A Case Study in Participatory Environmental Art
DOI:
https://doi.org/10.54097/df74w925Keywords:
Environmental Art, Olafur Eliasson's , Critical PerspectivesAbstract
This study examines Olafur Eliasson's "Ice Watch" series (2014-2018) as a participatory environmental art initiative to raise awareness of climate change. Eliasson demonstrates the effects of global warming by deliberately placing substantial pieces of glacial ice in urban centers such as Copenhagen, Paris, and London. The project integrates geological and human temporal dimensions by promoting public engagement and fostering a sense of intimacy and connection with the melting ice. The installation's ephemeral quality underscores the urgency of addressing climate change and prompts reflection and proactive measures. "Ice Watch" is widely acknowledged as an effective instrument for environmental communication, although it faces criticism regarding its ability to universally represent climate impacts. It elicits emotional and mental responses that motivate individuals to alter their behaviour and increase their engagement in community activities. This study emphasizes the significance of participatory art in addressing global environmental challenges and fostering sustainability.
Downloads
References
[1] Lee, S., & Kim, J. (2014). Spatial Experience and Design Method in the Installation Projects of Olafur Eliasson - Focusing on Relationship between Human and Surrounding -. Korean Institute of Interior Design Journal, 23(5), 33–40. https://doi.org/10.14774/jkiid.2014.23.5.033.
[2] Marks, M., Chandler, L., & Baldwin, C. (2016). Environmental art as an innovative medium for environmental education in Biosphere Reserves. Environmental Education Research, 23(9), 1307–1321. https://doi.org/10.1080/13504622.2016.1214864.
[3] Rosenthal, A. T. (2003). Teaching Systems Thinking and Practice through Environmental Art. Ethics & the Environment, 8(1), 153–168. https://doi.org/10.1353/een.2003.0013.
[4] Chasek, P. S., & Downie, D. L. (2020). Global environmental politics. In Routledge eBooks. https://doi.org/ 10.4324/ 9780429276743.
[5] Yalcinkaya, G. (2018, December 12). Olafur Eliasson installs giant blocks of glacial ice across London. Dezeen. https:// www.dezeen.com/2018/12/12/ice-watch-olafur-eliasson-installation/.
[6] Bell, S. (2019). Elements of visual design in the landscape. In Routledge eBooks. https://doi.org/10.4324/9780367809935.
[7] Sharp, J., Pollock, V., & Paddison, R. (2020). Just Art for a Just City: Public art and social Inclusion in urban Regeneration. In Routledge eBooks (pp. 156–178). https://doi.org/10. 4324/ 9781315878768-9.
[8] Do, K. (2022). Using nature to protect nature: How environmental arts sheds light on environmental issues. In The Synapse: Intercollegiate Science Magazine (Vol. 34, Issue 1, p. Article 13). https://digitalcommons. denison.edu/cgi/ viewcontent. cgi?article=1269&context=synapse.
[9] Song, Y. I. K. (2012). Crossroads of public art, nature and environmental education. Environmental Education Research, 18(6), 797–813. https://doi.org/10. 1080/13504622. 2012. 670 208.
[10] Historians of Netherlandish Art. (2020, July 7). Into the White: The Renaissance Arctic and the End of the Image - Historians of Netherlandish Art reviews. Historians of Netherlandish Art Reviews. https://hnanews.org/hnar/reviews/into-the-white-the-renaissance-arctic-and-the-end-of-the-image/.
[11] Pritchard, J. D. (2021, July 30). Global warming becomes tangible in “Ice Watch” - Arctic in context. Arctic in Context. https://jsis.washington.edu/aic/2015/12/09/global-warming-becomes-tangible-in-ice-watch/.
Downloads
Published
Issue
Section
License
Copyright (c) 2024 Highlights in Art and Design
This work is licensed under a Creative Commons Attribution 4.0 International License.