„When I eat, it is an experience that is extremely individual. But by eating together with others, I situate my experience within a space that is very much collective – the meal, the act of eating together, the shared conversation. (…) Just as I can never be entirely certain that the color I call blue is the same blue for everyone else on the planet, taste is relative. What we have in common is that we are different.“ Olafur Eliasson „(At the Institut für Raumexperimente) eating together is something meticulously choreographed to allow the unplanned to take place. The eating experiments are interior to the content of the teaching experiments. Content is seeded, not handed out like a preprocessed meal. The experiments are designed so that as they grow, branches which are not predesigned can design themselves. The informal can emerge. Breaking bread together helps the institute think about what we are serving each other in terms of learning, health, feelings, ideas, critique, art.“ Eric Ellingsen & Christina Werner Phaidon is publishing Studio Olafur Eliasson: The Kitchen in Japanese. The extended artist’s book and cookbook that focuses on the studio’s kitchen – its work, research, and experiments – is based on the studio publication TYT [Take Your Time], Vol. 5: The Kitchen. Since the work and food thinking of the kitchen team are closely connected with the projects, symposia, workshops, openings, and events at the studio as well as the Institut für Raumexperimente and the studio’s project space Grey Sheep, the book is a portrait of the studio seen from the perspective of the kitchen. Along with over 100 vegetarian recipes, the book provides insight into the daily life of the studio with the kitchen at its heart, and documents a wide range of workshops, food experiments, and selected exhibitions. For availability check here. For information on the English version check here. „When I eat, it is an experience that is extremely individual. But by eating together with others, I situate my experience within a space that is very much collective – the meal, the act of eating together, the shared conversation. (…) Just as I can never be entirely certain that the color I call blue is the same blue for everyone else on the planet, taste is relative. What we have in common is that we are different.“ Olafur Eliasson „(At the Institut für Raumexperimente) eating together is something meticulously choreographed to allow the unplanned to take place. The eating experiments are interior to the content of the teaching experiments. Content is seeded, not handed out like a preprocessed meal. The experiments are designed so that as they grow, branches which are not predesigned can design themselves. The informal can emerge. Breaking bread together helps the institute think about what we are serving each other in terms of learning, health, feelings, ideas, critique, art.“ Eric Ellingsen & Christina Werner Phaidon is publishing Studio Olafur Eliasson: The Kitchen in Japanese. The extended artist’s book and cookbook that focuses on the studio’s kitchen – its work, research, and experiments – is based on the studio publication TYT [Take Your Time], Vol. 5: The Kitchen. Since the work and food thinking of the kitchen team are closely connected with the projects, symposia, workshops, openings, and events at the studio as well as the Institut für Raumexperimente and the studio’s project space Grey Sheep, the book is a portrait of the studio seen from the perspective of the kitchen. Along with over 100 vegetarian recipes, the book provides insight into the daily life of the studio with the kitchen at its heart, and documents a wide range of workshops, food experiments, and selected exhibitions. For availability check here. For information on the English version check here.

Sam Thorne School: A Recent History of Self-Organized Art Education Sam Thorne’s School: A Recent History of Self-Organized Art Education is a chronicle of self-organized art schools and artist-run education platforms that have emerged since 2000. Comprising a series of twenty conversations conducted by Thorne with the artists, curators, and educators behind these schools, the book maps a territory at once fertile and contested. Spanning projects in London, Lagos, Los Angeles, Mexico City, Ramallah, Berlin, and Saint Petersburg, among other locations, these critical dialogues respond to spiraling student debt, the MFA system, and the “pedagogical turn,” while offering proposals for the future of art education. Contributions by Bik Van der Pol, Bruce High Quality Foundation University, Tania Bruguera, Chto Delat?, Sean Dockray, Olafur Eliasson, Ryan Gander, Piero Golia, Fritz Haeg, Pablo Helguera, Jakob Jakobsen, Ahmet Öğüt, Yoshua Okón, Open School East, Rupert, Wael Shawky, Tina Sherwell, Bisi Silva, Christine Tohme, Anton Vidokle „You are out in the real world, and so is the school. The school is the real world.“ Read the interview with Olafur Eliasson about the Institut für Raumexperimente   September 2017, English 12.5 x 20 cm, 384 pages, 110 b/w and 26 color ill., softcover ISBN 978-3-95679-181-9 Sam Thorne School: A Recent History of Self-Organized Art Education Sam Thorne’s School: A Recent History of Self-Organized Art Education is a chronicle of self-organized art schools and artist-run education platforms that have emerged since 2000. Comprising a series of twenty conversations conducted by Thorne with the artists, curators, and educators behind these schools, the book maps a territory at once fertile and contested. Spanning projects in London, Lagos, Los Angeles, Mexico City, Ramallah, Berlin, and Saint Petersburg, among other locations, these critical dialogues respond to spiraling student debt, the MFA system, and the “pedagogical turn,” while offering proposals for the future of art education. Contributions by Bik Van der Pol, Bruce High Quality Foundation University, Tania Bruguera, Chto Delat?, Sean Dockray, Olafur Eliasson, Ryan Gander, Piero Golia, Fritz Haeg, Pablo Helguera, Jakob Jakobsen, Ahmet Öğüt, Yoshua Okón, Open School East, Rupert, Wael Shawky, Tina Sherwell, Bisi Silva, Christine Tohme, Anton Vidokle „You are out in the real world, and so is the school. The school is the real world.“ Read the interview with Olafur Eliasson about the Institut für Raumexperimente September 2017, English 12.5 x 20 cm, 384 pages, 110 b/w and 26 color ill., softcover ISBN 978-3-95679-181-9

