Daniel Andersson

2010-08-30T08:42:00.001-07:00

And All People Became a Witness of the Thunder and Lightning and the Tone of the Trombone and Smoking the Mountain 2001-2004

2010-08-30T08:41:00.007-07:00

Installation view Gallery Schnittraum//Lutz Becker, Cologne 2007

Untitled, 2001-2004

Pigment print on rag paper 44 x 35,9 cm (framed)

Untitled, 2001-2004

Pigment print on rag paper 44 x 35,9 cm (framed)

Untitled, 2001-2004

Pigment print on rag paper 44 x 35,9 cm (framed)

Untitled, 2001-2004

Pigment print on rag paper 44 x 35,9 cm (framed)

Untitled, 2001-2004

Pigment print on rag paper 44 x 35,9 cm (framed)

Untitled, 2001-2004

Pigment print on rag paper 117,6 x 95,6 cm (framed)

Untitled, 2001-2004

Pigment print on rag paper 117,6 x 95,6 cm (framed)

Untitled, 2001-2004

Pigment print on rag paper 77,6 x 61 cm

Untitled, 2001-2004

Pigment print on rag paper 61 x 78,5 cm

Untitled, 2001-2004

Die-cut vinyl lettering, dimensions variable

Bellum Omnium Contra Omnes 2003-2006

2010-08-30T08:41:00.005-07:00

Installation view Gallery Konstfack, Stockholm 2006

The March of the Black Queen, 2003-2006

Pigment print and debossed text on alpha cellulose paper 136 x 111,8 cm

Leviathan, 2003-2006

Pigment print and debossed text on alpha cellulose paper 111,8 x 136 cm

The Krakens, 2003-2006

Pigment print and debossed text on alpha cellulose paper 111,8 x 136 cm

A Prison of Each Impure Spirit and a Prison of Each Impure and Hated Bird, 2003-2006

Pigment print and debossed text on alpha cellulose paper 136 x 111,8 cm

Ghost of a Dinosaur, 2003-2006

Pigment print and debossed text on alpha cellulose paper 111,8 x 136 cm

Small Dragon Found In the Time of Pope John Paul II, 2003-2006

Pigment print and debossed text on alpha cellulose paper 111,8 x 136 cm

Young Earth, 2003-2006

Pigment print and debossed text on alpha cellulose paper 136 x 111,8 cm

One Who Stops the Flow of Rivers, 2003-2006

Pigment print and debossed text on alpha cellulose paper 111,8 x 136 cm

The Sight of a Feather In a Peacock´s Tail, Whenever I Gaze at It, Makes Me Sick!, 2003-2006

Pigment print and debossed text on alpha cellulose paper 111,8 x 136 cm

Predicting the Harvest 2005-2007

2010-08-30T08:41:00.003-07:00

Installation view The Research Gallery, LCC, London 2007

Untitled, 2005-2007

Carte-de-visite, fabric, table, glass 200 x 100 x 70 cm

Untitled, 2005-2007 (detail)

Carte-de-visite, fabric, table, glass 200 x 100 x 70 cm

Untitled, 2005-2007 (detail)

