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22.05.13. Andrehn-Schiptjenko – Annika Elisabeth Von Hausswolff
Andréhn-Schiptjenko – Annika Elisabeth Von Hausswolff – The Pink Drill – April 30 to June 23, 2022 – Linnégatan 31 – Open Tue. to Fri. 11-18.00, Sat 12-16.00
ABOUT the artist
Annika Elisabeth von Hausswolff was born in Gothenburg, Sweden in 1967, where she lives and works. She has studied at the Sven Winquists School of Photography, Gothenburg, 1987–1989; Konstfack, Stockholm, 1991–1994 and the Royal Swedish Academy of Fine Arts from 1995–1996.
von Hausswolff ’s photographs, which are often psychologically charged and ambiguous, allude to the liminal space between fiction and reality. Her practice spans many areas, but some recurring subjects in her artistic work are social power structures, psychoanalysis and violence. von Hausswolff ’s expression is closely associated with carefully staged photographs, the aesthetic of which brings to mind photo documentary material from criminological investigations. She also investigates and depicts the domestic sphere according to the same premises. The carefully arranged photographs, where seemingly quotidian objects and environments in the home are portrayed as psychologically loaded, are multi-faceted and suggestive.
She has had solo exhibitions at ARoS, Aarhus Kunstmuseum, Denmark (2013); Göteborgs Konstmuseum, Gothenburg (2008); Baltic Art Center, Visby, Sweden (2005); the National Gallery of Denmark, Copenhagen (2002); Bildmuseet Umeå, Sweden (1998) and the Soros Center for Contemporary Art in Kiev, Ukraine (1997). She was included in the Nordic Pavilion of the 48th Venice Biennale (1999) and the 23rd Biennial of São Paulo, Brazil (1996).
von Hausswolff ’s work is included in the collections of the Aarhus Kunstmuseum, Denmark; Astrup Fearnley Collection, Museet for Moderne Kunst, Oslo; Fonds National d ́Art Contemporain, Paris; Hasselblad Center, Gothenburg; KIASMA, Helsinki; Moderna Museet, Stockholm; the San Francisco Museum of Modern Art and The Solomon R. Guggenheim Museum, New York.
ABOUT the exhibition
Andréhn-Schiptjenko is pleased to present The Pink Drill, an exhibition with new works by Annika Elisabeth von Hausswolff. The opening takes place in the presence of the artist on Saturday April 30 at 14-18.00.
Annika Elisabeth von Hausswolff was first introduced by Andréhn-Schiptjenko in 1994 and has since then been widely exhibited in Scandinavia and abroad. She is well known for her carefully arranged images with a documentary visual expression and many of her series of works are inspired by crime scene photography.
In 2021-2022, the Moderna Museet in Stockholm presented an extensive mid-career retrospective of her work, accompanied by a catalogue, which has now travelled to the Moderna Museet in Malmö.
Recurring themes in Annika Elisabeth von Hausswolff’s works are patriarchal structures, global capitalism, psychoanalytic theories and her deep interest in the photographic image itself. Her interest also extends to the transition from analogue to digital photography, examining the very medium of photography and its tools of the trade. She currently employs techniques such as UV-print on acrylic glass, oil paint, fine art prints and enamels.
Her new works on display at the gallery stem from a series of images initiated in 2020 with the title: The Hole is a Noun. Reflecting the contradictory categorisation of an object defined by its absence, the images are based on found photographs from private photo albums and news archives. The subject matter is now being completed with the addition of new images, all relating to the subject. Crotch Blowout and the work that lends its title to the exhibition, The Pink Drill, deals with unwanted holes versus a specific hole that requires a lot of energy and calculations to create.
The definition of a hole is usually referred to as an opening or recess in a specific material and it is a philosophical question of whether a hole really exists. That the word hole, as the title of the series states, belongs to the word class nouns is a way of pointing out the absurdity that something that may not exist can be included in a classification system. Of course, the holes or the active creation of holes in the images can be seen as a metaphor. In an allegorical way the images, which are originally from different eras and contexts, function as a surface onto which the viewer can project the possible meanings of a hole.
Annika Elisabeth von Hausswolff represented Sweden in the Venice Biennale of 1999 and her work was the subject of another large mid-career retrospective: Grand Theory Hotel at Hasselblad Foundation in Gothenburg in 2016.
ABOUT the space
Since its inception in 1991 Andréhn-Schiptjenko has consistently been committed to working on an international arena and to the long-term representation of emerging and established contemporary artists from all over the world working with painting, sculpture, photography, film and digital media as well as installation-based and site-specific work.
With a profound interest in exhibition as form, the gallery has presented shows that have become seminal, successfully launching the careers of Scandinavian artists such as Cajsa von Zeipel, Gunnel Wåhlstrand, Annika von Hausswolff and Matts Leiderstam, and giving artists such as Uta Barth, Cecilia Bengolea, José León Cerrillo, Martín Soto Climent, Ridley Howard, Tony Matelli, and Xavier Veilhan their first European or Scandinavian one-person exhibition. In recent years the gallery has also exhibited work by deceased artists such as Francesca Woodman and Siri Derkert, successfully renewing critical and public interest in their work.
Having established itself as one of the leading galleries in Scandinavia, the gallery enjoys privileged relationships with museums and collectors and is also involved in projects in the public space. In 2019 the gallery moved to a new space in the center of Stockholm and as way of expanding the gallery’s international scope in a more permanent way also opened a second space in Paris, allowing for a closer relationship with the gallery’s international network.
Andréhn-Schiptjenko has for soon three decades participated in international art fairs – Art Basel, Independent New York and Brussels, CHART Copenhagen, Material Art Fair Mexico City and FIAC Paris. It is owned and directed by Ciléne Andréhn and Marina Schiptjenko, both with a long history of being active in the art world beyond the gallery, as selection committee-members of art fairs and board members of institutions and the Swedish National Gallery Association.