The island series 1997

Editor: So this is Olafur Eliasson's "The island series" from 1997, and it appears to be a collection of photographs. Looking at them all together, the repetition gives it a real minimalist feel, almost like a scientific study. What is your take on this piece? Curator: I see this work as very much connected to the socio-political context of environmental awareness that was burgeoning in the late 90s. Eliasson, known for his engagement with natural phenomena, presents us with islands – isolated entities surrounded by water. The grid-like presentation mimics scientific cataloging, prompting us to consider our relationship with the environment, but also how we observe and classify it. Consider the role of institutions like museums in framing our understanding of nature. Editor: So, you're saying that it is not just about appreciating the beauty of the landscapes? Curator: Precisely. It challenges the notion of landscape as purely aesthetic. How does the act of photographing and framing these scenes change our relationship with them? Are we preserving, consuming, or something in between? Moreover, think about Iceland’s role within globalization during that period and its fragile ecosystem: this work perhaps becomes a quiet comment about larger forces reshaping these seemingly untouched lands. Do you think the serial imagery and uniform framing flatten these environmental issues in some ways? Editor: That’s a great point, I see what you mean. I originally focused on the aesthetics but now understand its commentary on institutional influence and globalization. It gives a much richer understanding of the artist's practice and underlying motivations. Curator: Absolutely. Seeing beyond the immediately visual unveils the artist’s socio-political engagement with our planet and its representation. A single island image is aesthetically pleasing. The power emerges in its collective display and challenges viewers to observe more profoundly.