Studio Olafur Eliasson – Open House, conceived and edited in collaboration with independent curator Joanna Warsza, who conducted extensive interviews with studio members, is a candid self-portrait of the studio. Texts and photographs invite readers to explore the kitchen’s hands-on take on the politics of food; the processes of the metal and wood workshops; the experimental approach to arts education at the Institut für Raumexperimente (Institute for Spatial Experiments); the strategies for spatial research at Studio Other Spaces, an office for art and architecture founded by Eliasson together with Sebastian Behmann; and the global dialogues of Little Sun, Eliasson’s social business. Open House focuses on both artistic processes within the studio and the studio’s exchanges with the broader world, following ideas from their initial emergence to their embodiment as artworks or projects and shows the forms of engagement in which Olafur and the studio are increasingly invested – research, dialogue, and ideas-turned-into-action. Photographs of the studio, interviews with Olafur and members of the studio team, excerpts from books that inspire the studio’s daily practice, and texts from external collaborators – including neuroscientists, economists, social scientists, curators, playwrights, philosophers, psychologists, and climate scientists – bring readers into the very midst of the studio as a site of artistic production, intellectual exchange, and social engagement. TYT [Take Your Time], VOL. 7: Studio Olafur Eliasson – Open House Authors: Claire Petimengin, Boris Ondreička , Mohammad Al Attar, Andreas Roepstorff, Kazuo Sejima, Günther Vogt, Mihret Kebede, Eric Ellingsen, Pireeni Sundaralingam, J. M. Ledgard, Elke U.Weber, Mark Godfrey, Hortensia Völkers, Timothy Morton, Hadeel Ibrahim Concept: Olafur Eliasson, Anna Engberg-Pedersen, Joanna Warsza, Christina Werner Language: English ISBN 978 3 00 056566 3 Get your copy here: www.buchhandlung-walther-koenig.de/ Studio Olafur Eliasson – Open House, conceived and edited in collaboration with independent curator Joanna Warsza, who conducted extensive interviews with studio members, is a candid self-portrait of the studio. Texts and photographs invite readers to explore the kitchen’s hands-on take on the politics of food; the processes of the metal and wood workshops; the experimental approach to arts education at the Institut für Raumexperimente (Institute for Spatial Experiments); the strategies for spatial research at Studio Other Spaces, an office for art and architecture founded by Eliasson together with Sebastian Behmann; and the global dialogues of Little Sun, Eliasson’s social business. Open House focuses on both artistic processes within the studio and the studio’s exchanges with the broader world, following ideas from their initial emergence to their embodiment as artworks or projects and shows the forms of engagement in which Olafur and the studio are increasingly invested – research, dialogue, and ideas-turned-into-action. Photographs of the studio, interviews with Olafur and members of the studio team, excerpts from books that inspire the studio’s daily practice, and texts from external collaborators – including neuroscientists, economists, social scientists, curators, playwrights, philosophers, psychologists, and climate scientists – bring readers into the very midst of the studio as a site of artistic production, intellectual exchange, and social engagement. TYT [Take Your Time], VOL. 7: Studio Olafur Eliasson – Open House Authors: Claire Petimengin, Boris Ondreička , Mohammad Al Attar, Andreas Roepstorff, Kazuo Sejima, Günther Vogt, Mihret Kebede, Eric Ellingsen, Pireeni Sundaralingam, J. M. Ledgard, Elke U.Weber, Mark Godfrey, Hortensia Völkers, Timothy Morton, Hadeel Ibrahim Concept: Olafur Eliasson, Anna Engberg-Pedersen, Joanna Warsza, Christina Werner Language: English ISBN 978 3 00 056566 3 Get your copy here: www.buchhandlung-walther-koenig.de/

„When I eat, it is an experience that is extremely individual. But by eating together with others, I situate my experience within a space that is very much collective – the meal, the act of eating together, the shared conversation. (…) Just as I can never be entirely certain that the color I call blue is the same blue for everyone else on the planet, taste is relative. What we have in common is that we are different.“ Olafur Eliasson Phaidon is publishing Studio Olafur Eliasson: The Kitchen in April 2016. The extended artist’s book and cookbook that focuses on the studio’s kitchen – its work, research, and experiments – is based on the studio publication TYT [Take Your Time], Vol. 5: The Kitchen. Since the work and food thinking of the kitchen team are closely connected with the projects, symposia, workshops, openings, and events at the studio as well as the Institut für Raumexperimente and the studio’s project space Grey Sheep, the book is a portrait of the studio seen from the perspective of the kitchen. Along with over 100 vegetarian recipes, the book provides insight into the daily life of the studio with the kitchen at its heart, and documents a wide range of workshops, food experiments, and selected exhibitions. We hope you recognize and remember many of the happings at the Institut für Raumexperimente, while reading and cooking from the pages. Eat Art Work Cooking is caring for others. It is a gesture of generosity and hospitality that functions as social glue; it amplifies social relations and translates thoughts into food, into giving and sharing. Ausklappen... by Olafur Eliasson. Cooking is caring for others. It is a gesture of generosity and hospitality that functions as social glue; it amplifies social relations and translates thoughts into food, into giving and sharing. When we cook, we both use the world and produce it at the same time. And through eating, we take in the world, bringing light into our bodies. Take a piece of lettuce – it is essentially stored sunlight. Since the lettuce could not have grown without being exposed to the sun, you could say that it acts like a solar cell. By eating, we take in this energy. The kitchen celebrates the connections between human beings, food, and the sun as a system of energy exchange, as an ecology of giving and taking, of sharing. It examines food through various lenses, from the microscopic to the macroscopic. (…) The studio s kitchen started out, on a much smaller scale, around thirteen years ago. At that time, studio members would take turns cooking for the rest of the team, then a group of around fifteen people. In 2005, when it became impractical to wait until four in the afternoon for the chicken to be served, it was clear that someone was needed especially for the kitchen; that is when artist, food activist, and cook Asako Iwama was