Weather Project at Tate Modern in London. At the far end of the hall is a giant semi-circular form made up of hundreds of mono-frequency lamps. The arc repeated in the mirror overhead produces a sphere of dazzling radiance linking the real space with the reflection.
"Eliasson views the weather – wind, rain, sun – as one of the few fundamental encounters with nature that can still be experienced in the city. He is also interested in how the weather shapes a city and, in turn, how the city itself becomes a filter through which to experience the weather. ‘Every city mediates its own weather’, Eliasson has said.
‘As inhabitants, we have grown accustomed to the weather as mediated by the city. This takes place in numerous ways, on various collective levels ranging from hyper-mediated (or representational) experiences, such as the television weather forecast, to more direct and tangible experiences, like simply getting wet while walking down the street on a rainy day. A level between the two extremes would be sitting inside, looking out of a window onto a sunny or rainy street. The window, as the boundary of one’s tactile engagement with the outside, mediates one’s experience of the exterior weather accordingly.’ In The Weather Project, Eliasson has sought to bring a part of London into the building, and through the experience and memory of the work, a part of it is taken back out into the city by the viewer." (The Weather Project)
"I'm not interested in weather as a matter of science," he continues. "I'm not a meteorologist or a botanist. I'm interested in people: how people engage sensually with the qualities of weather — rain, mist, ice, snow, humidity — so that through their engagement they may understand how much of our lives are cultural constructions. We have a desire to assume that certain
things, like our reactions to the weather, are natural, but they are in fact cultural, and the end result of this can be entrenched ideologies, which we take to be inevitable. This is the path toward totalitarianism."
He rethinks that remark after a moment. "I shouldn't have insisted that everything is cultural and not natural, because that is as dogmatic as the reverse. I should have said that the line separating nature and culture changes through history, and this is what we should be aware of."