| dc.date.accessioned | 2016-12-22T11:20:31Z | |
| dc.date.available | 2016-12-22T11:20:31Z | |
| dc.date.issued | 2016 | |
| dc.identifier.uri | http://hdl.handle.net/2077/50825 | |
| dc.subject | Grand Theory Hotel | sv |
| dc.subject | Photography | sv |
| dc.subject | Installation | sv |
| dc.subject | Staged Photography | sv |
| dc.subject | Enamels | sv |
| dc.subject | Analogue Photography | sv |
| dc.subject | Power Structures | sv |
| dc.subject | Archive | sv |
| dc.subject | Digital Era | sv |
| dc.subject | Subconsciousness | sv |
| dc.subject | Psychoanalysis | sv |
| dc.subject | Hasselblad Center | sv |
| dc.subject | Hasselblad Foundation | sv |
| dc.subject | Svenska Institutet I Paris | sv |
| dc.subject | Institute Suêdois à Paris | sv |
| dc.subject | Les structures patriarcales | sv |
| dc.subject | la criminologie | sv |
| dc.subject | le capitalisme global | sv |
| dc.subject | le médium photographique | sv |
| dc.subject | surréaliste | sv |
| dc.subject | féministe | sv |
| dc.subject | Paris Photo | sv |
| dc.title | GRAND THEORY HOTEL | sv |
| dc.type.svep | artistic work | |
| dc.contributor.creator | Hausswolff, Annika von | |
| art.typeOfWork | Curated Solo Exhibition and Catalogue | sv |
| art.relation.publishedIn | 2016-02-27 & 2016-11-11 Hasselblad Center, Göteborg & Svenska Institutet I Paris / Institute Suêdois à Paris | sv |
| art.description.project | A solo exhibition by Annika von Hausswolff at the Hasselblad Center and Svenska Institutet I Paris / Institute Suêdois à Paris. The exhibition features a selection of the artist’s works from the past ten years, in which the themes that have always characterized Annika von Hausswolff’s production are developed, and her importance as one of the leading Nordic artists is manifested.
Some recurrent subjects in Annika von Hausswolff’s works are patriarchal structures, criminology, global capitalism, the subconscious and a profound interest in the photographic image – with a predilection for analogue technology. The exhibition features, among other series, the dreamlike suite I Am The Runway of Your Thoughts (2008), sculptures from the series Social Abstraction (2010), images depicting gold teeth in the series An Oral Story of Economic Structures (2012), as well as the latest works – suggestive enamels created by existing archival images (2015–2016).
Annika von Hausswolff became established in the early 1990s as one of the most influential artists in Sweden who challenged the 1970s documentary tradition and 1980s subjective oriented photography. Her works are often imbued with a social commitment. She uses stagings and an associative imagery as method to create images where the boundaries between fiction and reality are fluid. Another distinctive feature of Annika von Hausswolff’s works are the spatial installations in which the photographs are often combined with sculptural elements, such as window blinds and textiles – everyday details from domestic environments that also appear in the photographs. Placed in the exhibition space, they become more than an extension of the images – they form an immersive installation.
Annika von Hausswolff’s multifaceted oeuvre is reflected in the exhibition’s title, Grand Theory Hotel, where the artist invites us to different rooms – surreal, feminist or photographic – that are woven into a vertiginous and multilayered whole.
A new book about Annika von Hausswolff is being published in conjunction with the exhibition, published by the Hasselblad Foundation and Art and Theory Publishing, with graphic design by the design duo Malmsten Hellberg. The book is released on 11 May at the Hasselblad Center in Gothenburg, and 18 May at the Mindepartementet in Stockholm.
Annika von Hausswolff (born 1967) lives and works in Gothenburg. In 2007–2012, she was a prominent professor of photography at the University of Gothenburg, with great influence on the younger generation of photographers. She represented Sweden at the Venice Biennale in 1999, and her work is represented in many Swedish and significant international collections, such as the Solomon R. Guggenheim Museum, New York; Moderna Museet, Stockholm; Magasin III Museum & Foundation for Contemporary Art, Stockholm; Kiasma, Helsinki; Astrup Fearnley Collection, Oslo and the Hasselblad Foundation, Gothenburg. Annika von Hausswolff is one of the founders and editors of the art blog tsnoK.se.
Curator: Dragana Vujanovic, Hasselblad Foundation
GRAND THEORY HOTEL by Annika von Hausswolff
The exhibition GRAND THEORY HOTEL was initiated by Dragana Vujanovic Östlind, curator at Hasselblad Center in Gothenburg, in 2015. In a valuable collaboration we shaped and formulated the content within the presentation. It not only resulted in a carefully executed show, but also a beautiful catalogue designed by Malmsten & Hellberg.