brought in to cook for the expanded team. She was joined half a year later by Lauren Maurer, and for many years, the two ran the kitchen with great empathy and dedication, bringing with them specialised knowledge concerning the many issues surrounding cooking and food. (…) Over the years, the kitchen has also become a co-producer of many events: the studio-based Life Is Space symposia, where the shared meals and coffee breaks are as important as the diverse performances, experiments, and community thinking that take place there; the social gatherings that mark the openings of the irregular exhibitions at Grey Sheep, the studio project space housed next door; and, until recently, the various seminars and marathon workshops conceived by the team of the Institut für Raumexperimente (Institute for Spatial Experiments), which often included food experiments, performances, drifts through Berlin, and a host of other activities. I set up the institute, in association with the Berlin University of the Arts, in 2009 as an experiment in arts education and hosted it one floor above my studio. Co-directors Christina Werner, Eric Ellingsen, and I cultivated experimentation and uncertainty for five years, working with the institute’s twenty-five participants to turn thoughts into action. (…) This book is a portrait of the studio kitchen. Yet it is also a portrait of the complex organism that is my studio from the perspective of the kitchen. Initially we wanted to make a publication just for the friends of the studio, to simply toss succulent recipes into a book the way you toss salad. But when you cook, you may end up with a slightly different meal from the one outlined in the recipe, and so this book too has grown to incorporate the research, artistic projects, and food-thinking that take place in and around the studio kitchen. Since others may be as interested as we are in the interconnections between food, art-making, and daily life, we have now turned it into a book for a wider audience. I hope it proves as much food for thought as it is satisfying to your hunger. Cooking Up Breaking Down, School and Art and Metabolisms Multiple Digestive Tracks The Institut für Raumexperimente is a big intricate digestive track that tries to choreograph in-feelings, a state of being inside of feeling, like feeling is a place Ausklappen... by Eric Ellingsen and Christina Werner The Institut für Raumexperimente (Institute for Spatial Experiments) is a big intricate digestive track that tries to choreograph in-feelings, a state of being inside of feeling, like feeling is a place, has a shape, is habitable, like a garden or pavilion is habitable. ‘In-feeling’ is one way to translate the German Einfühlung, usually translated as empathy. In-feeling is a kind of stove in the body kitchen. It is a way of touching. In the school we plant the content together. We are kitchening. Things are cooking. One of the ways we do this is through food experiments. These experiments are coupled into workshops and larger teaching experiments the institute twists together, often in the format of three-day-long marathons centred around a specific theme. The institute is like a living colon, we brainstorm, we heartstorm, we break down what passes through us, we reconstitute a way of thinking from the content. The institute is a junum, a tongue, lots of tongues, a stomach, a metabolism. We have guts sometimes. Shit happens. Our favourite recipe in the institute is not to use recipes. We feel our way around. As scientist and biologist Donna Haraway says, we are companions. And the Latin root of companions, cum panis, means ‘with bread’. We break bread together. We loaf around together. To be companions is not a passive thing. It is nourishing. Eating becomes us. Eating roots becomes us, even the Latin type. Breaking bread together has been a central core to growing the institute’s content. Eating together is something meticulously choreographed to allow the unplanned to take place. The eating experiments are interior to the content of the teaching experiments. Content is seeded, not handed out like a preprocessed meal. The experiments are designed so that as they grow, branches which are not predesigned can design themselves. The informal can emerge. Breaking bread together helps the institute think about what we are serving each other in terms of learning, health, feelings, ideas, critique, art. Breaking bread helps us to experience something together and reflect on our different tastes from the same thing. It allows a sameness that scoops different. Over the years, the kitchen team has conducted and been involved in several food experiments in connection with a number of marathons. These collaborations between people, relationships, institutions, budgets, and timing are intersecting lines that curve into and across one another along the trajectory of the institute’s and kitchen’s everydayness. Some of these collaborations originate from the thinking seeds and needs of the institute, from workshops and people with whom the institute has some larger landscape moving through the school’s curriculum and content. The meals that we make together around the kitchen are spirals then. The lines we are, are curves. And the spaces we make in overlapping are not static territories but spatial relationships which move students across Berlin to meet in an institute above an art studio above and below a kitchen. We heat these spaces by moving through them, a teaspoon of this, a cup of that, a lot of pinches meeting in a bowl. On the way to and from the kitchen we bowl. We are literally walking through a studio practice that practises, a practice of different landscapes and projects, of works and makings, lamps, pavilions, lights, books, buildings, friendships, frustrations, and exhibitions. We collect these impressions together into a buffet of feelings and ideas; our rhythms and thoughts are buffeted by these kitchen and studio practices whether we are conscious of it or not. Another metabolism is at work in the work, another breaking things down, another adding up. To sit at lunch tables around these productions is to be set in the space of things present and on their way. To be on the way is a place of presence too then. All food is an on-the-way made up of ingredients, microbes, love, machinery, technique, tradition, things which are on their way to becoming us, on their way to becoming earth again. The molecule that started in the centre of a nebula beds down in our guts. How do we feel all these things as us while they are also on their way to not being us? How do we metabolise a