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The Community
Annika Eriksson

In Annika Eriksson’s work The Community we meet a unique community and the story about a civil concern: Instanbul’s homeless cats. For many years the cats were being cared for by local cat lovers, but today the cats are all gone as a result of a clean-up, which changed the cityscape. In Ray Oldenburg’s pamphlet The Great Good Place he refers to ‘the third place’, where people gather, move between work and family affairs, a place of good company and discussions – the root of democracy and the vitality of a society.

Keywords Animal
Aspect ratio 1,78:1 (16:9)
Prod. format
Duration 00:04:30
Language No dialogue
Color Color
Year 2010
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About the artist

Born 1956 in Malmö, Sweden. Lives and works in Berlin, Germany.

Annika Eriksson is one of Sweden’s most internationally acclaimed artists, and her work has been shown around the world, for example at the Hayward Gallery and Gasworks in London, Mori Art Museum in Tokyo, SALT in Istanbul, Hamburger Bahnhof and Neue Nationalgalerie in Berlin, Wattis Institute for Contemporary Art in San Francisco, as well as at biennials in Istanbul, Shanghai, Sao Paulo, Dakar, Vienna and Venice. In Sweden Annika Eriksson’s art has been exhibited at the Moderna Museet, Tensta Konsthall, Malmö Art Museum, and Gothenburg Art Museum. She has also created works for BAC, IASPIS and Public Art Agency Sweden. She was the Swedish representation at the 25th São Paulo Biennial in 2002.

Eriksson belongs to a group of artists from the Nordic region that is particularly concerned with social and political configurations of everyday life and their relationship to authority and social order. This often includes the precarious authority of art institutions as temple like arrangements of art objects with no real connection to outside realities. Eriksson tries to challenge this situation by looking at key elements of today’s museums that she carefully subverts. In a recent series of works the artist asked the staff of various art institutions around the world to present themselves in front of a camera with their name and job title.

The films look behind the scene of the museums and present those individuals that are responsible for realizing the exhibitions we usually expect and see in an art institution. What is crucial is that Eriksson invites the whole range of museum employees from the director, the technicians, the curators to the cleaning personal and the security guards. For her new work as part of the Staff series the artist will, for the first time, create a life version of the piece in front of an audience involving all of the museum’s employees.