Image: Pernilla Zetterman, video stills from When
Context Art Miami, USA
December 3 – 7, 2014
Inka and Niclas
The work of Pernilla Zetterman is characterized by an intense exploration of topics such as human control, discipline and the exertion of power. The photographs of the series Close result from her personal experience and deal with equestrian culture and its associated cultural codes.
Using close-ups Pernilla Zetterman shows the details of the bodies of horses and riding utensils. The study of conflicting emotions is the starting point as well as the central idea of the series. The antagonism becomes apparent in her images which depict the contrast between love and closeness, represented in the close-ups of the animals, and seeming coolness, represented in the still lifes of the riding equipment. Equally, the title of the series Close implies the ambivalence of a relationship that may oscillate between intimate closeness and reserved dissociation. The intimate relationship with another being – human and animal alike – is marked by a conflict that has become the central idea of her work. The video works reveals the knowledge that the borders between sensations such as intimacy and distance, submission and dominance often blur. In her film When the artist refers to the narrow line between strict self-discipline and compulsive self-control when unceasingly swinging the tool intended for controlling the animals above her own head.
Pernilla Zetterman was born in Stockholm in 1970. Her work has already been shown in many renowned exhibitions throughout Europe. The first monograph of the Swedish artist was published by Hatje Cantz Verlag in 2009, with an accompanying text by Urs Stahel (Fotomuseum Winterthur). 2004 Pernilla Zetterman was awarded the Victor Fellowship Award of the Hasselblad Foundation.
Sascha Weidner´s Hanami cycle of pictures (literally “flower viewing”) follows the Japanese traditional custom of enjoying – once a year in springtime – the transient beauty of flowers, “flower” in this case almost always meaning cherry blossoms. The way nature constantly reconstructs and renews itself, adapting to the most various situations, can also be exemplary of industry; recreating itself in groupings and connections, blossoming in all its glory and withering away, paying tribute to new conditions, the cycle of natural evolution thus going hand in hand with the industrial revolution. It is about life and death, and the short period in between when we as humans are supposed to blossom.
Sascha Weidner was born 1976 in Osnabrück, Germany and studied Photography, Painting and Communication Design at the University of the Arts in Brunswick, Germany. He has won numerous prestigious awards, such as the Award for Photographic Art of the Alison & Peter Klein Foundation and in 2010 he won the Berlin Art Prize, awarded by the Academy of the Arts Berlin. His work deals with the ”search of a refuge, where utopia orchestrates reality and viceversa”. Weidner’s work has been shown in numerous solo and group exhibitions as well as in public and private collections.
Since tomorrow was his solo show at C/O Berlin, Germany in 2011. In 2014 Sascha Weidner has been named as the inaugural winner of the entrepreneur 4.0 award. The work for the exhibition Aokigahara also arose during his residency program at the Villa Kamogawa in Kyoto, Japan last year. In 2012 he was appointed a member of the German Photographic Society. Sascha Weidner was finalist of the Otto-Steinert-preis 2013.
Temporary artistic activities and their photographic documentation have already been in a similar relationship in the past: In the course of the Concept Art movement of the 1960s and 1970s, the photography medium acquired a new meaning when it was used to photographically document and hence permanently preserve artistic performances or happenings. Thanks to the photographic documentation of these artistic events, which were only intended for a particular moment, these art forms became accessible to the art market; however, the focus always remained on the activity itself, which was considered to be the actual work of art. The photography was solely perceived as documentation.
By contrast, Inka & Niclas go one step further here: although they still use photography in its traditional function for the documentation of an artistic activity, at the same time photography itself is very consciously understood as the final work of art. This becomes apparent not just from the well thought-out colors and composition of the images, but also from the type of framing used, since the frames in The Belt of Venus and the Shadow of the Earth are no longer understood as a limitation of photography, but rather as a part of it. Photography deliberately becomes the artistic end product, the actual artistic object.
Inka&Niclas are continuing the investigation about photography. The latest project is meta-photography and in reference to the concept of capturing images of what’s “beyond” the physical scene and/or image. You could also interpret it as capturing the elements “adjacent” to the physical reality of the scene, as in the spirit or energy of the subject. Physical reality consists of different levels, or frequencies, of existence. Every physical being and inanimate object contains within/ adjacent to/beyond itself an energetic existence. This energy could be referred to as spirit or soul.
The concept of “meta-photography” is that the photographer has included this spiritual essence, through intention and feeling, within their photograph. This method of looking at and capturing what is essentially “beyond” the physical beauty can actually be felt by the viewers of the artwork. For most, this will be an unrecognizable sensation that stimulates at a subconscious level.
Inka Lindergård was born 1985 in Finland and Niclas Holmström was born 1984 in Sweden. They live and work together in Stockholm, Sweden since 2007. Their first book Watching Humans Watching (Kehrer Verlag) won the Photobook of the Year Award in Sweden 2012.
Ulf Rollof works in many disciplines like huge installations and drawings. His shoot paintings are very well known and are included in several collections like Moderna Museet in Stockholm. Rollof´s art is about life, pain and death. The image of the monkey was originally published 1912 in a book about an excursion in Kongo, Africa. The little monkey was taken from his habitat as an evidence of the fauna of Africa.
Ulf Rollof is a Swedish artist, born 1961 in Karlskrona, Sweden. He was educated at the Royal University College of Fine Arts 1982-1987. He has exhibited at in numerous countries and institutions. He represented Sweden at the 48th International Art Exhibition Venice Biennale in Italy 1999 and at Documenta 9 in Kassel, Germany, in 1992.