space for ideas and differences and cares we have in common? How do we metabolise a precise artwork from a bowl of ideas for an art practice? How do we cook a precise teaching experiment from a field of growing ideas? Perhaps learning is a process of what we might remember, and a healthy school, a garden that is aware of constantly being cultivated to re-member itself. We are history re-membering history, re-membering philosophy, re-membering artworks. We remember that art works. To remember anything is to break it apart. Not to deconstruct it necessarily, but it does require heat, a collision which breaks and forms bonds, a striking. Adding heat to anything causes spin, causes hot air to rise and cool to fall. This is a convection cycle, from ice caps melting in Iceland to water boiling in a pot on the stove. All cooking is a controlled and precise flow of energy and material cycling. Eating is this. Taking something inside, letting the touch become us. This is to have touch. This is ecology. This requires an ethics of eating. Of being companions. Some cycling is slow, like plants into coal, like a three-day marathon on space activism or curation; some cycling is quick like sunlight into leaves, like getting heated up by being egged on. A plant is a temporary meeting place between the dark earth and the light photon-bombarded sky. A school is the same. It is the space of sucking things up and holding onto things and letting things go at the same time. Even if we don’t salivate at the thought of food, as recent research claims, we are mouth-watering, we egg each other on chicken. Studio Olafur Eliasson: The Kitchen published by Phaidon on 25 April 2016 SPECIFICATIONS: Format: Hardback Size: 255 x 190 mm, 10 x 7 1/2 in Pages: 368 pp Illustrations: 500 colour illustrations ISBN: 9780714871110 Price: 39,95 Euro „When I eat, it is an experience that is extremely individual. But by eating together with others, I situate my experience within a space that is very much collective – the meal, the act of eating together, the shared conversation. (…) Just as I can never be entirely certain that the color I call blue is the same blue for everyone else on the planet, taste is relative. What we have in common is that we are different.“ Olafur Eliasson Phaidon is publishing Studio Olafur Eliasson: The Kitchen in April 2016. The extended artist’s book and cookbook that focuses on the studio’s kitchen – its work, research, and experiments – is based on the studio publication TYT [Take Your Time], Vol. 5: The Kitchen. Since the work and food thinking of the kitchen team are closely connected with the projects, symposia, workshops, openings, and events at the studio as well as the Institut für Raumexperimente and the studio’s project space Grey Sheep, the book is a portrait of the studio seen from the perspective of the kitchen. Along with over 100 vegetarian recipes, the book provides insight into the daily life of the studio with the kitchen at its heart, and documents a wide range of workshops, food experiments, and selected exhibitions. We hope you recognize and remember many of the happings at the Institut für Raumexperimente, while reading and cooking from the pages. Eat Art Work Cooking is caring for others. It is a gesture of generosity and hospitality that functions as social glue; it amplifies social relations and translates thoughts into food, into giving and sharing. Ausklappen... by Olafur Eliasson. Cooking is caring for others. It is a gesture of generosity and hospitality that functions as social glue; it amplifies social relations and translates thoughts into food, into giving and sharing. When we cook, we both use the world and produce it at the same time. And through eating, we take in the world, bringing light into our bodies. Take a piece of lettuce – it is essentially stored sunlight. Since the lettuce could not have grown without being exposed to the sun, you could say that it acts like a solar cell. By eating, we take in this energy. The kitchen celebrates the connections between human beings, food, and the sun as a system of energy exchange, as an ecology of giving and taking, of sharing. It examines food through various lenses, from the microscopic to the macroscopic. (…) The studio s kitchen started out, on a much smaller scale, around thirteen years ago. At that time, studio members would take turns cooking for the rest of the team, then a group of around fifteen people. In 2005, when it became impractical to wait until four in the afternoon for the chicken to be served, it was clear that someone was needed especially for the kitchen; that is when artist, food activist, and cook Asako Iwama was brought in to cook for the expanded team. She was joined half a year later by Lauren Maurer, and for many years, the two ran the kitchen with great empathy and dedication, bringing with them specialised knowledge concerning the many issues surrounding cooking and food. (…) Over the years, the kitchen has also become a co-producer of many events: the studio-based Life Is Space symposia, where the shared meals and coffee breaks are as important as the diverse performances, experiments, and community thinking that take place there; the social gatherings that mark the openings of the irregular exhibitions at Grey Sheep, the studio project space housed next door; and, until recently, the various seminars and marathon workshops conceived by the team of the Institut für Raumexperimente (Institute for Spatial Experiments), which often included food experiments, performances, drifts through Berlin, and a host of other activities. I set up the institute, in association with the Berlin University of the Arts, in 2009 as an experiment in arts education and hosted it one floor above my studio. Co-directors Christina Werner, Eric Ellingsen, and I cultivated experimentation and uncertainty for five years, working with the institute’s twenty-five participants to turn thoughts into action. (…) This book is a portrait of the studio kitchen. Yet it is also a portrait of the complex organism that is my studio from the perspective of the kitchen. Initially we wanted to make a publication just for the friends of the studio, to simply toss succulent recipes into a book the way you toss salad. But when you cook, you may end up with a slightly different meal from the one outlined in the recipe, and so this book too has grown to incorporate the research, artistic projects, and food-thinking that take place in and around the studio kitchen. Since others may be as interested as we are in the interconnections between food, art-making, and daily life, we