1 -5 mars
Annèe Olofsson (b.1966) is a Swedish artist based in Stockholm, Sweden. She lived and worked in NYC 2001-2005.
She often uses her own body in her photo and video work. In addition to herself, she
has also frequently used her parents in her work and explores the themes of
domesticity and parent-child relationships.
Annèe Olofsson’s profound and uncanny work deal with complicated family relations, and relations of power. At the same time they explore the artist’s own possessions, personal fears and traumas and allow for different interpretations depending on the viewer’s own history and experiences. In photographs and video works with a clear surrealistic twist, she uses autobiographical material to explore mother-daughter and father-daughter relations in a way that inevitable gets under the skin of the viewer. It’s about growing up, about solitude, about fear of growing old, and about how distance and alienation come with all human relationships.
Annèe Olofsson is represented at MoMA, Moderna Museet and other major institutions around the world. In 2001 she received the prestigious 1-year scholarship at ISCP in New York.
About the works at VOLTA:
The interrupted series - Black Current (unique photographs)
After my last photos series from 2014 In between the bird cherry and the lilac I started to think a lot about my career and all the works I had produced. Also something deep and profound happened inside when my father suddenly died 69 years old in 2013. He had appeared in so many of my photographs and video works and now this was over. I started looking at older works that we did together: We are not the ones we used to be from 1997, Unfamilar and Unforgivable from 2001.
In Unforgivable I undress him, from top to toe unbuttoning his shirt (Unique image – part of the MoMA collection) The same shirt he got buried in. Since I have always worked analogue and that so much today is digital I decided to put all these thoughts together. I wanted to recycle my own works taking the analogue process as far as it could go, to interrupt the photographic process in the printing machine, like my fathers interrupted life.
Its like destroying a print but at the same time making one. A new work. A destruction and reconstruction. These prints can only be made once, if I make a new one it will be different. So mostly everything is change from the original work: The color, the size, the mounting. The original photograph drown in its on photographic darkness. Its like the black is fluid and become a threat coming from different directions.
These images are totally unique. All will be different depending on where I interrupt the process in the printing machine. And one important thing: The image doesn't exist before its printed. It doesn´t exist digitally and there is no negative. It only exist when its produced.
In 2006 I exhibited the work ”All ends have a start” at Uppsala Konstmuseum where the photograph in the installation had a broken corner. Due to that damage it had to be placed upside down. I was fascinated how the work change characters and media with a broken corner, it was no longer only a photograph but also became a sculpture.
In a way that was the time where I started to think more critical about photography and the thoughts destroy, rebuild, construct, deconstruct and interrupt came to my mind.
The original photographs from1997 and 2001 have a familiar and personal base dealing with growing up, parental love, strangeness between family members and a vague sexual appearance, but now looking at them they are a reflection of the difficult times we are now facing world wide.
They now also consist subjects like power, lack of power, male versus female, weakness, strength, grief etc.
The presidential resemblance in my fathers appearance is stronger then ever.
The Solitaires (sculptures)
Solitaire # 1897012019930930, Solitaire # 1922022824420050110 and Solitaire # 19440323269920130425.
In 2013 when my father died I found a couple of small blue and white danish porcelain china figurines of children (One boy and two girls) in different poses in his estate. There was a time when people bought these figurines for a lot of money putting them in their shelves or glass cabinets treating them as gold. Today the value has gone down significant and you can find them in flee markets etc. For me it was the only items from his house hold that touched me deep. Like they were alive and had a story to tell.
I decided to to change their characters and feeling by scan them then and print out much larger figures in 3D and paint then black.
The original color is white.
From ghosts to shadows.
Normally what comes out of a 3D printer is polished but I decided to keep them raw. Its like topography on the surface - seeing how its built from scratch - one layer after the other.
Painted black, they become shadows of an anonymous childhood, silhouettes of a lost time. Their poses suddenly appear peculiar, introverted and somewhat insecure. The sculptures in Solitaires are reminiscent of chance impacts on our lives and how powerless we are facing unpredictable events in life.
I treat these three dimensional 3D sculptures as photographs, as often I treat my photographs as sculptures.
EVENTUALLY IT WILL ALL GO TO MY HEAD
Crackled porcelain figurin/piggy bank portraying the artist
The figurine is a portrait of the artist begging. She has become a piggy bank with a slot in her back to put the coins.
The only way to get the money out of it is to backstab her or crush her with a hammer, maybe throw her in the wall.
So the true value of the figurine is hard to define.
Its made by the renowned porcelain company Rörstrand in Sweden and its molded in 8 parts.
The cracks is different on each figurine so all of them is unique.
VOLTA NY is the invitational fair of solo artist projects and is the American incarnation of the original Basel VOLTA show, which was founded in 2005 by three art dealers as a fair "by galleries, for galleries".
Since its debut in New York in 2008, Artistic Director Amanda Coulson re-conceived the format as a rigorously curated, boutique event — along the lines of a sequence of intense studio visits versus a traditional trade show environment. Since then VOLTA NY showcases relevant contemporary art positions from emerging international artists, from cutting-edge trendsetters to next year’s rising stars. Coupled with its approachable solo-booth format, the VOLTA team has created a fair that is both accessible to younger art-lovers and beloved by seasoned collectors alike. By spotlighting artists through primarily solo projects, VOLTA NY refocuses the art fair experience back to its most fundamental point: the artists and their works. A beacon for creative discovery during Armory Arts Week, VOLTA NY is likewise aligned with some of the best and boldest local cuisine and design collaborators in the city.
In 2017, VOLTA NY will celebrate its decade edition as a solo-focused international contemporary art fair.