RAZZIA – between fidelity and transgression

In Annika von Hausswolff’s exhibition at Galleri Andréhn-Schiptjenko in Stockholm, the contemporary steps forth out of images from archives which, in the artist’s re-working, creates cracks, gaps and reflection. The self-mirroring aesthetic of the period here meets historical references and new pictures step out of the old ones. LOFT has had a look, and it set us thinking.

The traditional dominance of male painters found themselves in the shadow of female post-modern photographers on the Swedish art scene during the 1990s. e female photographers directed their gaze towards stereotypes and patriarchal power structures. Annika von Hausswolff was one of the co-producers for this new era. Her naked, dead women’s bodies in forest glades and by the edge of water asked questions about gender and violence and created a shift in perspective, even with regard to landscape painting and the conventions of representation. In the artist’s pictures there was a vulnerability, with its starting point in the individual, but over the years her focus has changed. Now she examines in an all the more de-personalised way.
At Galleri Andréhn-Schiptjenko the photographer has taken this de-personalisation a step further by using images from archives and filtering the material through both universal and deeply personal parameters. The methods she has used include scanning of analogue photos and subsequently she digitally adapts them. As von Hausswolff has not taken any of the pictures in the exhibition herself, she has instead sought for tactility by enamelling them by way of screen printing. She re-examines the digital value in relation to a one-hundred-year-old process; the fading images expose ideologies which to a considerable extent have reproduced themselves in the contemporary fabrication of ideas.

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