Galleri Fagerstedt, Stockholm

Galleri Fagerstedt

Hälsingegatan 18, 139 36 Stockholm, Sweden



Anneè Olofsson (b. 1966) is a Swedish artist based in Stockholm, Sweden. She often uses her own body in her photo and video work. In addition to herself, she has also frequently used her parents in her work and explores the themes of domesticity and parent-child relationships. 

Olofsson’s profound and uncanny work deal with complicated family relations, and relations of power. At the same time they explore the artist’s own possessions, personal fears and traumas and allow for different interpretations depending on the viewer’s own history and experiences. In photographs and video works with a clear surrealistic twist, she uses autobiographical material to explore mother-daughter and father-daughter relations in a way that inevitable gets under the skin of the viewer. It’s about growing up, about solitude, about fear of growing old, and about how distance and alienation come with all human relationships.

Olofsson is represented at MoMA, Moderna Museet and other major institutions around the world. In 2001 she received the prestigious 1-year scholarship at ISCP in New York.

The Solitaires (sculptures)

In 2013 when my father died I found a couple of small blue and white danish porcelain china figurines of children (One boy and two girls) in different poses in his estate. There was a time when people bought these figurines for a lot of money putting them in their shelves or glass cabinets treating them as gold. Today the value has gone down significant and you can find them in flea markets etc. For me it was the only items from his house hold that touched me deep. Like they were alive and had a story to tell.

I decided to change their characters and feeling by scan them then and print out much larger figures in 3D and paint then black. Painted black, they become shadows of an anonymous childhood, silhouettes of a lost time. Their poses suddenly appear peculiar, introverted and somewhat insecure. The sculptures in Solitaires are reminiscent of chance impacts on our lives and how powerless we are facing unpredictable events in life.

The interrupted series Black Current (photographs)

After my last photo series from 2014 Inbetween the bird cherry and the lilac I started to think a lot about my career and all the works I had produced. Also something deep and profound happened inside when my father suddenly died 69 years old in 2013. He had appeared in so many of my photographs and video works and now this was over. I started looking at older works that we did together: We are not the ones we used to be from 1997, Unfamiliar and Unforgivable from 2001. 

In Unforgivable I undress him, from top to toe, unbuttoning his shirt (Unique image – part of the MoMA collection) The same shirt he got buried in. Since I have always worked analogue and that so much today is digital I decided to put all these thoughts together. I wanted to recycle my own works taking the analogue process as far as it could go, to interrupt the photographic process in the printing machine, like my fathers interrupted life.

It’s like destroying a print but at the same time making one. A new work. A destruction and reconstruction. These prints can only be made once, if I make a new one it will be different. So mostly everything is change from the original work: The color, the size, the mounting. The original photograph drown in its own photographic darkness.

Anneè Olofsson, Unfamiliar, 2001/2017, Analogue color and black and white print, 110 x 110 cm
Anneè Olofsson, Solitaire #1897012019930930, 2014, Lacquered nylon, 3D printed SLS thermoplastic (polyamid), 35 x 45 x 33 cm, Edition of 3
Anneè Olofsson, Solitaire #19220222824420050110, 2014, Lacquered nylon, 3D printed SLS thermoplastic (polyamid), 31 x 37 x 30 cm, Edition of 3
Anneè Olofsson, Solitaire #19440323269920130425, 2014, Lacquered nylon, 3D printed SLS thermoplastic (polyamid), 49 x 58 x 30 cm, Edition of 3