Solidarity and the Aporia of “We”

Abstract

In all iterations of Olafur Eliasson’s Green Light, asylum seekers and refugees were asked to participate by producing crystalline green light lamps, consisting of polyhedral units fitted with small, green-tinted light fixtures. The module was invented by Eliasson’s long-time friend and collaborator, Einar Thorsteinn, as part of the numerous geometric studies they undertook at the studio. The small modules were made predominantly from recycled and sustainable materials (European ash, recycled yogurt cups, used plastic bags, and recycled nylon) and green LED lights that could function either as single objects or be assembled into a variety of architectural configurations. The lamps were ultimately sold for €250 each. Participants in the workshop, for their part, could access free language classes, counselling education and other workshops. Eliasson is one of many artists who have attempted not only to depict or record refugees in the context of contemporary art, but also to invite them to participate directly in projects and events organized by art and cultural institutions.1 In this manner, refugees become represented not only by “proxy”— in images, objects or recorded videos that represent their plight — but through their very presence in real time when they are invited to become participants, collaborators and co-producers of art projects. When discussing his project, Eliasson stated: