Annee olofsson biography template

Subscribe: Apple Podcasts | Spotify | TuneIn | RSS | Click here to join mailing list

Anneè 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.

Anneè Olofsson´s art has a penetrating quality which makes it unforgettable. With an iconography that carnally and directly comments on the tension between detachedness and affinity, time and aging, she works primarily with analog photography and video, occasionally even sculpture. Olofsson returns repeatedly to her own body as an unrestricted artistic tool. Bodies become symbols which tell not only of our inscrutability, but of our human limitations as well. In Anneè Olofsson´s space, persons are tightly bound within a compact blackness, and the human presence therein has the power to instill as much life as death into spatiality.

Anneè Olofsson was born in 1966, in Hässleholm, Sweden. She studied at The Royal Art Academy in Oslo, Norway from 1990-1996 and hold a MA in Fine Arts. She received a prestigious 1 year scholarship at ISCP in New York 2001 and lived and worked there until 2005. She now lives and works in Stockholm, Sweden. The list of her solo exhibitions in Sweden is long as well as abroad. She has for example exhibited at The Venice Bienale, Magazini del Sale, The Art Museum of the University of Houston in Texas, Mori Art Museum in Tokyo, Bass Museum of Art in Miami, Bard College, Corcoran Gallery of Art in Washing

ANNEE OLOFSSON

MARIANNE BOESKY GALLERY

Many of the new narrative dimensions in contemporary art unfold from the endless melodrama of domestic life. The early-- twenty-first-century idea of domesticity has turned inward from extroverted, upbeat notions of the everyday, now favoring darker reflections on who we are at home in the semiprivate space of family life-with artworks appearing that aren`t nearly as lite as the "lifestyle" art that proliferated in the `9os. Rather than merely point in the direction of home with decor-ready objects or focus on the ambience of ultrafashionable people living and working together in style, themes of domesticity are yielding to psychological ambiguities that erupt at the seams where memory and fantasy meet. Somewhere near that intersection, in a place carved out of love and angst, artist Anneè Olofsson tries to get to the bottom of it all by exploring her relationship with her father.

In a series of five large C-prints, each titled Skinned, 2002, Olofsson appears with her back to the camera, wearing a skintight, flesh-colored shirt, under which a pair of hands gropes her-her shoulders, her arms, and so on. The images are creepy yet benign. Nothing says "father" except the photographs` proximity to three video installations that attempt to recuperate (or simply fate on) some aspect of life with Dad. In one of these, Do you know how 1 feel around you, 2002, a wildly exaggerated shadow profile falls across Olofsson`s passive form and flickers to life as her body rotates in space, suggesting physical and psychological possession. Ricochet, 2001, by far the most successful projection piece, is a beautifully choreographed pas de deux between Olofsson and two male partners who repeatedly embrace and then reject her in luscious color and slow time.

It`s not obvious whether the hands in Skinned or the profile in Do you know how I feel. . . are even masculine, let alone Daddy`s, but Olofsson hammers everything in

Im happy to announce my soloexhibition “If you wanna dance dance if you dont dont” at Teatergrillen in Stockholm. Curator Calle Carboni.
The show will include some new works as well as some older.

My work Will you still love me tomorrow is now installed at Bird & Bird Law firm in Stockholm – A collaboration with Moderna Samlare.

Im happy to announce that my book “This is Annee Olofsson” is now included in the library of the Getty Research Institute in Los Angeles, USA

https://www.praun-guermouche.com/shop/this-is-annee-olofsson/

Im happy to announce that my book “This is Annee Olofsson” is now included in the library of The Cleveland Museum of Art, Cleveland, Ohio, USA

https://www.praun-guermouche.com/shop/this-is-annee-olofsson/

Im happy to announce my participation in the exhibition “Människoungar” at Kulturhuset Stadsteatern in Stockholm in collaboration with Stockholm Konst.
Artist included in the exhibition: Karin Mamma Andersson, Idun Baltzersen, Lena Cronqvist, Inger Edefeldt, Charlotte Gyllenhammar a.o

Unfortunatley my book did not win this year but will be on display at CFF(Centrum för Fotografi) and tour Sweden during 2024.

You can check out my book and purchace it at https://www.praun-guermouche.com/project/this-is-annee-olofsson/ or https://konstigbooks.com/art/annee-olofsson-this-is-annee-olofsson.html

Im happy to announce that my video “A Demons Desire” from 2011 will be screened at Loopholecinema “The Spectator and the Spectacle”
It will be screened during the program the 7th of march 2024. From 18.30 at Ryesgade 82 in Copenhagen. Included in the screening is also: Hans Richter, Nikita Diakur, Agnes Varda a.o.

Im happy to announce that my book This is Annee Olofsson is now included in the