Annica Karlsson Rixon
ABBAYE DE JUMIÈGES
April 7th to June 10th 2018
Penti Sammallahti, Sandö, Finlande, 1975
In France, Pentti Sammallahti is probably the best known of the four photographers exhibiting in Jumièges.
He is represented by the Camera Obscura gallery and his work has already been shown at several exhibitions, including at the Finnish Institute in Paris, in 1996. More recently, his work appeared at Rencontres d’Arles in 2012, coinciding with the publication of an important compilation entitled “Actes Sud Ici au loin”. Pentti Sammallahti was born in Helsinki in 1950. He lives and works in Finland..
Jorma Puranen, Icy Prospects 47, 2008
Timo Kelaranta was born in 1951. He studied at the University of Art and Design in Helsinki, where he went on to teach. His work is primarily concerned with the visual arts, with geometric themes also being a regular feature.
the masters of a finnish school
All four photographers are of the same generation, born in the early 1950s (except the slightly younger Jyrki Parantainen). They have, for the most part, taught at Aalto University in Helsinki. Their teaching has helped shape the young talent that the Finnish Taik Persons Gallery brought together and styled “the Helsinki School”.
Jyrki Parantainen, Earth 4, 1990
He was a student of Pentti Sammallahti before attending Aalto University. In his collections on fire and earth, he explores the myths surrounding humanity’s foundation. “I consider my work as the study of beauty and horror, of a moment of sudden and irreversible catastrophe”.
Timo Kelaranta, Silent lake 1, sd
Timo Kelaranta was born in 1951. He studied at the University of Art and Design in Helsinki, where he went on to teach. His work is primarily concerned with the visual arts, with geometric themes also being
a regular feature.
Born in Helsinki in 1972, Elina Brotherus today divides her time between Finland and France. She started working with photography in the mid-1990s and had her first exhibition whilst still a student. After initially studying chemistry, she gained a diploma in photography from the University of Art & Design, Helsinki, in 2000. She was a student of both Jorma Puranen and Timo Kelaranta.
Les femmes de la Maison Carré
Slide show of 13 photographs in the exhibition space of the Logis Abbatial.
Brotherus photographed Les Femmes de la Maison Carré series during the spring of 2015. Space by space, indoors and out, she took over the Maison Louis Carré (1959) near Paris, which was designed by Alvar Aalto for the art dealer and gallery owner Louis Carré (1897-1977). This was essential in order to understand Aalto’s architecture. The dialogue between interior and exterior spaces can also be seen in many of the works in the series, in which Brotherus skilfully uses reflections, mirror surfaces, light and shadows.
Susanna Pettersson, Ateneum Museum, Helsinki
Exhibition catalogue Les Femmes de la Maison Carré,
Maison Carré, 2015.
The exhibition is produced in partnership with Camera Obscura Gallery, Paris and Taik Persons
Conférence d’Ásdís Ólafsdóttir
"De la nature à l'architecture :
l'usage du bois chez Alvar Aalto"
Sunday, June 3, 2018, 2.30 pm - 4.30 p
Pétur Thomsen was born in 1973 in Reykjavik. He lives and works in Sólheimar, Iceland. After studying Art history at l’Université Paul-Valéry in Montpellier, he went to l’École nationale supérieure de la photographie in Arles and graduated in 2004. He was placed 10th in the LVMH des jeunes créateurs in 2004 and selected in 2005 by the musée de l’Élysée in Lausanne to take part in the reGeneration: 50 photographe de demain exhibition. He has shown his work in Europe, the Middle East, the United States and Japan. In 2013, he had an exhibition at the festival des Boréales in Caen which had previously been shown at Transphotographiques in Lille. Its subject was the construction of a hydroelectric station which had dramatically transformed the landscape in the east of Iceland - the environment is one of the central themes of his work. After having been shown at the National Gallery in Reykjavik, his exhibition on the subject, «Imported Landscape», was voted the exhibition of the year 2010 in Iceland. He is a founding member of an association of Icelandic photographers and today co-directs the Icelandic Photo Festival.
quaiS de seine
June 22th - September 30th 2018
Pétur Thomsen has been invited to the town of Duclair, which is on the Seine, to document an environment and a population alien to him from his own point of view and own cultural sensitivities. Although he lived for sometime in France, the region of Normandy, its light, countryside and architecture are a complete unknown for him. Its the type of encounter which feeds his curiosity and will give his work an originality in comparison to previous projects done in the area. To achieve this, he will go in search of the traces of the story surrounding Mustad, a Norwegian industrial company which left an indelible mark on the town..
Exhibition produced in partnership with
the municipality of Duclair and with
the assistance of the Royal Norwegian Embassy.
centre D’ART CONTEMPORAIN DE LA MATMUT
June 30th to September 30th 2018
Rune Guneriussen was born in 1977 in Norway. He studied at the Surrey Institute of Art and Design in England. Today, he lives and works in eastern Norway. It is in 2005 that it undertakes its series of installations of objects in the landscape.
The exhibition is produced in partnership with Melanie Rio Fluency.