have now turned it into a book for a wider audience. I hope it proves as much food for thought as it is satisfying to your hunger. Cooking Up Breaking Down, School and Art and Metabolisms Multiple Digestive Tracks The Institut für Raumexperimente is a big intricate digestive track that tries to choreograph in-feelings, a state of being inside of feeling, like feeling is a place Ausklappen... by Eric Ellingsen and Christina Werner The Institut für Raumexperimente (Institute for Spatial Experiments) is a big intricate digestive track that tries to choreograph in-feelings, a state of being inside of feeling, like feeling is a place, has a shape, is habitable, like a garden or pavilion is habitable. ‘In-feeling’ is one way to translate the German Einfühlung, usually translated as empathy. In-feeling is a kind of stove in the body kitchen. It is a way of touching. In the school we plant the content together. We are kitchening. Things are cooking. One of the ways we do this is through food experiments. These experiments are coupled into workshops and larger teaching experiments the institute twists together, often in the format of three-day-long marathons centred around a specific theme. The institute is like a living colon, we brainstorm, we heartstorm, we break down what passes through us, we reconstitute a way of thinking from the content. The institute is a junum, a tongue, lots of tongues, a stomach, a metabolism. We have guts sometimes. Shit happens. Our favourite recipe in the institute is not to use recipes. We feel our way around. As scientist and biologist Donna Haraway says, we are companions. And the Latin root of companions, cum panis, means ‘with bread’. We break bread together. We loaf around together. To be companions is not a passive thing. It is nourishing. Eating becomes us. Eating roots becomes us, even the Latin type. Breaking bread together has been a central core to growing the institute’s content. Eating together is something meticulously choreographed to allow the unplanned to take place. The eating experiments are interior to the content of the teaching experiments. Content is seeded, not handed out like a preprocessed meal. The experiments are designed so that as they grow, branches which are not predesigned can design themselves. The informal can emerge. Breaking bread together helps the institute think about what we are serving each other in terms of learning, health, feelings, ideas, critique, art. Breaking bread helps us to experience something together and reflect on our different tastes from the same thing. It allows a sameness that scoops different. Over the years, the kitchen team has conducted and been involved in several food experiments in connection with a number of marathons. These collaborations between people, relationships, institutions, budgets, and timing are intersecting lines that curve into and across one another along the trajectory of the institute’s and kitchen’s everydayness. Some of these collaborations originate from the thinking seeds and needs of the institute, from workshops and people with whom the institute has some larger landscape moving through the school’s curriculum and content. The meals that we make together around the kitchen are spirals then. The lines we are, are curves. And the spaces we make in overlapping are not static territories but spatial relationships which move students across Berlin to meet in an institute above an art studio above and below a kitchen. We heat these spaces by moving through them, a teaspoon of this, a cup of that, a lot of pinches meeting in a bowl. On the way to and from the kitchen we bowl. We are literally walking through a studio practice that practises, a practice of different landscapes and projects, of works and makings, lamps, pavilions, lights, books, buildings, friendships, frustrations, and exhibitions. We collect these impressions together into a buffet of feelings and ideas; our rhythms and thoughts are buffeted by these kitchen and studio practices whether we are conscious of it or not. Another metabolism is at work in the work, another breaking things down, another adding up. To sit at lunch tables around these productions is to be set in the space of things present and on their way. To be on the way is a place of presence too then. All food is an on-the-way made up of ingredients, microbes, love, machinery, technique, tradition, things which are on their way to becoming us, on their way to becoming earth again. The molecule that started in the centre of a nebula beds down in our guts. How do we feel all these things as us while they are also on their way to not being us? How do we metabolise a space for ideas and differences and cares we have in common? How do we metabolise a precise artwork from a bowl of ideas for an art practice? How do we cook a precise teaching experiment from a field of growing ideas? Perhaps learning is a process of what we might remember, and a healthy school, a garden that is aware of constantly being cultivated to re-member itself. We are history re-membering history, re-membering philosophy, re-membering artworks. We remember that art works. To remember anything is to break it apart. Not to deconstruct it necessarily, but it does require heat, a collision which breaks and forms bonds, a striking. Adding heat to anything causes spin, causes hot air to rise and cool to fall. This is a convection cycle, from ice caps melting in Iceland to water boiling in a pot on the stove. All cooking is a controlled and precise flow of energy and material cycling. Eating is this. Taking something inside, letting the touch become us. This is to have touch. This is ecology. This requires an ethics of eating. Of being companions. Some cycling is slow, like plants into coal, like a three-day marathon on space activism or curation; some cycling is quick like sunlight into leaves, like getting heated up by being egged on. A plant is a temporary meeting place between the dark earth and the light photon-bombarded sky. A school is the same. It is the space of sucking things up and holding onto things and letting things go at the same time. Even if we don’t salivate at the thought of food, as recent research claims, we are mouth-watering, we egg each other on chicken. Studio Olafur Eliasson: The Kitchen published by Phaidon on 25 April 2016 SPECIFICATIONS: Format: Hardback Size: 255 x 190 mm, 10 x 7 1/2 in Pages: 368 pp Illustrations: 500 colour illustrations ISBN: 9780714871110 Price: 39,95 Euro

