Galerie Anhava is pleased to return to ARCOmadrid 2016 and present the following Nordic artists at the art fair:
ANNE-KARIN FURUNES (b. 1961, Norway) is one of Norway’s most widely known artists on the international scene. In recent years, her monochromatic perforated portraits have fascinated viewers in venues including the Museo Palazzo Fortuny in Venice, Millesgården in Stockholm, and private galleries in Quebec, New York and Helsinki. In her works, visual charm combines with statements on behalf of oppressed, shunned and marginalized people.
ELINA MERENMIES (b. 1967, Finland) creates a world of her own with her works. A world that is strange and frightening, beautiful and comforting. The figures in her ink drawings are stripped of their “good behaviour”. Perhaps that is why they are so disturbing, with such strong influence, arousing admiration, fear and sympathy. In her oil and tempera paintings the themes range from forests and sphinxes to brides and strange figures that require more contemplation. Everything is painted in a fine and refined manner, washed with a wide brush or using marten hair.
JORMA PURANEN (b. 1951, Finland) has become known for his photographs that arouse considerations spanning the past and the present. His subject matter has ranged from illustrations of scholarly works and ethnographic photographs to historical portraiture, with points of departure often found in archives or museums. Puranen’s new works continue his investigations with the far north and the landscape.
EGILL SÆBJÖRNSSON’s (b. 1973, Iceland) installations often consist of combinations of real objects, the movement of projected video images and sound. He makes us confused and surprised and leads us to pose ontological questions, doing so in a way that both he and we enjoy. His works are of an experiential nature, requiring neither instructions nor education in order to be understood. In Sæbjörnsson’s new animation an invisible hand and a motionless pencil draw a picture alive.
PÄIVI TAKALA’s (b. 1970, Finland) paintings involve several visual levels: first Takala tapes on the canvas motifs and waits for the tape to start to come loose, partly dismantling the image. She then uses this semi-disintegrated image as a model for a further painting in oils. The completion of the painting is followed by the viewer's choice of what he or she regards to be the motif, the level of focus and what is experienced.