With a major exhibition, the Danish-Icelandic artist (b. 1967), who works in Berlin, continues his cooperation with the Kunsthaus Zug, which began in 2003 as part of <Project Collection>. Since 1996, the Kunsthaus Zug has successfully pursued such multi-year collection projects with international artists, sometimes including public space. Processuality, locality, continuity, communication with the audience, cultural exchange, transience and sustainability play an important role in this. Changed museum conditions are intended to enable extraordinary artistic projects for the here and now. The idea of material possession recedes into the background, an expanded concept of collection. From 1996 to 1999 Tadashi Kawamata (Japan) and Richard Tuttle (USA) were active in Zug, from 1998 to 2002 Pavel Pepperstein (Russia) and guests.

Eliasson deals intensively with questions of perception and, together with scientists, technicians and architects, develops novel and diverse works that attract worldwide attention. They are to be understood less as objects and more as experimental arrangements that involve the viewer in order to make him or her aware. You experience yourself as part of permanent processes of movement and change. An important background of the artist's experience is the rapidly and radically changing nature in Iceland.

Under the title <The Body as Brain> Eliasson began his cooperation with the Kunsthaus Zug at the end of 2003. The course of the project is concretized in a process-like manner, guided by the image of the museum as a laboratory.

Unexpectedly, Eliasson started with a newspaper he had designed, which was sent to members of the Zug Art Society, media representatives and friends. In a second step, a wall installation was realized in the cafeteria room with the newspaper in March. The newspaper goes through various states of aggregation, as it were: one can hold it in one's hands at home, see, leaf through and read, even make a crystalline body out of it (multiple), but also experience it spatially as part of the museum's architecture. With the current exhibition, Eliasson continues the initiated process and diversifies his current artistic work in an exemplary way. It ranges from light works and photographic projects to architectural works and exhibition installations. As different as these are at first, it is always about the conscious feedback of one's own seeing to the body, which is controlled by the artist.

This becomes clear through playful irritations, such as when one looks into a mirror or unexpectedly steps on an illusionistic stone floor. Visual experience and body experience diverge and become aware of their interaction precisely because of this. If you look closely, you can also see the structural connection between the floor ornament and the brick wall and the newspaper in the cafeteria: new aggregate states of the same pictorial signs. The Icelandic lava stone of the ground also corresponds to the photographic <cartographic series>, which are based on old satellite images of Iceland: what you look at from a distance at one point on the course, you stand on yourself in another place, so to speak.

At the heart of the exhibition is the artist's spectacular model room. An installation of his own, consisting of around 200 models that Eliasson developed in close collaboration with the mathematician Einar Thorsteinn. The staged laboratory provides an insight into the artistic-scientific groundwork for countless works, already realized or still unrealized. The installation can be seen for the first time in Europe and contains the very latest models from the Berlin studio. It will remain in Zug for the duration of the project and will be continuously supplemented with new works. In the adjoining room, the artist invites visitors to implement their own ideas with Lego bricks with a new work.