Carte-de-visite, fabric, table, glass 200 x 100 x 70 cm

Untitled, 2005-2007

Pigment print on rag paper 26 x 21 cm

Untitled, 2005-2007

Pigment print on rag paper 26 x 21 cm

Untitled, 2005-2007

Pencil on paper 21,6 x 31,2 cm

Untitled, 2005-2007

Pigment print on rag paper 38,9 x 31,7 cm

Untitled, 2005-2007

Pigment print on rag paper 26 x 21 cm

Untitled, 2005-2007

Pigment print on rag paper 50 x 40 cm

Untitled, 2005-2007

Pigment print on rag paper 26 x 21 cm

Untitled, 2005-2007

Watercolour and 24-carat gold leaf on cardboard 18,6 x 26,6 cm

Untitled, 2005-2007

Pencil on paper 28,4 x 22,9 cm

Untitled, 2005-2007

Pigment print on rag paper 26 x 21 cm

Untitled, 2005-2007

Pigment print on rag paper 26 x 21 cm

Untitled, 2005-2007

Pencil on paper 33,4 x 24,4 cm

Untitled, 2005-2007

Watercolour and 24-carat gold leaf on paper mounted on cardboard 34 x 24 cm

Untitled, 2005-2007

Pigment print on rag paper 26 x 21 cm

Untitled, 2005-2007

Pigment print on rag paper 26 x 21 cm

Untitled, 2005-2007

Pencil on paper 42 x 29,7 cm

Untitled, 2005-2007

Pigment print on rag paper 50 x 40 cm

Untitled, 2005-2007

Watercolour on cardboard 20,1 x 27 cm

Untitled, 2005-2007

Pigment print on rag paper 26 x 21 cm

Messianic Landscapes 2007-2010

2010-08-30T08:41:00.001-07:00

Installation view Open Space, Art Cologne 2008, Cologne

Untitled, 2008

Collage 49,5 x 40 cm (framed)

Untitled, 2008

Collage 59,5 x 48,5 cm (framed)

Untitled, 2008

Collage 40 x 54,9 cm (framed)

Untitled, 2008

Collage 59,5 x 48,5 cm (framed)

Untitled, 2008

Collage 46,8 x 41 cm (framed)

Untitled, 2008

Collage 59,5 x 48,5 cm (framed)

Untitled, 2008

Collage 46,8 x 41 cm (framed)

Untitled, 2008

Collage 46,8 x 41 cm (framed)

Untitled, 2008

Collage 49,3 x 40,5 cm (framed)

Untitled, 2008

Collage 59,5 x 48,5 cm (framed)

Untitled, 2008

Collage 46,5 x 40,5 cm (framed)

Untitled, 2008

Collage 53,3 x 40,5 cm (framed)

Press release: The Research Gallery, London College of Communication, London 2007

2010-08-30T04:27:00.001-07:00

PREDICTING THE HARVEST

DANIEL ANDERSSON
2006 HASSELBLAD VICTOR FELLOW

**

ACT I

OUTSIDE A SMALL VILLAGE. DAY.

It is the end of season and the ground has been fertile, the sheaves of wheat are piled high. A male farmer stands at the edge of the field before a lone remaining patch of wheat. He tips his cap and looks to the sky. A cloud slowly floats by and suddenly he recognizes the face of the guardian spirit in it. In the background the village girls can be heard imitating the song of the Third Season Bird.

                                                            FARMER
                                                (quietly to himself)
                        Is a ray ever separate from the sun,
                        Will a drop exist separate from the ocean,
                        Will a German soldier ever stop loving his dead Kaiser,
            The light merges with the light,
                        The union is complete now, What a holy communion.

The eldest of the girls attaches small ribbons to the remaining straws of wheat. She makes the sign of sickles (a half circle shape surrounded by a circle in the air), at north, south, east and west. She then proceeds to bend the heads of the wheat toward the ground.

                                                            FARMER
                                                (ecstatic)
                        Rejoice, for the beard is now curled!
                        The spirits have returned to the Earth!

                                                            GIRLS
                                                (joining in the chanting)
                        Nus eht morf etarapes reve yar a si!

                                                            FARMER
                                                (now in a loud thundering voice)
                        Father, father, father, in the sky, sky, sky,
                        Protect my flocks, from the evil eye, eye, eye,
                        From wicked people, from wild beasts,
                        And from all of the above. The feasts of these Judas popes!

Come along, now let us dwell in the shelters, as our ancestors did in the wilderness.

                                                (even more frenetic)
                        Kol mevasser, mevasser ve-omer!

                        He that hath a beard is more than a youth,
                        and he that hath no beard is less than a man.

The young girls nod their heads wisely.

**

Daniel Andersson is the 2006 recipient of the Hasselblad Victor Fellowship. He studied fine art and received his MFA from Konstfack University College of Arts, Crafts and Design in Stockholm. He has previously exhibited in Sweden, Finland and the U.K. ‘Predicting the Harvest’ is an installation consisting of photographs, drawings and paintings. In it, portraits of men with arcane and elaborate facial hair are juxtaposed with old landscape paintings and abstract symbols and shapes mirroring the geometry of their beards and moustaches. The installation is part of the artist’s ongoing search for a meaningful cosmology which, rather than being invented anew, is invoked in the ancient and colliding mythologies of the beards and the landscapes. In this, he hints at something that is beyond the sum of the parts, something that is beyond the material world.

