Annika Eriksson


In Annika Eriksson’s recent exhibition “Wir sind wieder da” (We’re Back), a digitized 16-mm film loop showed a nocturnal scene of a group of punks casually conversing and drinking beer in a vacant lot filled with makeshift furniture: abandoned couches, wooden pallets, a grocery cart. The set is artificially lit, and puffs from an off-camera smoke machine periodically turn the image a deep blue as they waft over the scene, distorting the depth of field and conferring an oddly painterly and immobile quality upon the tableau. Projected on a large screen mounted on a metal scaffold, the film faced a small monitor (on another scaffold opposite) showing a short video loop of the same empty lot, now lit by daylight and emptied of all vestiges of its nocturnal life.

With her many photographic, filmic, and video depictions of ordinary people and the public spaces they inhabit, Eriksson has been

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