dazzling radiance linking the real space with the reflection. Generally used in street lighting, mono-frequency lamps emit light at such a narrow frequency that colours other than yellow and black are invisible, thus transforming the visual field around the sun into a vast duotone landscape. (via) free-parking: Olafur Eliasson, The Weather Project In this installation, The Weather Project, representations of the sun and sky dominate the expanse of the Turbine Hall. A fine mist permeates the space, as if creeping in from the environment outside. Throughout the day, the mist accumulates into faint, cloud-like formations, before dissipating across the space. A glance overhead, to see where the mist might escape, reveals that the ceiling of the Turbine Hall has disappeared, replaced by a reflection of the space below. At the far end of the hall is a giant semi-circular form made up of hundreds of mono-frequency lamps. The arc repeated in the mirror overhead produces a sphere of dazzling radiance linking the real space with the reflection. Generally used in street lighting, mono-frequency lamps emit light at such a narrow frequency that colours other than yellow and black are invisible, thus transforming the visual field around the sun into a vast duotone landscape. (via)

free-parking:

Olafur Eliasson, The Weather Project

In this installation, The Weather Project, representations of the sun and sky dominate the expanse of the Turbine Hall. A fine mist permeates the space, as if creeping in from the environment outside. Throughout the day, the mist accumulates into faint, cloud-like formations, before dissipating across the space. A glance overhead, to see where the mist might escape, reveals that the ceiling of the Turbine Hall has disappeared, replaced by a reflection of the space below. At the far end of the hall is a giant semi-circular form made up of hundreds of mono-frequency lamps. The arc repeated in the mirror overhead produces a sphere of dazzling radiance linking the real space with the reflection. Generally used in street lighting, mono-frequency lamps emit light at such a narrow frequency that colours other than yellow and black are invisible, thus transforming the visual field around the sun into a vast duotone landscape. (via)

# ideal art collection

Reblogged 8 months ago from pamelalovenyc (Originally from free-parking) 14,244 notes
tairmanaroze: Michaël Borremans: “One of the reasons I consciously chose to work in painting is that you can’t use it only as a medium. It has this historical connotation, and either you want or you don’t want it. So if you paint, you should make use of that. It’s inherent to the medium, and it’s very important. If you don’t want it, take another medium. It’s as simple as that. Therefore this dialogue with other painting is to me very essential.”tairmanaroze: Michaël Borremans: “One of the reasons I consciously chose to work in painting is that you can’t use it only as a medium. It has this historical connotation, and either you want or you don’t want it. So if you paint, you should make use of that. It’s inherent to the medium, and it’s very important. If you don’t want it, take another medium. It’s as simple as that. Therefore this dialogue with other painting is to me very essential.”tairmanaroze: Michaël Borremans: “One of the reasons I consciously chose to work in painting is that you can’t use it only as a medium. It has this historical connotation, and either you want or you don’t want it. So if you paint, you should make use of that. It’s inherent to the medium, and it’s very important. If you don’t want it, take another medium. It’s as simple as that. Therefore this dialogue with other painting is to me very essential.”

tairmanaroze:

Michaël Borremans:

“One of the reasons I consciously chose to work in painting is that you can’t use it only as a medium. It has this historical connotation, and either you want or you don’t want it. So if you paint, you should make use of that. It’s inherent to the medium, and it’s very important. If you don’t want it, take another medium. It’s as simple as that. Therefore this dialogue with other painting is to me very essential.”

# ideal art collection michael borremans

Reblogged 8 months ago from mararoze 7 notes