Olafur Eliasson (B. 1967)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Olafur Eliasson (B. 1967)

National Career Lamp

Details
Olafur Eliasson (B. 1967)
National Career Lamp

stainless steel, aluminium, optical lighting film, acrylic, halogen bulb and tripod
75 5/8 x 60 5/8 x 30in. (192 x 154 x 76cm.)
Executed in 2007, this work is number two from an edition of ten
Provenance
neugerriemschneider, Berlin.
Acquired from the above by the present owner.
Exhibited
Girona, Centre Cultural Caixa Girona-Fontana d'Or, Olafur Eliasson. La Naturalesa de les Coses / The Nature of Things, 2008, p. 221 (another from the edition exhibited, illustrated in colour, p. 183).
Neuss, Lange Foundation, Olafur Eliasson, Works from the Boros Collection 1994-2015, 2016 (another from the edition exhibited, illustrated in colour, pp. 132 and 135; installation view, p. 170).
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
This Lot is transferred to an offsite warehouse ‘Cadogan Tate’ at the close of business on the day of the sale. We will give you 2 weeks free storage from the date of the sale and after that point charges apply. All other lots will be held at Christie''s South Kensington until 5pm the fifth Friday after the sale. It will then be transferred to Cadogan Tate.
Sale room notice
This Lot is Withdrawn.

Lot Essay

With its captivating glow, National Career Lamp 1 is made from a large solar cooker, used as a reflector, mounted on an aluminum stand. Numerous blades made of prismatic foil are fitted inside the cooker, concealing a set of red light bulbs, while a half-mirrored bulb of white light sits at the work’s centre. When the red lights are of, the foil refracts the white light into the colours of the entire spectral range. Interested in questions of perception and the bridge between science and art, Eliasson continuously engages with the way colour is culturally determined. Colour as both tangible and immaterial, as physical and psychological, is a central theme in the artist’s oeuvre. His experiments have included dying a river neon-green, creating rainbows and perhaps most famously, transforming the Turbine Hall of the Tate Modern, London into a monochrome world of its own by creating an enormous artificial sun. Eliasson explains that he ‘was interested in light from the very beginning because it negotiates strongly with the spatial conditions, which means that it can be an independent object on the one hand, a projection such as a form on a wall, a light projection; yet it can also be the source of light in general, lighting for the entire room’ (O. Eliasson, quoted in Your Lighthouse, exh.cat., Kunstmuseum Wolfsburg, Germany, 2004, p. 45).
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