I am Visconti 2012 35 x 50 cm |
Simplicity, 2011 Digital print face mounted on acrylic 100x75cm Edition of 5+2ap |
Behind closed eyes is where the real horror begins 2012 Acrylic on Canvas 22x27cm |
Grace, acrylic on canvas 2012 & State of Mind, 2012, Ink and pencil on paper |
State of Mind 2012 Ink and pencil on paper 39x55cm |
Beauty 2012 Digital Print 46x50cm (framed 64x68cm) Edition of 5+2ap |
Disturbed Silence Acrylic on canvas 22x27cm |
Janus II Acrylic on canvas 22x27cm |
Pose 2016 Ink and pencil on paper 28x22cm |
Lovers, 2011 Digital print face mounted on acrylic Edition of 5+2ap |
Dreyer 2012 Ink and pencil on paper 29x39cm (framed 42x52cm) |
White Ribbon 2012 Ink and pencil on paper 29x39cm (framed 42x52cm) |
White Ribbon, 2012, Ink and pencil on paper & Melancholia, 2012, Digital Print Framed, 120x120cm |
Janus 2011 Acrylic on canvas 22x27cm |
All the masks I carry on my face 2012 Ink and pencil on paper
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Mask 2016 Ink and pencil on paper
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White Nights 2011 Acrylic on canvas 22x27cm
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SimplicityII, 2011 Digital print face mounted on acrylic Edition of 5+2ap |
Untitled, 2012, Digital print face mounted on acrylic, 133x100cm, Edition of 5+2ap |
I'm a wound and a sword, a victim and an executioner. I am your Mirror.
4-28.10.2012
At Helsinki Contemporary, Bulevardi 10, 00100 Helsinki, Finland
“I’ve always preferred mythology to history. Because history is made up of truths which eventually turn into lies. Mythology is made up of lies that eventually become truths.”
- Jean Cocteau
Ville Andersson’s exhibition consists of new photographs, paintings and drawings. In the dramatized situations of the photographs, there’s a strong mystical and psychological force. This force is also present in the paintings, which are in dialogue with a former civilization; with both literature, film and fine art.
In the artist’s style you can see influences from many different time periods. Andersson sees clear links and continuums in this wide source material. He uses the archive of art history as a sort of dictionary, forming new sentences, and bringing the dialogue that’s already going on, further.
The subjects of the works that have been produced this year are known from the artist’s earlier production: in the centre, there are human figures. The figures are surrounded by a mystical atmosphere, that doesn’t leave the viewer with an easy task. Andersson doesn’t reveal too much about his characters, but wants every viewer to form a personal relationship to them.
The works are moving in a world of nuances of black and white, which is also known from Andersson’s earlier production. The black-and-whiteness functions as something that makes time stop, the pictures seem to live in their own world, apart from the viewer’s reality.
The names of the works, like I am Visconti and Melancholia, bring to mind Luchino Visconti’s and Lars von Trier’s films. Andersson points out that in these films you can see a flawless style walking hand in hand with a rupture – a rupture that makes the works a part of life. The same thing you can see in the works of the exhibition: paradise has been lost.
Esthetic and beauty do have their own place in Andersson’s art. As he sees it, this is a veil through which we can filter even our darker feelings – the conscious and the unconscious ones. The work of art functions as some kind of softening device, with the help of which we can be in touch with these feelings. In this contact, there is also a possibility of change.
MORE ABOUT THE EXHIBITION HERE - HELSINKI CONTEMPORARY GALLERY |
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