stockholm

Anastasia Ax, COPYRIGHT Copyright, 2016, paper, 12 1/4 × 8 1/4 × 4 3/8". From the series “Copyright,” 2016–.

Anastasia Ax

Galleri Andersson/Sandström

Anastasia Ax, COPYRIGHT Copyright, 2016, paper, 12 1/4 × 8 1/4 × 4 3/8". From the series “Copyright,” 2016–.

Anastasia Ax has an appetite for destruction, but of a certain kind. I remember her going wild in her work Exile, 2011, at the music festival Way Out West in Göteburg, Sweden. In a big tent, she built up a landscape of white sculptures in plaster, old books and fabric, and other materials. Accompanied by the darkest noise music (by Dasha Rush, Oni Ayhun, and Marja-Leena Sillanpää), Ax reentered the space and began to spit black ink on the sculptures while breaking them with her bare hands. Finally, the audience joined in and destroyed the installation by dancing and tearing down the sculptures. The extraordinary thing was that this transformative act seemed totally without irony. To be able to create this kind of aggressive metamorphosis of an exhibition space in a music context without making it look like a critical comment on rock-music or performance-art clichés was definitely

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