In recent years, she has revisited Fluxus event scores and other performance-based instructions from the 1950s to the 1970s, transforming them into visual narratives. In her publication of the same title, Brotherus introduces SEABOUND by reflecting on the origin of its name, which she calls a misunderstanding: “Or a mistranslation, to be exact.”
Much of the series draws inspiration from Norwegian performance artist Kurt Johannessen, known for his small books filled with “øvingar” – short, poetic exercises. While working in Norway, Brotherus carried these instructions with her, one of which read: Havbunnen to netter på rad. The artist recalls: ”Seabound, I thought, two nights in a row. How beautiful. That’s me! I was in the outer archipelago and was drawn to the sea all the time, day and night.”
It was only later that she discovered her poetic interpretation was off. Bunnen, which she had mistaken for the Swedish bunden (meaning “bound”), in Norwegian actually means “bottom.” Johannessen was referring to the seabed, not a romantic yearning for the sea. But by then, the moment had passed – and the image had been made: Brotherus, in a red coat, captured on the second night, gazing out over the open water.
Elina Brotherus (b. 1972, Finland) is one of the most recognized contemporary artists from Scandinavia. Brotherus’ art has been alternating between autobiographical and art historical approaches. Her early series on subjective experiences gave way to works dealing with the human figure and the landscape, the relation of the artist and the model.
In her current practice she is revisiting Fluxus event scores and other written instructions for performance-oriented art of the 1950s-70s. Another recent theme is architecture: Brotherus photographs in private houses designed by important architects, taking roles of various imagined characters. Her tranquil presence breaths life into these iconic spaces of architectural heritage.
Kilde:
Martin Asbæk Gallery
Martin Asbæk Gallery