Beowulf: Dangerzone is a site-specific theatrical installation developed by artist Andreas R.
Andersson in collaboration with artist and theatre director Karl Sjölund. Featuring sculptures and
boulders, it reimagines the epic poem Beowulf. / Read more
Duration - 52 min
@
Institutet, Vitsaniemi 2023
Luleåbiennalen 2024, Curated by: Aude Christel Mgba and Bruno Alves de Almeida
Light Design: Maja Lindström, Photo: Thomas Hämén, Glömd Historia
__________ANDREAS R ANDERSSON__________Andreas R Andersson
__________ANDREAS R ANDERSSON__________Andreas R Andersson
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A Burning Crust on Life Support
(We Are Not Supposed to Be Here)
2012-2022
Boulders from rock blasting and oxygen gas cylinders.
Sound recordings from arctic warfare bombings
He works in the forgotten, arctic parts of Europe, which
are often exposed to test bombings and mining, where
the military can operate freely without restriction
and consequences.
Here Andersson exposes the increased military presence
where large camouflaged tanks and armored vehicles move
around like ghosts in the the white blinding landscape.
Craters and debris of their operations are left in nature
and everywhere are traces of their actions. Crushed
boulders, a destroyed bedrock and a polluted nature
transforms the land.
It is a scarred landscape that they leave behind and
recovery is hopeless and often futile.
@ Göteborgs Konsthall, Gothenburg, Sweden
Curated by: Liv Stoltz
Photo: Hendrik Zeitler and Andreas R Andersson
__________ANDREAS R ANDERSSON__________Andreas R Andersson
__________ANDREAS R ANDERSSON__________Andreas R Andersson
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Copper Mine's Fate
2021
Copper mine dust, blood and crystal
28 x 12 x 12 cm
The road went through dry and forestless areas,
In the distance, one could discover the city
of Falun through thick, black clouds that
marked the sky.
The landscape changed color.
Sweden, a country of green and gray, suddenly
became red and black. The sky got darker the
closer you got. In the end, the sun's rays
could not penetrate the dense fumes - it was
night even though it was day. The air smelled
of sulfur, the streams were red with iron and
death was constantly present.
The rooms in Andreas R Andersson's exhibition are scarily
authentic, struck by such an unexpected and biting cold
that it is difficult to imagine how we once could move
through them. As experienced visitors, we can still
recognize the space of the gallery, the light and the white
walls. But everything is desolate now, like forbidden zones
where the last breaths must have turned into a crippling
carbondioxide poisoning.
What perhaps strikes us first is the sculpted image of two
frozen bodies, once idealized for their crusades and their
colonial conquests.Here they are reminiscent of a strange
manifestation and a kind of apology for all of us
missionaries and prospectors who never wanted to see
how our beliefs, our actions and the hunt for trophies
constantly contributed to mass death and an impoverished
earth. A land that had to become someone else's worries
and crumbs to try to survive on.
Then they appear one by one; the tracks that lead into the
snow and through the broken landscapes. We are soon
facing huge machines. Unsentimental relics that seem to
have frozen stuck in the tundra. In the exhibition, they
are darkly luminous and digital mirages. In reality, they
are repressed wounds in time and an almost
self-sustaining weapons in the occupying power and banal
violence of the global economy. A violence that flows
from the excited notion of eternal production and that
tirelessly chews continent after continent, ravages,
explodes and tears.
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ANFO (Ammonium Nitrate / Fuel Oil)
Crusher
__________ANDREAS R ANDERSSON__________Andreas R Andersson
@ Göteborgs Konsthall
Curated by: Liv Stoltz
Text: Erik Anderman, Photo: Piotr Krzaczkowski
31 American M16 assault rifles cast in Chinese black wax.
3 white lacquered steel shelves with installed infrared heater.
225x30x150cm, 225x30x150cm, 75x30x150cm
Photo: Martin Hultén
Andersson exhibits a brand new time based installation of a weapon storage room.
The work focus on the weapon industry and its manufacturing process.
During the exhibition, the installation will slowly melt, transform and fall apart.
/ Galleri Box
__________ANDREAS R ANDERSSON__________Andreas R Andersson
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Between the Gates
2013
Shipping container built of crowd control barriers,
roadblocks and fences. Inside is a battering ram that is constantly
operated by a person, trying to break the gate.
7 x 2,5 x 2,75m
Sound recordings from riots and demonstrations from around the world
45 min loop
@ 3:e våningen
Gothenburg, Sweden
__________ANDREAS R ANDERSSON__________Andreas R Andersson
Two-week performance, crushing, burning, and stacking one hundred tons of asphalt.
Curated by: Susan Kooi, Zoro Feigl, Sajoscha Talirz and Kaleb de Groot
@ W139
Amsterdam, Netherlands
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The name “Road of Bones” speaks of the painful events
associated with the construction of the Kolyma Highway.
The road was constructed from the 1930s to the 1950s.
Political prisoners of the Stalin regime of the Soviet
Union were forced to build the road using hand tools.
During its construction, thousands of these prisoners
died because of the unfavorable working conditions and
the harsh cold weather. Many prisoners were also shot
dead for not working hard enough. The bodies of these
dead people were buried beneath the road.
Text: Marek Brys
MoMA PS1 Review: Alison Burstein
Photo: Henni van Beek