LOVE LETTER from us A contribution by Olafur Eliasson, Eric Ellingsen and Christina Werner in AKADEMIE X – Lessons in Art + Life, Phaidon 2015 Download PDF. LOVE LETTER from us Ein Beitrag von Olafur Eliasson, Eric Ellingsen und Christina Werner in AKADEMIE X – Lessons in Art + Life, Phaidon 2015 PDF herunterladen.

TYT [Take Your Time], Vol. 6: Institut für Raumexperimente, 2009–2014; How to Make the Best Art School in the World celebrates the experiments in arts education carried out by the Institut für Raumexperimente (Institute for Spatial Experiments), founded by Olafur Eliasson and co-directed by Eric Ellingsen and Christina Werner. The project was affiliated with the Berlin University of the Arts (UdK) and located in the same building as Studio Olafur Eliasson. The book includes around 400 photos taken by the participants and grantees of the Institut, the Institut team, or by its affiliated contributors, both during and as part of activities across the school’s five-year programme. TYT, Vol. 6 presents an unbroken sequence of images that leads the reader through the astounding variety of events, lectures, performances, travels, exhibitions, and marathons that formed the school’s curriculum. The content reflects ideas, efforts, situations, attempts, collective experiences, and individual perspectives – in short, everything involved in making art. This book, like the Institut and its work, co-produces the world. A production by Studio Olafur Eliasson, TYT [Take Your Time] presents current research and projects by Olafur Eliasson and his studio in the format of an intermittently recurring magazine, which emphasises the process of developing and testing ideas and artworks. Vol. 6 expands the series to include the five years of educational programming undertaken as part of the Insitut für Raumexperimente, a project associated with Eliasson’s studio and the Berlin University of the Arts (UdK). Format: 190 x 250 mm Extent: 302 pp Binding: open thread binding, paperback Illustrations: 400 colour photographs Publisher: Studio Olafur Eliasson Concept: Olafur Eliasson Graphic Design: Andreas Koch, Berlin Available via Buchhandlung Walther König   TYT [Take Your Time], Vol. 6: Institut für Raumexperimente, 2009–2014; How to Make the Best Art School in the World illustriert das Programm des Instituts für Raumexperimente der Universität der Künste Berlin (UdK), ein von Olafur Eliasson gegründetes Modellprojekt der künstlerischen Forschung und Lehre, das er zusammen mit den Co-Direktoren Christina Werner und Eric Ellingsen bis Juni 2014 leitete. Fünf Jahre lang war das Institut Teil der Universität der Künste Berlin und im selben Gebäude wie Eliassons Studio untergebracht. Die Publikation versammelt über 400 Fotografien, aufgenommen von Teilnehmern, Stipendiaten, Kollegen und Freunden des Instituts, und entstanden während oder als integraler Bestandteil des fünfjährigen Programms. TYT, Vol. 6 zeigt in einer fortlaufenden Bildsequenz, die den Leser durch die Chronologie der Institutslaufzeit führt, das außergewöhnliche Spektrum an Veranstaltungen, Vorlesungen, Performances, Reisen, Ausstellungen und Marathons, die das Programm des Instituts geprägt haben. Der Bildband spiegelt Ideen, Projekte, Situationen, Experimente, gemeinsame Erlebnisse und individuelle Perspektiven – und damit letztendlich alles, was den Prozess des Kunstmachens ausmacht. Ebenso wie das Institut und seine Arbeit zeichnet das Buch vor allem eins aus: Es produziert Wirklichkeit. TYT [Take Your Time] ist eine Publikationsserie von Studio Olafur Eliasson, die periodisch als Magazin erscheint. Im Fokus steht der künstlerische Prozess, seine Entwicklungen und Versuchsanordnungen. Während Vol. 1–5 aktuelle Recherchen und Projekte Eliassons und seines Studios dokumentieren, widmet sich Vol. 6 dem von Eliasson gegründeten Institut für Raumexperimente der Universität der Künste Berlin. Format: 190 x 250 mm Umfang: 302 Seiten Bindung: Broschur mit offener Fadenheftung Abbildungen: ca. 400 Farbfotografien Herausgeber: Studio Olafur Eliasson Koncept: Olafur Eliasson Grafische Gestaltung: Andreas Koch, Berlin Erhältich über die Buchhandlung Walther König    

09/01/2014 China >>>> 25/01/2014 Spontaneous Book Edited by Eric Ellingsen & Christina Werner, Fotini Lazaridou-Hatzigoga, Elaine W. Ho, Vlado Velkov, Joanna Warsza, Institut für Raumexperimente Berlin, 2014 The spontaneous book series seeks to engage in a group thinking and doing process that produces a result in a short period of time: capturing, processing and producing content simultaneously. 09/01/2014 China >>>> 25/01/2014 Spontaneous Book, on the occasion of the excursion to Hong Kong, Shenzhen, Guangzhou, and Beijing, China, captures and collects different individual and collective interventions, spontaneous actions, performative situations and artistic instances that were generated while traveling and being exposed to different contexts and environments while on the trip. Excerpt of the Spontaneous Book as PDF 09/01/2014 China >>>> 25/01/2014 Spontaneous Book Herausgegeben von Eric Ellingsen & Christina Werner, Fotini Lazaridou-Hatzigoga, Elaine W. Ho, Vlado Velkov, Joanna Warsza, Institut für Raumexperimente Berlin, 2014 Die Reihe der spontaneous books soll einen kollektiven Prozess des Denkens und Handels befördern, der innerhalb kurzer Zeit ein Ergebnis produziert: Erfassung, Verarbeitung und Produktion von Inhalten gleichzeitig. Anlässlich der Exkursion nach Hong Kong, Shenzhen, Guangzhou und Peking in China versammelt 09/01/2014 China >>>> 125/01/2014 Spontaneous Book unterschiedliche individuelle und kollektive Interventionen, spontane Aktionen, performative Situationen und künstlerische Momente, die während der Reise entstanden und dort den verschiedenen Kontexten in China ausgesetzt waren. Auszug aus dem Spontaneous Book als PDF  

