| Annika von Hausswolff, Because There Is No God, No Good Dog, 2015. Image: Andréhn-Schiptjenko. |
Swedish photographer Annika von Hausswolff has a history of ignoring the limitations of her chosen medium. While photographs remain her aesthetic and conceptual bedrock, she has also incorporated sculpture, installation, performance, people, and props into her diverse practice, one that chiefly explores the complexities of the human mind. More »
| Martin Jacobson, Oak trees, evening, 2012. Image: Andréhn-Schiptjenko. |
In Martin Jacobson’s third exhibition at this gallery, titled “Landscapes,” the Swedish artist has appropriated the archetypal nature panoramas of the decorative art often found in hotel rooms and flea markets. More »
| Jacob Dahlgren, Work as Method, 2013. Image: Andréhn-Schiptjenko. |
Given his history of transforming everyday objects into large-scale installations and intricate constructions that hint at the power of excess and the void, it’s clear that Swedish artist Jacob Dahlgren is no stranger to repetition.
| Katarina Löfström, A Void, 2013, image: Katarina Löfström |
In Katarina Löfström’s third solo exhibition at Andréhn-Schiptjenko, one is cajoled by both the comfort of repetition and sensory parameters related to any given reality. Perception, after all, is adaptable and even, at times, restrained. Human beings are able to train themselves to hone attractive skills and master talents through trial and error. More »
| Annika Larsson, Animal (in 14 Movements), 2012, image: Andréhn-Schiptjenko |
Annika Larsson’s fourth exhibition at a gallery located in what Stockholm refers to as their “art palace” in Vasastan, ”Animal,” is a curious display focusing on the rapport between the human and animal from multiple angles: anthropological, psychological, theoretical, political—to name a few. More »
| Tony Matelli, The Constant Now, 2010, image: Andréhn-Schiptjenko |
“The Constant Now,” Tony Matelli’s fourth solo exhibition at this gallery, presents five new sculptures and three paintings that are reminiscent of his previous explorations. For example, there are obvious similarities between his sculpture Josh, 2010, and Sleepwalker, 2001: Both eerily depict displaced human figures and appear to be conspicuous mockeries. This show more fully formulates a question that his earlier work touched on: What particular value can be found in art that overstates a seemingly directionless, wasted state of being? More »