The work emerges out of a unique process of research and accumulation of found contemporary and historical materials, many sourced on eBay, which among other things involves the commissioning of (amateur) artists in the copying of photographs.

The Research Gallery
12th Floor
London College Of Communication
Elephant & Castle
London
SE1 6SB

4-22 June 2007

Monday-Friday 10 - 5
Saturdays by appointment

Private View Tuesday 5 June
6 – 8.30

Press release: Gallery Schnittraum//Lutz Becker, Cologne 2007 (German)

2010-08-30T04:24:00.001-07:00

And All People Became a Witness of the Thunder and Lightning and the Tone of the Trombone and Smoking the Mountain

10. Nov. – 8. Dez. 2007

In seiner ersten Einzelausstellung in Deutschland thematisiert Daniel Andersson eine Underground-Kultur, die besonders in den Skandinavischen Ländern, aber auch in Deutschland eine lebendige Szene besitzt. Direkt ins Auge springt einem der auf eine gesamte Wandfläche aufgezogene Fotodruck einer Gruppe langhaariger Personen, allesamt in geduckter Haltung mit hängenden Köpfen und nach vorne gestreckten Armen. Der eingefangene Moment wirkt wie ein Filmstill eines rituellen Tanzes. Schnell entschlüsselt man die abgebildete Gruppe als authentisches Publikum eines Heavy Metal-Konzerts, wie man es von Konzertfotografien aus Fanzines und Musikjournalen kennt. Auffällig ist die uniformierte Kleidung: dunkle Jeans, schwarze T-Shirts, Lederjacken mit ornamentalen Aufnähern. Die eigentümliche Körperhaltung verweist auf den Brauch des Head-Bangens, das rhythmische Nicken des Kopfes, welches die langen Haare wie eine Peitsche durch die Luft schlagen lässt und den Ausübenden durchaus in einen Zustand von Trance versetzt. Die dunkel verschwitzte Szenerie, die überlaute, extrem schnell und hart gespielte Musik, die man dazu imaginiert, die geballten Fäuste erwecken die Vorstellung von zügelloser Entfaltung roher Kräfte unter den überwiegend männlichen Anhängern.

Durch Abkoppelung von der Musik und die übergroße Abbildung in den Räumen einer Galerie bricht Andersson jedoch die unmittelbare Wahrnehmung des Geschehens auf. Man wird den Berührungen der Körper gewahr, die in dem ekstatischen Treiben immer wieder zustande kommen und ein mehr an Bedeutung erahnen lassen, als das Ausloten des individuellen Raumes bzw. dessen Verteidigung. Die ausgestreckten Arme mit den oft zur Faust geballten Hände wirken wie stumpfe Kontaktorgane, die den Anderen ertasten, um Halt und Gemeinschaft sicherzustellen. Auch die gepflegten langen Haare, die sich überlagern und die Gesichter verdeckt halten, spielen mit der gängigen Vorstellung eines männlichen Publikums. Die einerseits stark in die eigene Innerlichkeit gekehrt wirkenden Personen erinnern im Verbund an die organische Einheit eines wogenden Korallenstamms.

Ausgehend von weiteren Fotoarbeiten, die vor allem die skulpturalen Verformungen und Überlagerungen der Haare abbilden und ebenfalls in der Ausstellung zu sehen sind, entwickelt Andersson eine Serie von ornamentalen Computer-Prints in verschiedenen Formaten. Dazu legt der Künstler die in den Fotografien vorgefundenen Haarmuster in mühevoller Feinarbeit mit eigenen Haaren auf einem Scanner nach und spiegelt diese dann im Computer über mehrere Achsen. Daraus ergeben sich konzentrische Strukturen, bei deren Betrachtung man ebenso an Sexualorgane, an Insekten- oder Pflanzenmorphologien wie auch elementare Kristallstrukturen erinnern wird. Doch nie lassen sich diese Gebilde auf eine bestimmte Form festlegen. Sie bleiben ins Unendliche offene, meditative Assoziationsquellen, die einerseits auf die Ästhetik der Heavy Metal Kultur rekurrieren, wie man sie in den Namenszügen und Aufnähern der Bands vorfindet. Andererseits erscheinen sie wie Mandalas einer unbekannten Mystik.

