by Diego Di Matteo
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It’s 4 p.m. and it’s well-hot, the air is thick after the match played in the court and a layer of land covers the sweaty guys. The sun, that enters the school room from the shutter, designs shapes that one immediately catches and deforms on desks and walls, through a set of squares, making the minds of those observing drift away. Or in the terrace, fifteen years after, I bend to get the lighter I dropped on the floor and the sun at my back enters from one side. It is reflected by the lens of the glasses, and it blinds me. But if I don’t move and I pay attention to the details, I can see shadows of white and coloured rings close to many little dots that change colour according to the contraction of the pupil, a silent black stripe at the bottom.
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In “The Nature of Things” Olafur Eliasson’s project originates from the idea that “our world” defines our standards of perceiving reality; things are the way that we see them. By promoting the physical experimentation of reality through the perception of light and colour, certain things can change the perspective and certain perspectives can change these things.
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Those who don’t get the chance to see Eliasson’s works at MOMA in New York or San Francisco can enjoy his installations at Fundació Miro from June 20 to September 28.
The Danish-Icelandistic artist has created an exhibition using a fixed spotlight, mobile objects, the structure of the room and the mind of the visitor. The Scandinavian artist, winner of the first Joan Miró Prize, also offers a special dedication to the Catalan genius.
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