{"id":9421,"date":"2023-02-09T09:59:29","date_gmt":"2023-02-09T07:59:29","guid":{"rendered":"https:\/\/avan.fi\/?p=9421"},"modified":"2023-02-09T10:21:39","modified_gmt":"2023-02-09T08:21:39","slug":"jan-erik-andersson-andersson-x-ars-nova","status":"publish","type":"post","link":"https:\/\/avan.fi\/sv\/jan-erik-andersson-andersson-x-ars-nova","title":{"rendered":"Jan-Erik Andersson: Andersson x Ars Nova"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”5%” bottom_padding=”3%” constrain_group_2=”yes” left_padding_tablet=”0″ constrain_group_4=”yes” right_padding_tablet=”0″ left_padding_phone=”0″ constrain_group_6=”yes” right_padding_phone=”0″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_custom_heading text=”Jan-Erik Andersson: Andersson x Ars Nova 24.2.-4.6.2023″ font_container=”tag:h1|text_align:center” use_theme_fonts=”yes”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” left_padding_desktop=”8%” constrain_group_2=”yes” right_padding_desktop=”8%” left_padding_tablet=”0″ constrain_group_4=”yes” right_padding_tablet=”0″ left_padding_phone=”0″ constrain_group_6=”yes” right_padding_phone=”0″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Pressmeddelande 9.2.2023<\/strong><\/p>\n

Jan-Erik Andersson: Andersson x Ars Nova
\n<\/em>24.2.-4.6.2023
\nArs Nova, f\u00f6rsta v\u00e5ningens utst\u00e4llningsutrymme<\/p>\n

Andersson & Ars Nova go way back! Den \u00e5bol\u00e4ndska bildkonstn\u00e4ren Jan-Erik Andersson (f. 1954) och Aboa Vetus Ars Nova museet har en l\u00e5ng gemensam historia. Kontakten mellan Andersson och museet f\u00f6ddes p\u00e5 1980- och 1990-talen d\u00e5 museets konstsamling \u00f6kades med fart. Vid den tiden gjorde trettio\u00e5rig Andersson sin egen baby-retrospektivutst\u00e4llning (Bj\u00f6rneborgs konstmuseum och \u00c5bo Konstmuseum, 1990) f\u00f6r att i framtiden vara fri till att \u201dg\u00f6ra vadhelst hen har lust med\u201d.<\/p>\n

Anderssons etos \u00e4r avkl\u00e4dd fr\u00e5n sina vapen och friskt optimistiskt: \u201dJag vill sprida positiv energi, fantasi och f\u00e4rgrikedom samt hj\u00e4lpa m\u00e4nniskor till att b\u00e4ttre kommunicera med varandra. Under mina konstverks \u201droliga\u201d yta finner man ocks\u00e5 i m\u00e5ngt och mycket starka motiv. Min bakgrund som stammare har hj\u00e4lpt mig att observera hur mycket v\u00e5r milj\u00f6 p\u00e5verkar p\u00e5 v\u00e5r livsgl\u00e4dje. Konsten kan vara i detta till stor hj\u00e4lp!\u201d<\/em><\/p>\n

Konstgenren \u2019postmodernism\u2019 \u00f6ppnade upp i slutet av 1900-talet den v\u00e4sterl\u00e4ndska konsten f\u00f6r diversitet. Den kritiserar modernismens universella ideal och stora ber\u00e4ttelser samt br\u00f6t hierarkin mellan konsten och popul\u00e4rkulturen. Till tillv\u00e4gag\u00e5ngs\u00e4ttet h\u00f6rde intertextuella h\u00e4nvisningar, en konsthistorisk pastis samt ett lekfullt och subjektivt n\u00e4rmandes\u00e4tt. Mellan de traditionella konstformerna (bildkonst, skulptur och arkitektur) uppkom bredvid dessa nya konstformer s\u00e5som performans, installation, mediekonst, konceptkonst, multimedia och assemblage. \u00c4ven om nutidskonsten \u00e4r eftermodern s\u00e5 \u00e4r enbart en del av det postmodernt. Det f\u00f6refaller som att \u00e4ven om postmodernismen var en sorts \u201dnutidskonstens big bang\u201d s\u00e5 \u00e4r dess v\u00e4sen till sin k\u00e4rna, konceptkonst fr\u00e5n konstens historia.<\/p>\n

I museets konstsamlingar finns flera av Anderssons tidigare assemblage-skulpturer som \u00e4r byggda av olika material s\u00e5som till exempel Goethes alpdr\u00f6m <\/em>(1989), Goethes moln<\/em> (1990) och Jesus i skogsbrynet <\/em>(1991) som visas p\u00e5 utst\u00e4llningen. Anderssons arbetss\u00e4tt \u00e4r exceptionellt utvidgat och produktivt. Den \u00e4r en kombination av en h\u00e4ftig teoretisering och ett multimedialt behandlingss\u00e4tt fr\u00e5n digitala video- och bildkonst till milj\u00f6konstverk. Fr\u00e5n och med 1980-talet har han deltagit regelbundet i utst\u00e4llningar, genomf\u00f6rt ett flertal offentliga konstverk, disputerat som doktor i bildkonst (2008), planerat och byggt tv\u00e5 hus (Life on a Leaf, 2009; Kuusi-o,2003<\/em>). En stor del av hans arbetss\u00e4tt formas av ett internationellt vetenskaps- och konst samarbete samt m\u00e5nga slags deltagande- och performativa verk.<\/p>\n