Eine weitere Serie ausgestellter Arbeiten stellen an der Wand angebrachten Satzgebilde dar. In grammatikalisch und orthographisch verfälschter englischer Sprache, mit deutschen Worten durchzogen entziehen sich diese Sprachfetzen nahezu jedem Verständnis. Es handelt sich hierbei um Versuche deutscher Metal-Fans, die Musikstücke und Platten favorisierter skandinavischer Metal-Bands zu rezensieren. Eine Musik-Kritik, die auf semantischer Ebene an den Haaren herbeigezogen scheint, die aber nach dem ersten Schmunzeln eine unterbewusste Vermittlung ihres Objekts erreicht. Denn über den Klang der wuchtigen Wortwahl bzw. des Lautbildes scheinen die Sätze auf undurchsichtige Weise das Hörgefühl des Rezensenten zu evozieren.

Andersson selbst spricht von einer Perversion in seinen Arbeiten, dahingehend, dass er die Heavy-Metal Kultur, die für ein unmittelbares und vordergründig authentisches Erleben steht, im höchsten Grade ästhetisiert und so in einen völlig anderen Kontext überführt. Dabei gelingt es ihm aber, Strukturen herauszuarbeiten, die im Rückschluss wiederum dem Heavy-Metal Kult eine romantisch-mystische Dimension zukommen lässt, die weit über deren verbreitetes Inszenierungsverhalten als dunkle, andersweltliche Fantasygemeinde herausreicht.

Press release: Useless Productions, Gallery USF, Bergen 2010

2010-08-30T04:19:00.000-07:00

Useless
Productions

GALLERY USF 28.05.2010 - 29.06.2010

Artists: Daniel Andersson, Are Mokkelbost 
Vemund Thoe, Michael Boruch/Henry Darger 
Curated by Arne Skaug Olsen   

Useless productions
The title of the exhibition Useless Productions is a reference to Georges Bataille´s concept useless expenditure, which in biology and economy signifies how a surplus of energy (money, biological mass, life) in a system cannot be absorbed by future growth and must therefore be consumed, as Bataille writes, ”gloriously or catastrophically”. This indicates a tendency towards transgression in human cultures that become visible in diverse phenomena like war, sexuality and financial crisis, as well as in art and cultural production. According to Bataille, the theory of useless expenditure shows there is an intrinsic link between war, art and sexuality.

Useless Productions is an attempt to unite artists with distinctly different points of view. The artists employ different strategies, but share the use of found material as a common starting point to create idiosyncratic worlds where sexuality, madness and mysticism intermingle.

Daniel Andersson
In the collage series Messianic Landscapes, Daniel Andersson uses postcards depicting European 19th century monuments, architecture and places that have been changed by the catastrophic wars, political and technological revolutions of the centuries past. Today, these postcards are charged with the aura of sites that have been stages upon which the theatre of history has been played out.

The postcards are cut and re-arranged according to geometric principles that resemble the perfection of crystalline structures which remind us that these sites held a promise of utopias to come. There is a promise of a decipherable message hidden behind the geometric code. However, the esoteric nature of the geometrical construct renders the landscapes mythological; they transcend the categories of space and time. Anderssons collages are reminders of the fact that civilizations are built on the ruins of earlier cataclysms and that to explore new territories is the same as destroying them.

There is little room for the romantic notion of nostalgia in Anderssons collages, they are not created to re-construct past memories, but rather to mirror future ruins and utopias we should avoid chasing.

Michael Boruch/Henry Darger
Henry Darger is an enigma and a mythological character. He was born in 1892 and spent his adult life in solitude, with no family, working as a caretaker at a hospital in Chicago. Only when he died and his landlords were to clean out his apartment, it was discovered that he had led a double life. Among his remains were an immense legacy of painting and literature. His main work was the novel In the Realms of the Unreal includes The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm Caused by the Child Slave Rebellion, that extends over 15 volumes of 15,145 total pages. The novel is illustrated in three bound volumes of several hundred scroll-like water paintings depicting the Vivian girls’ violent struggle against evil forces. The paintings are immensely violent. All of the mythology surrounding the character Henry Darger emits from his apartment. There are very few other sources of information about Darger that could shed light over the man and the legacy. The enigma has been further perpetuated by the tight control over the Darger legacy by the Kiyoko Lerner Foundation.