The idea was to make a public presentation of my artistic practice based on a ten years period. The reason for this time frame is of a particular interest. As an artist and photographer I have worked mainly with analogue film and paper, chemicals and tactile equipment. The last decades have seen a new digital photographic technique developing but I have been reluctant to use this technique in any other way than purely pragmatic, this means keeping a digital archive, making printed matters through scanning and so forth.
In 2006, I was working with an exhibition due to be installed in New York the following year. Using a large format camera, I was in need of Polaroid film (direct film) in order to instantly check on the composition and the lighting in my images. To my surprise I learned there were no Polaroid film in stock at my suppliers and even more upsetting, the manufacturing of Polaroid film was terminated some year later.
This marked an end and a new beginning to my artistry. Having based my photographic practice largely upon the notion of the dark room – both within the camera apparatus itself and the actual darkroom where films and prints are being developed - I was faced with a digital technique where no darkness is needed, no light sensitive materials are involved, where chemicals and knowledge about ISO parameters are replaced with programming, codes and digital files.
The ephemeral qualities of this new technique has its own qualities and poetry that differs radically from the traditional analogue ways of imagemaking. Rather than just purchasing a new camera with a digital back cover I was at the time thrown into confusion as of how to relate to my own image making. Little had I known about the dark room´s importance to my work, the necessity of the slow processes of analogue procedures. I felt robbed of my tools and intimidated from the commercial impact of my work; interests far beyond my control.
The exhibition GRAND THEORY HOTEL was a diverse and restless exhibition, showing my frustration on the above stated and displaying different means to solve and resolve the questions and riddles that was imposed upon me by the inventors of the digital camera.
The exhibition starts with a number of framed polaroids from 2006. The most recent images, from 2016, is a series of found imagery from various archives, transformed by me into vitrious enamels in fading colours and small scale formats. In between these years are other photographic projects, more or less connected to the ontology of photography. Sometimes reflecting on purely photographic paraphernalia as subject matter, at other times trying to tell a story about the human condition as such.
In an interview before the opening I stated GRAND THEORY HOTEL to be my last exhibition. It is like staging your own suicide, a symbolic gesture that mirrors the end of an era, both personally and, in my mind, globally. The world as we know it is forever altered through the impact of digital technique and we need to find a new approach to, not only time and space, but also to ethics and poetry. Ressurection is everything! | sv |
| art.description.summary | GRAND THEORY HOTEL is a solo exhibition by Annika von Hausswolff at the Hasselblad Center and Svenska Institutet I Paris / Institute Suêdois à Paris. The exhibition features a selection of the artist’s works from the past ten years, in which the themes that have always characterized Annika von Hausswolff’s production are developed, and her importance as one of the leading Nordic artists is manifested.
Curator: Dragana Vujanovic, Hasselblad Foundation
Curator: Marion Alluchon, Svenska Institutet I Paris / Institute Suêdois à Paris | sv |
| art.description.supportedBy | Hasselblad Foundation, Svenska Institutet I Paris / Institute Suêdois à Paris, Art and Theory Publishing | sv |
| art.relation.uri | http://www.hasselbladfoundation.org/wp/portfolio_page/annika-von-hausswolff-2/ | sv |
| art.relation.uri | http://www.artandtheory.org/?isbn=9789188031273 | sv |
| art.relation.uri | http://www.gp.se/nöje/annika-von-hausswolff-grand-theory-hotel-1.2567 | sv |
| art.relation.uri | http://www.gp.se/nöje/annika-von-hausswolff-spejar-både-framåt-och-bakåt-1.2418 | sv |
| art.relation.uri | http://www.arbetarbladet.se/kultur/pa-annika-von-hausswolffs-teoretiska-grand-hotel | sv |
| art.relation.uri | http://sverigesradio.se/sida/artikel.aspx?programid=478&artikel=6382647 | sv |
| art.relation.uri | http://www.hd.se/2016-04-16/den-adla-konsten-att-gillra-en-falla | sv |
| art.relation.uri | http://www.dn.se/kultur-noje/konstrecensioner/suggestivt-och-kusligt-undertryck/ | sv |
| art.relation.uri | http://www.aftonbladet.se/kultur/konst/article22606280.ab | sv |
| art.relation.uri | https://paris.si.se/agenda/grand-theory-hotel-annika-von-hausswolff/ | sv |
| art.relation.uri | http://next.liberation.fr/arts/2016/12/04/annika-von-hausswolff-la-poetique-de-l-obsolete_1532902 | sv |