Spaces of Intimacy Edited by Fotini Lazaridou-Hatzigoga, Yves Mettler, Christina Werner together with the workshop participants, Institut für Raumexperimente, Universität der Künste Berlin, 2013. On occasion of the workshop Spaces of Intimacy at The Institute Effect, Lisbon Architecture Triennale, 2013 The space of intimacy takes time. Takes overlap. Takes place in places, with history, with people, between things. It is constructed in in-between spaces; it is a relationship built in closeness, in interaction, in contact. Intimacy requires a kind of touch, a process of touching; it is a space of knowing each other. In this knowing, learning and unlearning takes place. In intimate space a feeling potential builds, a magnetic field of feelings, that includes vulnerability, the possibility for affection or offense. It implies something is speaking to you and includes you; whether a place or a politics or a public, it means you can include it too. Over the weekend of September 28-29, 2013, the Institut für Raumexperimente organizes a publishing experiment as part of the Institute Effect of the Lisbon Architecture Triennale, to address and explore times and spaces of intimacy in the city. Urban space and publishing have been linked throughout history. Publishing being part of the institute’s research and production tools, visitors are invited to engage, bringing in their own experience of closeness, of shared public spheres, of making things public. Through a series of urban experiments, walks and discursive events, we discover together where the city might lead us. Spaces of Intimacy Spaces of Intimacy Herausgegeben von Fotini Lazaridou-Hatzigoga, Yves Mettler und Christina Werner; Institut für Raumexperimente, Universität der Künste Berlin, 2013. Anlässlich des Workshops Spaces of Intimacy, The Institute Effect, Lisbon Architecture Triennale, 2013 Der Raum der Intimität benötigt Zeit. Benötigt Überschneidungen. Findet statt an Orten, mit Menschen, zwischen Dingen. Er wird in den Zwischenräumen hergestellt; er ist eine Beziehung, die durch Nähe, Interaktion und Kontakt hervorgebracht wird. Intimität bedarf einer Art Berührung, eines Prozesses des Berührens; es ist ein Raum gegenseitigen Kenntens. In dieser Kenntnis finden Lernen und Verlernen statt. Im intimen Raum wächst ein Potential des Fühlens, ein Magnetfeld von Gefühlen, das Verletzbarkeit einschließt, die Möglichkeit von Zuneigung oder Angriff. Es impliziert, etwas spricht zu dir und schließt dich mit ein; ob ein Raum, eine Politik oder eine Öffentlichkeit, es bedeutet, du kannst es ebenfalls mit einbeziehen. Während des Wochenendes vom 28.-29. September 2013 organisiert das Institut für Raumexperimente als Teil des Institute Effect der Architektur Triennale Lissabon eine experimentelle Publikation, die sich Zeiten und Räumen der Intimität in der Stadt widmet. Zwischen verlegerischer Arbeit und dem urbanen Raum bestehen geschichtliche Verbindungen. Veröffentlichungen bilden einen Bestandteil von Forschung und Produktion am Institut, so sind Gäste eingeladen, ihre eigenen Erfahrung von Nähe, gemeinsamen öffentlichen Räumen, und davon, wie Dinge öffentlich werden, einzubringen. In einer Reihe urbaner Experimente, Erkundungen und diskursiven Veranstaltungen werden wir gemeinsam herausfinden, wohin uns die Stadt führen mag. Spaces of Intimacy

Institut für Raumexperimente Brochure publication Edited by Institut für Raumexperimente Berlin: Institut für Raumexperimente, Universität der Künste Berlin, 2011 Institut für Raumexperimente Broschüre Herausgegeber Institut für Raumexperimente Berlin: Institut für Raumexperimente, Universität der Künste Berlin, 2011

Translation Acts Edited by Eric Ellingsen, Christina Werner, and Fotini Lazaridou-Hatzigoga Universität der Künste Berlin, 2013 The spontaneous book series seeks to engage in a group thinking and doing process that produces a result in a short period of time: capturing, processing and producing content simultaneously. Translation Acts is the most comprehensive edition within the spontaneous book series. It documents programming events planned by the Institut für Raumexperimente spanning the full, four-week duration of The World is Not Fair – The Great World’s Fair 2012, a project initiated by architectural collective raumlaborberlin in cooperation with Hebbel am Ufer theatre in the former balloon hall on the grounds of the former Tempelhof airport in June 2012. The institute aimed to design a social infrastructure in the form of a multi-programmable system of bleachers, which could function as many different parliaments of reality. Each configuration of the mobile architecture was a tool informed by participants’ needs to inflect the relationships and speeds of entering the space and being caught in the space, simultaneously inside and outside the flows of people, which in turn helped shape the content of each event. Each artist in the institute was given a chance to propose programming and artworks and co-produce the content. In the course of the project, we performed our politics, we read our own futures, and we became an open microphone, transmitting pirate signals and amplifying bird songs. We learned the language of extinct species, exercised and conducted art and practiced translating an ecology of inspiring ideas and intimate feelings into an ecology based around the necessity to connect into and with publics. The translations derived from acts of engagement, detours of insecurity and possible misunderstandings in order to give learning a chance. The publication collects four weeks of events in a continuous chronological flow of images and transcripts and documents all participants’ contributions, colored inserts turned 90°. Read full publication PDF (35MB) Translation Acts Herausgegeben von Eric Ellingsen, Christina Werner und Fotini Lazaridou-Hatzigoga Universität der Künste Berlin, 2013 Die Reihe der spontaneous books soll einen kollektiven Prozess des Denkens und Handels befördern, der innerhalb kurzer Zeit ein Ergebnis produziert:  das gleichzeitige Erfassen, Verarbeiten und Produzieren von Inhalten mündet in einem Publikationsformat. Translation Acts ist die umfassendste Ausgabe innerhalb der Reihe spontaneous books. Es dokumentiert die vom Institut für Raumexperimente ausgerichteten Veranstaltungen in der Ballonhalle des ehemaligen Flughafens Tempelhof während der vierwöchigen Ausstellung The World is Not Fair – Die Große Weltausstellung 2012, einem Projekt initiiert von raumlaborberlin in Zusammenarbeit mit dem Theater Hebbel am Ufer. Das Institut entwarf und realisierte eine soziale Infrastruktur in Form einer vielfältig nutzbaren Tribünenstruktur, die viele verschiedene Parlamente der Realität ermöglichte. Jede Konfiguration dieser mobilen Architektur diente als Werkzeug, die unterschiedlichen Bedürfnissen der Teilnehmer zu reflektieren, die Beziehungen im Raum, den Energiefluss und Besucherstrom zu gestalten und zu verhandeln und dadurch wiederum dem Inhalt einer jeden Veranstaltung Gestalt zu geben. Jeder Künstler des Instituts hatte die Möglichkeit, Beiträge, Kunstwerke und Vorschläge ins Programm einzubringen und Inhalte zu gestalten: Im Laufe des Projekts haben wir unsere politischen (Alltags-)praktiken auf- und vorgeführt, unsere eigene Zukunft interpretiert; wir wurden ein öffentliches Mikrofon, zum Piratensender, zum Verstärker von Vogelgesang. Wir haben die Sprache ausgestorbener Tierarten erlernt, Kunst trainiert und dirigiert und das Übersetzen von Ökologien inspirierender Ideen und intimer Gefühle in die Ökologien der Vernetzung mit und in der Öffentlichkeit trainiert. Diese Übersetzungen entstanden durch entschiedenes Engagement, durch Umwege aufgrund von Unsicherheit und Missverständnissen, um Lernen zu ermöglichen. Die Publikation Translation Acts stellt alle Veranstaltungen dieser vier Wochen in chronologischer Abfolge mit Bilder und Transkripten vor und dokumentiert, dazwischen farbig eingeschoben und um 90° gedreht, die individuellen Beiträge aller Teilnehmer des Instituts für Raumexperimente. Lesen Sie die komplette Publikation als PDF (35MB)

