COMMA 27: Elina Brotherus
02 - 25 Sep 2010
COMMA 27:
ELINA BROTHERUS
2 - 25 September 2010
The highly acclaimed photographer and filmmaker Elina Brotherus uses a lucid, disarming, yet apparently straightforward relationship to subject matter. For COMMA, Brotherus is exhibiting a newly commissioned film of a solitary swimmer wading naked into, and breaking, the almost solid water surface of a slippery cold lake. A development of an earlier work, 'Black Bay Sequence' depicts the artist in a metaphorical immersion in which she looses herself to the landscape. This piece is presented alongside 'Time Series IV' exhibited in its entirety for the first time at Bloomberg SPACE. The series of 100 self portraits, taken each day, documents the physical effects on the artist of strong medication. Brotherus fell ill and was thrown into a different relation between her working practice and the necessity to stay home. The new photographic series, installed along the balcony in the rear gallery, shows a progression of her slowly changing features as the medication blurs the edge and blunts the lines of her face. Both works show Brotherus physically and emotionally naked. By presenting herself to the viewer as the subject she simultaneously looses herself in terms of meaning or presence.
ELINA BROTHERUS
2 - 25 September 2010
The highly acclaimed photographer and filmmaker Elina Brotherus uses a lucid, disarming, yet apparently straightforward relationship to subject matter. For COMMA, Brotherus is exhibiting a newly commissioned film of a solitary swimmer wading naked into, and breaking, the almost solid water surface of a slippery cold lake. A development of an earlier work, 'Black Bay Sequence' depicts the artist in a metaphorical immersion in which she looses herself to the landscape. This piece is presented alongside 'Time Series IV' exhibited in its entirety for the first time at Bloomberg SPACE. The series of 100 self portraits, taken each day, documents the physical effects on the artist of strong medication. Brotherus fell ill and was thrown into a different relation between her working practice and the necessity to stay home. The new photographic series, installed along the balcony in the rear gallery, shows a progression of her slowly changing features as the medication blurs the edge and blunts the lines of her face. Both works show Brotherus physically and emotionally naked. By presenting herself to the viewer as the subject she simultaneously looses herself in terms of meaning or presence.