Michael Boruch is a professor in photography at DePaul University in Chicago. In 1972, shortly after Henry Dargers death, he was commissioned to document Dargers apartment. The photographs have a matter of fact descriptive quality, with a sensitivity for revealing the interior. In many ways they resemble Eugene Atget’s photographs of desolate Parisian streets, storefronts and interiors from the 19th century. The lighting suggests that the blinds have been drawn for the first time in decades to expose the legacy of Henry Darger for the first time. Boruch’s photographs have been paid little attention, and this is the first time they have been showed publicly outside of the US. Boruch’s photographs reveal a part of Darger that has been given much speculation but of which little is known.

Are Mokkelbost
Are Mokkelbosts collages in the ION series are made from magazine cuttings that are methodically sorted according to their specific colour properties. With the cut-and-paste collage technique Mokkelbost has developed, he creates studiously elaborate compositions. The polygon is the basic shape that is used to create a spatial effect and a vortex-like composition.
There is a dreamlike character dominating the work of Mokkelbost, or rather a sensation of a totally derailed world of combating forces; an abstract vision of watching a glacial landscape self-destruct in space.

The Hubble telescope captures images of distant nebulae, gigantic, interstellar star forming masses of dust, hydrogen gas, helium gas and plasma. The great paradox of the mesmerizing images from the Hubble, is that the light emitting from the nebulae is far beyond the spectrum visible to the human eye. They are simply invisible to the human eye. The night sky is black because we are unable to see the light that permeates the universe.

In the 16th century Hieronymus Bosch created his famous apocalyptic visions. Like with many visionary works of art and literature, there has been speculation if Bosch’s visions were the result of insanity, drugs or insanity caused by drugs. Whether or not it was so, Bosch’s visionary paintings shaped the way we envision the transformation of the world as we know it into something else, something unseen. Mokkelbosts work has the qualities of both the medieval apocalyptic visions and the technological transformation of the Hubble telescope. If there ever was great beauty in the destruction of worlds, this is how it would look like: Terrible and magnificent.

Vemund Thoe
Vemund Thoes video Cars is a simple but carefully composed collage of moving images of toy cars and a disturbing and ambiguous conversation. The video is dark and mesmerizing, simple and complex. At the request of the artist, the video is not described in detail regarding its contents.

ARTES Journal of Literature, Art and Music, #2 2005 (Swedish)

2010-08-30T04:13:00.001-07:00

2010-08-29T16:35:00.005-07:00

Born 1976, lives and works in Stockholm

Education
2001-2006 MFA, Fine Arts department, Konstfack University College of Arts, Crafts & Design, Stockholm, Sweden

Selected solo exhibitions
2012 New Works, Crystal Contemporary Art, Stockholm (upcoming)
2008 Messianic Landscapes, Gallery Hippolyte, Helsinki
2008 Messianic Landscapes, Crystal Palace, Stockholm
2008 Project Gallery, Location One, New York
2008 Open Space, Art Cologne 2008, Cologne
2008 Predicting the Harvest, Gallery Sinne, Helsinki
2007 And All People Became a Witness of the Thunder and Lightning and the Tone of the Trombone and Smoking the Mountain, Gallery Schnittraum//Lutz Becker, Cologne
2007 Predicting the Harvest, Gallery Massma, Ronneby
2007 Predicting the Harvest, The Research Gallery, LCC, London
2006 Bellum Omnium Contra Omnes, Konstfack Gallery, Stockholm
2005 And All People Became a Witness of the Thunder and Lightning and the Tone of the Trombone and Smoking the Mountain, Sollentuna Artfair, Stockholm

