Annika Elisabeth Von Hausswolff, The Hole is a Noun, 2020
Annika Elisabeth Von Hausswolff
Apr 30 – Jun 23, 2022
Stockholm, Sweden

Andréhn-Schiptjenko is pleased to present The Pink Drill, an exhibition with new works by Annika Elisabeth von Hausswolff. The artist was first introduced by Andréhn-Schiptjenko in 1994 and has since then been widely exhibited in Scandinavia and abroad. She is well known for her carefully arranged images with a documentary visual expression and many of her series of works are inspired by crime scene photography.

In 2021–2022, the Moderna Museet in Stockholm presented an extensive mid-career retrospective of her work, accompanied by a catalogue, which has now travelled to the Moderna Museet in Malmö.

Recurring themes in Annika Elisabeth von Hausswolff’s works are patriarchal structures, global capitalism, psychoanalytic theories and her deep interest in the photographic image itself. Her interest also extends to the transition from analogue to digital photography, examining the very medium of photography and its tools of the trade. She currently employs techniques such as UV-print on acrylic glass, oil paint, fine art prints and enamels.

Her new works on display at the gallery stem from a series of images initiated in 2020 with the title: The Hole is a Noun. Reflecting the contradictory categorization of an object defined by its absence, the images are based on found photographs from private photo albums and news archives. The subject matter is now being completed with the addition of new images, all relating to the subject. Crotch Blowout and the work that lends its title to the exhibition, The Pink Drill, deals with unwanted holes versus a specific hole that requires a lot of energy and calculations to create.

  • Maria Sturm: You Don’t Look Native to Me

    In 2011, Maria Sturm began to photograph the lives of young people from the Lumbee Tribe around Pembroke, Robeson County, North Carolina. Through the process of documenting their lives, Sturm began to question her own understanding of what it means to be Native American. Her new book You Don’t Look Native to Me combines photographs with interviews and texts to preconceptions and show Native identity not as fixed, but evolving and redefining itself with each generation. (more…)

  • Duos: The Art of Collaboration
    Mar 27 – Sep 8, 2024
    Lewes, UK

    Discover a new group exhibition showcasing shared canvases, dynamic working practices and collaborative identities that celebrate the creative force of collaboration. Featuring work from Rottingdean Bazaar, The White Pube, Bob and Roberta Smith, Jake & Dinos Chapman, Vanessa Bell and Duncan Grant, join us to celebrate the power of creative partnerships and discover the diverse forms collaboration can take. (more…)

  • Celine Condorelli: Museum Hours
    Apr 11 – Jun 8, 2024
    Galeria Vera Cortês
    Lisbon, Portugal

    Galeria Vera Cortês is delighted to announce Céline Condorelli’s new solo exhibition at the gallery. Céline Condorelli was artist in residence at the National Gallery from Sept 2022 to September 2023, at the end of which she had an exhibition titled Pentimenti (The Corrections). All the works in this exhibition were developed during that time and intimately relate to the experience of the residency, but were not part of the exhibition at the time. (more…)

  • Immemory
    Apr 12 – Jun 30, 2024
    Keelung Museum of Art
    Keelung City, Taiwan

    Immemory, “bē-kì-tit” in Taiwanese, is a memory project focusing on the “historical turn” in contemporary art over the past decade in specifically the local context of Keelung. The exhibition considers historical objects and facts as the “thing-in-itself,” aiming to explore Foucault’s concept of “historical a priori” through self-reflexive historiography. The project presents five leitmotifs: “archive fever,” “cold cold war,” “things as the historical a priori,” “politics of exosomatic memory,” and “settler colonialism vs colonialism.” (more…)