The work of Rune Guneriusen revolves around two techniques: The use of a view camera for the setting and the photography. However, Rune Guneriussen claims to be first and foremost a photographer, photography meaning to him the ultimate end of his plastic research. Most of his interventions, realized on isolated natural sites, are only visible thanks to his photographs, the only remains and witnesses of what once was. In search of odd places, Rune Guneriussen acts on the landscape using a technique akin to Land Art by handling common objects: lamps, chairs or books that he stages and arranges according to a precise setting in natural spaces. He uses the natural landscape
not as a backdrop but as the very subject of the setting.
He uses ridges and crevices, trees and vegetation and also meteorological phenomena like Snow storms or drops in temperature, to reach the desired effect. Rune Guneriussen brings life to these objects which enchant the landscape and seem to colonize the tree, the valley, the undergrowth, the ice. Their presence in these spaces, far from looking incongruous, seems almost unalterable. No trace of human presence remains, fiction thus prevails and takes us to
a universe filled with these object-like creatures.
The installation by Rune Guneriussen in the grounds of Matmut’s contemporary art centre will echo his photographic work being exhibited inside.
MUSÉE DES BEAUX-ARTS
September 14th 2018 - Januaryth 6, 2019
Annica Karlsson Rixon was born in Sweden in 1962 and now lives and works in Gothenburg. Apart from photographs inspired by the works of Danish painters, part of Annica’s work is informed by a commitment to minority groups and communities marginalised by society. An example of this is a project conducted in Russia and which was collated together and published under the name «At the Time of the Third
Reading» in 2016 by Art and Theory Publishing.
The project is produced in partnership
with the Swedish Institute, Paris and the support
of the Västra Götaland Region, Sweden.
Annica Karlsson Rixon
P.S. Krøyer. Ved frokosten,
Annica Karlsson Rixon.
Artists Lunch, 1997
After having seen a body of work combining painting
and photography, the musée des Beaux-arts in Rouen
has invited Annica Karlsson Rixon to explore not only
their paintings on show, but also those in storage.
This photographer searches out pieces which resonate with personal concerns and preoccupations and which the subjects can be transposed into the contemporary world using photography. In the eyes of this artist, a work only takes on meaning and power in the light of the era of those viewing it.
In the past, Annica Karlsson Rixon has produced several photographic collections inspired by paintings of Skagen (a coastal town in the north of Denmark visited and painted by various nineteenth century Scandinavian artists of the Impressionist movement), including «Nordic Light». Annica transposes scenes from paintings into a contemporary setting. However, it goes well beyond simply copying as the recreations tell a new story directly linked to the people chosen to be photographed.
Muma MUSÉE D’ART MODERNE
October 13th 2018 - January 27th 2019
Trine Søndergaard (b. 1972) is a Danish photography-based visual artist. Søndergaard lives and works in Copenhagen, Denmark. Trine Søndergaard’s work is marked by a precision and a sensibility that co-exist with an investigation of the medium of photography, its boundaries and what constitutes an image. Layered with meaning and quiet emotion, her works are highly acclaimed for their visual intensification of our perception of reality. She has been awarded the Albert Renger-Patzsch Prize and has received numerous grants and fellowships, including a three-year working grant from the Danish Arts Foundation.
Exhibition realized in collaboration with Martin Asbaek gallery, Copenhagen, and with the assistance of the Royal Danish Embassy.
It will be presented
in 2019 at the House of Denmark in Paris.
Danish artist and photographer Trine Søndergaard creates works of art that prioritize reflection and gives it a visual language. Her photos of traditional regional costumes and empty rooms convey a sense of shared human experience across generations. The exhibit will present under the title “Still” two series: Guldnakke (2012 - 2013) and Interior (2008 - 2013). A painting by Vilhelm Hammershoi, belonging to the Orsay Museum collections, and whose work inspired the photographer, should be set alongside the photographs.
Gold is a universal symbol of wealth, the sublime, or the divine. Gold provokes a feeling of desire in many of us. The bonnets are from the mid-eighteen hundreds, and were popular among the wives of wealthy Danish farmers. The bonnets were a status symbo l. Gilded textiles had previously been reserved for royalty, the nobility and the church. Highly specialized needlewomen made the bonnets, and these experts are early examples of self-employed women who were often able to provide for their families. Linking this kind of female history to a specific garment is something the artist has explored in the past, just as she has also previously explored her audience’s ability to read historical signs. T.S.
Over an extended period of time, the photographer patiently created the images for the series Interior by continually revisiting the winter rooms of uninhabited Danish manors. When Søndergaard first arrived, the buildings had been empty for over half a century and stood like a shell of the past with their rooms devoid of any traces of life. These abandoned spaces provided an ideal site for her unique precision and sensibility, and for her continuing interrogation of the photographic image.
The images of Interior contain clear references to the nineteenth century Danish painter Vilhelm Hammershøi, whose paintings of rooms are known for their harmonic palette of grays and an acute awareness and rendering of light.
30 Mars 1904
Paris, musée d’Orsay
© RMN-Grand Palais (musée d’Orsay) / Adrien Didierjean