Selected group exhibitions
2012 The Armory Show, New York (upcoming)
2012 MARKET Contemporary Art Fair, Stockholm (upcoming)
2011 Patterns of the Mind - Turku Biennial 2011, Aboa Vetus & Ars Nova Museum, Turku
2011 Nordic Darkness, Kristinehamn Museum of Art, Kristinehamn
2011 JustMad2 Contemporary Art Fair, Madrid
2010 Cut, Crystal Contemporary Art, Stockholm
2010 Useless Productions, USF Gallery, Bergen
2009 Cut-ups, CFF-Centrum för fotografi, Stockholm
2009 Art Cologne 2009, Cologne
2009 The Animal Gaze, Roland Lewinsky Gallery, University of Plymouth, Plymouth
2009 A Metaphysical Deal You Can´t Resist, CFF-Centrum för fotografi, Stockholm
2008 The Animal Gaze, Unit 2 Gallery, London Metropolitan University, London
2008 Mornings In Mexicos - Farewell to Post-Colonialism, The 3rd Guangzhou Triennial, Guangdong Museum of Art, Guangzhou
2008 Tell a Friend - Emerging Swedish Contemporary Art, Bonniers Konsthall, Stockholm
2007 Sense of Loss, Sense of Gain - New Nordic Photography, Hasselblad Center, Gothenburg
2007 Extract, La Viande Gallery, London
2006 Bellum Omnium Contra Omnes, Fotomässan 2006, Stockholm
2006 Xposeptember Photography Festival, Stockholm
2006 New Nordic Photography, Hasselblad Center, Gothenburg
2006 Spring Exhibition, Konstfack, Stockholm
2005 Jag ska möta Gert Wingårdh på en bar i New York New York, Konstfack, Stockholm
2005 Vårsalongen, Liljevalchs Konsthall, Stockholm
2004 Avbild2, Art Academy Gallery, Helsinki
2004 Sveriges Allmänna Konstförening, Galleri SAK, Stockholm
2003 Vårsalongen, Liljevalchs Konsthall, Stockholm
2003 PR-Private/Public Rooms, Vita Havet, Konstfack, Stockholm

Grants, awards & residencies
2011 International exchange grant, IASPIS
2010 2-year Artist´s working grant, The Swedish Art Grants Comittee
2010 Mobility grant, Kulturkontakt Nord
2008 Exhibition grant, IASPIS
2008 Artist´s Residency, Location One, New York
2007 1-year Artist´s working grant, The Swedish Art Grants Comittee
2007 Exhibition grant, IASPIS
2006 Victor Fellowship, The Erna and Victor Hasselblad Foundation
2006 Den Nordiska Första S:t Johannislogen, Swedish Order of Freemasons
2006 Rektorsstipendiet Konstfack

Bibliography

2008 Mornings In Mexicos, exhibition catalogue
2008 Anu Uimonen, Salivahti, Helsingin Sanomat, 22 November
2008 Peter Cornell, Inte fula vykort, Expressen, 21 October
2007 Karin Widegård, Man får vara uppmärksam, Göteborgs-posten, 27 June
2007 Johanna Rundgren, Mytiska skägg i konstfulla uttryck på Galleri Massma, Bleking Läns Tidning, 17 May
2007 New Nordic Photography - Sense of Loss, Sense of Gain, exhibition catalogue
2006 Dan Sjögren, Bilderna säger inget men gör det bra, Sundsvalls Tidning, 14 June
2006 Camilla Adolfsson, Ny nordisk fotografi, Smålandsposten, 31 May
2006 Mikael Olofsson, Fantasi och drömstämning, Göteborgs-posten, 27 May
2006 Luca Panaro, New Nordic Photography, Around Photography International #5
2006 Hasselblad ger pris till unga fotografer, Uppsala Nya Tidning, 21 May
2006 Victor-stipendiet till Daniel Andersson, Sundsvalls Tidning, 19 May
2006 Sara Ullberg, Med nordiskt foto i sökaren, Vestmannlands Läns Tidning, 17 May
2005 Vårsalongen, Liljevalchs Konsthall, exhibition catalogue
2005 Stina Högkvist, Headbanging, Artes #2
2004 TEXST (Editor Magnus Bärtås) Anthology on Swedish text-based art
2003 Vårsalongen, Liljevalchs Konsthall, exhibition catalogue

