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“Anneè Olofsson willyoustilllovemetomorrow” The book by Anneè Olofsson
From the darkness of an entirely black book, from the chaos of free associations – where Anneè Olofsson finds inspiration for her artwork – images are placed without clear meaning or chronological sequence. Photographs, stills from video, annotations by the artist, preparatory drawings, and text handwritten by the curator of the “Book by”–who relives the intimate experience of the artist in first person– , follow a sequence demonstrating the transformation of how an idea pops in the mind of the artist and becomes an artwork. From the title, a split-personality is clear, the division between a family heritage and a more private identity: this is the only hidden law that guides the choice of all the book’s material. Beginning and ending with similar, yet inverted photographs, the book has at the center a printed lock of hair that marks the starting point of the two parallel stories.Download presentation in PDF format
|…looks that peep out frost, shadow and sleep (Demons, 1999) – the artist naked, laying down
next to her mother who recites from her old letters (You need her and you want her golden hair she sees you but she won’t love you because she really doesn’t care, 2000) – human figures that disappear in the background of furnitures (God bless the absentees, 2002) – the artist from behind dressed in flesh-coloured nylon under which her father’s hands run (Skinned, 2002) – the face of the artist “blinded” by her mother’s hands (Naked Light of Day, 2004)… “Disturbing”, “uncanny”, these are the adjectives most often used to describe the work of this Swedish artist. Olofsson’s work insists on a recognition of the unspoken and resentment in human and family relationships – on an iconography of solitude and virulence of the passing of time – on a pentagram of vulnerability and request for identity coming from the Other. At the same time, on backlight, it insinuates the question of the meaning of confession and of its dramatization. With the strength of clarity and formal qualities that are worthy of ancient Flemish paintings or, perhaps, of anatomical plates, her images, as nightmares, do not provide shrewd, intellectual readings, but rest on the threshold of a phenomenology of suffering, and deploy themselves on a dark plot of guilty looks that subtly envelope the artist, the icon, the spectator.
Anneè Olofsson (Hässleholm – Sweden, 1966), photographer, video-maker, lives and works between Stockholm and New York. She has shown her work in museums and galleries in Sweden, Switzerland, USA (New York, Washington DC, San Francisco), Spain, Italy (Venice, Rome, Turin, Milan, Naples), Germany, Japan and New Zealand.