Andersson har jobbat under n\u00e4stan hela sin karri\u00e4r med den digitala median. Redan i verk fr\u00e5n 1990-talet anv\u00e4ndes internet och bildbehandlingsprogram. De nyaste verken Naval Battle on Wawes 103\u2013309 Hz<\/em> och The Unanswered Question America <\/em>\u00e4r digitala teckningscollage i stort format. Utst\u00e4llt \u00e4r ocks\u00e5 videoverket The Destruction of Beauty<\/em> (2011) som dokumenterar rivningen av ett jugendhus p\u00e5 Skolgatan 2.<\/p>\n

P\u00e5 utst\u00e4llningen finns flera verk av \u00e5bol\u00e4ndska konstn\u00e4rer s\u00e5som Otto M\u00e4kil\u00e4, Kimmo Ojasalo, Mikko Paakkola och av IC-98. Med finns ocks\u00e5 Kari Juutilainen som \u00e4r Anderssons n\u00e4rmaste konstn\u00e4rskollega med vilken han har gjort ett flertal Edible Finns<\/em> performanser (tillsammans med Pertti Toikkanen).<\/p>\n

Oaktat det lekfulla finns det i Anderssons konstverk en s\u00e4rart och det expressiva uttrycket \u00e4r inte ytligt, l\u00e5ngt ifr\u00e5n det. Konsten som har st\u00e4mplats som postmodernistisk visade sig vara mer invecklad \u00e4n den fr\u00e5n b\u00f6rjan ville f\u00e5 en att f\u00f6rst\u00e5. Bakom de estetiska valen finns ett djupg\u00e5ende analytiskt grepp med vilken man str\u00e4vat efter att f\u00f6rst\u00e5 historien och platsens och tidens anda. H\u00e4nvisningspunkterna i Anderssons konst \u00e4r flertaliga: motiv hittas fr\u00e5n filosofin, konstteorin, litteraturen och arkitekturen. Han f\u00f6r diskussion med konstens stilinriktningar och speciellt debatterar han med ideal som har uppfattats som neutrala f\u00f6r den moderna konsten. Under hela hans karri\u00e4r har det funnits ekologiska motiv i skapandets k\u00e4rna som h\u00e4nf\u00f6r sig till milj\u00f6n.<\/p>\n

P\u00e5 utst\u00e4llningen finns utst\u00e4llt Anderssons verk fr\u00e5n n\u00e4stan fyrtio \u00e5rs tid samt verk fr\u00e5n andra konstn\u00e4rer som h\u00e4nf\u00f6r sig till samlingen. Museets konstsamling best\u00e5r av ungef\u00e4r 650 verk och dess tyngdpunkt ligger i den moderna konsten och i nutidskonsten. Ut\u00f6kningen av samlingen har varit postmodernistiskt \u2019eklektisk\u2019 det vill s\u00e4ga m\u00e5ngformig. Utst\u00e4llningens val av verk f\u00f6ljer denna samma id\u00e9 genom att j\u00e4mf\u00f6ra samlingsverk med Anderssons verk p\u00e5 ett humoristiskt, tematiskt och formalistiskt s\u00e4tt.<\/p>\n

Andersson fick statens konstn\u00e4rspension 2015 men han forts\u00e4tter med sina arbeten. \u00c5r 2022 deltog han rikligt i utst\u00e4llningar: i \u00d6sterbottens museum i Vasa, Galleri Pictor i Vichtis, som en del av Uppsalas konstmuseums utst\u00e4llning Resonating Bodies<\/em> samt i S\u00f6derl\u00e5ngvik. Som b\u00e4st h\u00e5ller han p\u00e5 med att genomf\u00f6ra ett stort offentligt verk f\u00f6r en skolbyggnad i Svalberga i \u00c5bo som \u00e4r t\u00e4nkt att bli f\u00e4rdig p\u00e5 h\u00f6sten 2023. Han bereder ocks\u00e5 till postdoktor p\u00e5 Bildkonstakademin (Konstuniversitetet, Helsingfors) som motiv det nya Kuusi-O<\/em>-huset som har bygger i Hirvensalo. Ocks\u00e5 till Jakobstad till Oxhamns skola \u00e4r det p\u00e5 kommande ett offentligt verk p\u00e5 v\u00e5ren 2023 som har genomf\u00f6rts tillsammans med eleverna.<\/p>\n

Utst\u00e4llningen har kuraterats av Jan-Erik Andersson och utst\u00e4llningsamanuens Niina Tanskanen.<\/p>\n

Till\u00e4ggsinformation:<\/strong><\/p>\n

Niina Tanskanen
\nutst\u00e4llningsamanuens
\n040\u00a0585 4499
\nniina.tanskanen@avan.fi<\/a><\/p>\n

Jan-Erik Andersson
\n040 501 3960
\njan-erik.andersson@anderssonart.com<\/a>
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