Collections
Ringier Collection, Switzerland
Guangdong Museum of Art, China
The Finnish Art Association, Finland
V22 Contemporary Art Collection, Great Britain
Hasselblad Center, Sweden
Private collections in Sweden, Germany, Austria, Switzerland, Italy, Spain and USA

2010-08-29T16:35:00.003-07:00

Publications

Headbanging, ARTES Journal of literature, art and music #2, 2005 (Swedish)

Press releases

Useless Producitons, Gallery USF, Bergen 2010

And All People Became a Witness of the Thunder and Lightning and the Tone of the Trombone and Smoking the Mountain, Gallery Schnittraum//Lutz Becker, Cologne 2007 (German)

Predicting the Harvest, The Research Gallery, London College of Communication, London 2007

Bellum Omnium Contra Omnes, Konstfack Gallery, Stockholm 2006

2010-08-29T16:35:00.001-07:00

info(at)daniel-andersson.org

Represented by:

CRYSTAL
Hudiksvallsgatan 4b
113 30 Stockholm, Sweden
+46 (0) 8 322 850
info@crystalcontemporaryart.se

2010-08-29T14:50:00.000-07:00

Messianic Landscapes 2007-

Predicting the Harvest 2005-2007

Bellum Omnium Contra Omnes 2003-2006

And All People Became a Witness of the Thunder and Lightning and the Tone of the Trombone and Smoking the Mountain 2001-2004

Press release: Bellum Omnium Contra Omnes, Konstfack Gallery, Stockholm 2006

2010-08-28T15:17:00.000-07:00

DANIEL ANDERSSON

”Bellum Omnium Contra Omnes”

26 January – 5 February

Private view Wednesday 25 January 16 - 20

Konstfack Gallery

LM Ericssonsväg 14

T-Telefonplan

Opening hours 12 – 17

The creationist idea of a young earth says that the world was created no more than 10.000 years ago. Some creationist museums portray humans and dinosaurs co-existing before the flood. Before the birth of the evolution theory in the 19th century, creationism was the accepted view of how the world was born, even among scientists.

In a letter from 1860 Charles Darwin wrote to a colleague that a peacock´s tail feather caused his evolutionary theory problems. He projected his failure onto the beautiful feather to the degree of it making him feel nauseous.

Cryptozoology is the study of unknown animals, based on oral traditions, stories of the local inhabitants, legends and folktales. Sightings of such an animal have been reported from the jungles of Africa. It is said to have a long neck, a long tail and round footprints with three claws. The locals have named the animal Mokele-mbembe and it is said to be a now living dinosaur.

Kraken is the Scandinavian sea monster described by a Danish theologist in the 18th century. In 1830 the poet Alfred Tennyson wrote the poem "The Kraken", where Kraken lay on the bottom of the sea in a dreamless sleep until Armageddon.

The title of the work is latin, meaning "war of all against all" and is taken from Thomas Hobbes book "Leviathan" 1651.

2010-08-28T13:03:00.000-07:00

Current and upcoming events

7 - 31 May 2009

Group exhibition Cut-ups
CFF - Centrum för fotografi
Tjärhovsgatan 44
11628 Stockholm
Sweden

22 - 26 April 2009

Art fair
ART COLOGNE 2009
Koelnmesse GmbH
Messeplatz 1
50679 Cologne
Germany

5 March - 3 April 2009

Group exhibition A Metaphysical Deal You Can´t Resist
CFF - Centrum för fotografi
Tjärhovsgatan 44
11628 Stockholm
Sweden

7 - 30 November 2008

Solo exhibition
Gallery Hippolyte
Kalevankatu 18 B
00100 Helsinki
Finland

31 January 2008 - 17 February 2008

Solo exhibition
Gallery Sinne
Yrjönkatu 23
00100 Helsinki
Finland

01 January 2008 - 30 June 2008

Artist´s residency
Location One
26 Greene Street
New York 10013
U.S.A.

15 September 2007 - 14 October 2007

Solo exhibition
Gallery Massma
Massmanska kvarnen
Möllebacksgatan 1
Ronneby
Sweden

16 May 2007 - 19 August 2007

Group exhibition Sense of Loss, Sense of Gain - New Nordic Photography
Hasselblad Center
Museum of Art
Götaplatsen
Gothenburg
Sweden