Mapping Everything Edited by Institut für Raumexperimente, Universität der Künste Berlin, and the Institut für Landschaftsarchitektur, ETH Zürich Berlin: Verlag der Universität der Künste, 2012 ISBN 978-3-89462-219-0 Mapping Everything documents a collaborative, educational experiment between the Institut für Raumexperimente (UdK Berlin), class of Olafur Eliasson, and the Institut für Landschaftsarchitektur (ETH Zürich), class of Günther Vogt, in the summer term of 2011. Participants from both classes traveled to Zurich and Berlin for a series of workshops, inputs and detours. These visits facilitated a discursive exchange of ideas between participants and collaborators from various areas of cultural production. The first sections of Mapping Everything transcribe and describe these workshops and discussions with selected excerpts of a conversation with project participants; a mapping workshop led by Matthias Rick and Christof Mayer (raumlaborberlin); a dance workshop with Nicole Beutler, Thomas Plischke and Kattrin Deufert (Hochschulübergreifendes Zentrum TanzBerlin); and critiques with participants and guests, including Matthias Lilienthal (Hebbel am Ufer). In Berlin, the participants realized works and interventions in and around Tiergarten, a large urban park situated in the center of the city. These are documented in the latter half of “Mapping Everything”. Index of the publication Mapping Everything Herausgegeben von: Institut für Raumexperimente, Universität der Künste Berlin, und das Institut für Landschaftsarchitektur, ETH Zürich Berlin: Verlag der Universität der Künste, 2012 ISBN 978-3-89462-219-0 Mapping Everything dokumentiert ein kollaboratives, universitäres Experiment zwischen dem Institut für Raumexperimente (UdK Berlin), der Klasse von Olafur Eliasson, und dem Institut für Landschaftsarchitektur (ETH Zürich), der Klasse von Günther Vogt, im Sommersemester 2011. Die Teilnehmer beider Klassen trafen sich in Zürich und Berlin für eine Reihe von Workshops. Diese Treffen ermöglichten einen diskursiven Austausch zwischen den Teilnehmern und Partnern aus unterschiedlichen Feldern kultureller Produktion. Der erste Teil von Mapping Everything transkribiert und beschreibt diese Workshops und Diskussionen durch eine Ausschnitte aus einem Gespräch zwischen den Projektteilnehmern, einem Workshop zu Kartierungen geleitet von Matthias Rick und Christof Mayer von raumlaborberlin, einem Tanzworkshop mit Nicole Beutler, Thomas Plischke und Kattrin Deufert (Hochschulübergreifendes Zentrum TanzBerlin) und Konversationen zwischen Teilnehmern und Gästen, darunter Matthias Lilienthal (Hebbel am Ufer). Die Dokumentation der von den Teilnehmern im Berliner Tiergarten realisierten Arbeiten und Interventionen bilden den zweiten Teil der Publikation. Betrachten Sie den Index der Publikation

22/11/2011 Sao Paulo >>>> 15/12/2011 Spontaneous Works Edited by Eric Ellingsen & Christina Werner, Institut für Raumexperimente Berlin,  2012 The spontaneous book series seeks to engage in a group thinking and doing process that produces a result in a short period of time: capturing, processing and producing content simultaneously. 22/11/2011 Sao Paulo >>>> 15/12/2011 Spontaneous Works, on the occasion of the excursion to Sao Paulo, Brazil, captures and collects different individual and collective interventions, spontaneous actions, performative situations and artistic instances that were generated while traveling and being exposed to different contexts and environments in Sao Paulo and Inhotim. View publication extract (PDF) 22/11/2011 Sao Paulo >>>> 15/12/2011 Spontaneous Works Herausgegeben von Eric Ellingsen & Christina Werner, Institut für Raumexperimente Berlin, 2012 Die Reihe der spontaneous books soll einen kollektiven Prozess des Denkens und Handels befördern, der innerhalb kurzer Zeit ein Ergebnis produziert: Erfassung, Verarbeitung und Produktion von Inhalten gleichzeitig. Anlässlich der Exkursion nach Sao Paulo, versammelt 22/11/2011 Sao Paulo >>>> 15/12/2011 Spontaneous Works unterschiedliche individuelle und kollektive Interventionen, spontane Aktionen, performative Situationen und künstlerische Momente, die während der Reise entstanden und dort den verschiedenen Kontexten in Sao Paulo und Inhotim ausgesetzt waren. Auszüge der Publikation anschauen (PDF)

Spontaneous Book: 06.01.2010 / 14:07 >>>> 08.01.2010 / 16:22 Edited by Institut für Raumexperimente, Universität der Künste Berlin Berlin: Verlag der Universität der Künste Berlin, 2010 The spontaneous book series seeks to engage in a group thinking and doing process that produces a result in a short period of time: capturing, processing and producing content simultaneously. Spontaneous Book: 06.01.2010 / 14:07 >>>> 08.01.2010 / 16:22, on the occasion of a 3-day workshop that included exercises such as walks in public spaces, perception and time experiments, a studio visit with graphic designer and artist Andreas Koch, editorial board meetings on the topic of magazine making and a lecture and presentation by Beatriz Colomina on her recently audience-transcripted project Clip/Stamp/Fold: the Radical Architecture of Little Magazines, 196x-197x. Spontaneous book: 06.01.2010 / 14:07 >>>> 08.01.2010 / 16:22 Herausgeber: Institut für Raumexperimente, Universität der Künste Berlin Berlin: Verlag der Universität der Künste Berlin, 2010 Die Reihe der spontaneous books soll einen kollektiven Prozess des Denkens und Handels befördern, der innerhalb kurzer Zeit ein Ergebnis produziert:  das gleichzeitige Erfassen, Verarbeiten und Produzieren von Inhalten mündet in einem Publikationsformat. Spontaneous Book: 06.01.2010 / 14:07 >>>> 08.01.2010 / 16:22 entstand anlässlich eines dreitägigen Workshops, der verschiedene Experimente zu Wahrnehmung und Zeit, Walks im öffentlichen Raum, einen Besuch im Studio des Künstlers und Grafikdesigners Andreas Koch, Treffen der Redaktion und einen Vortrag von Beatriz Colomina über ihr aktuelles Projekt Clip/Stamp/Fold: the Radical Architecture of Little Magazines, 196x-197x beeinhaltete.