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"The images of Mikael Olsson are held by the tension between visual faculties and visual conventions, the reality of perception and the reality of vision, of the concrete and the abstract." Péter Nádas
In on | auf the Swedish artist Mikael Olsson undertakes a photographic study of the Swiss architects Herzog & de Meuron’s and the Chinese artist Ai Weiwei’s temporary pavilion at the Serpentine Gallery in London 2012.
Olsson follows the object from its´ conception as an idea, through immaterial and material traces in the architects’ and the artists’ archives.
By investigating the traces of their creative processes in their archives, and exploring the relation between their pavilion and its shifting contexts, Olsson creates visual narratives which uncover questions about displacement, perception, and space — political and aesthetic.
The work contains 31 images is in the book by Steidl Verlag 2020 that includes an essay by author Péter Nádas entitled ’Loaned Landscapes, Borrowed Objects. The Real Space of the Image and the Representation of Space in Mikael Olsson’s Photography.’
"The images of Mikael Olsson are held by the tension between visual faculties and visual conventions, the reality of perception and the reality of vision, of the concrete and the abstract." Péter Nádas
In on | auf the Swedish artist Mikael Olsson undertakes a photographic study of the Swiss architects Herzog & de Meuron’s and the Chinese artist Ai Weiwei’s temporary pavilion at the Serpentine Gallery in London 2012.
Olsson follows the object from its´ conception as an idea, through immaterial and material traces in the architects’ and the artists’ archives.
By investigating the traces of their creative processes in their archives, and exploring the relation between their pavilion and its shifting contexts, Olsson creates visual narratives which uncover questions about displacement, perception, and space — political and aesthetic.
The work contains 31 images is in the book by Steidl Verlag 2020 that includes an essay by author Péter Nádas entitled ’Loaned Landscapes, Borrowed Objects. The Real Space of the Image and the Representation of Space in Mikael Olsson’s Photography.’