Anastasia Ax

Anastasia Ax är känd för sina kraftfulla performativa installationer som utforskar vår existens, fysiska närvaro och känslor som uppgivenhet, frustration och aggressivitet. Hon undersöker begrepp som tid, det förflutna och vår gemensamma historia.

Med hjälp av enkla material som exempelvis papper, bläck och gips bygger Ax platsspecifika verk som breder ut sig i rummet.

Ax använder sig av stora balar som består av tusentals pressade lager med återvunnet papper. Med en våldsam kraft sönderdelar hon pappret och låter bläck flöda över installationen.  Papper och bläck refererar till tecknande, men rymmer också en mer symbolisk betydelse i form av förgiftning, svärta och melankoli.

Den 7 juni, under vernissagekvällen, fulländades verket. Med en kompromisslös brutalitet tog Ax sig an gallerirummet när hon uppförde det performativa verket The World as of Yesterday.

Verket synliggör den stora massan av skräp vi lämnar efter oss – vilket representerar vår historia och vårt minne. Det bildar också ett arkiv över det oönskade. När utställningen Fragmented Realities avslutas går installationen tillbaka till återvinningscentralen, tillbaka in i kretsloppet.


In English

Anastasia Ax is known for her powerful performative installations, which explore our existence, physical presence and emotions such as resignation, frustration and aggressiveness. She investigates concepts such as time, the past and our common history.

Using simple materials such as paper, ink and plaster, she constructs site-specific works that are inclined to spread across the space. Paper and ink reference drawing, but also contain a more symbolic meaning in the form of poisoning, blackness and melancholy.

With uncompromising brutality, Anastasia Ax appropriates the gallery space when staging her performative work The World as of Yesterday, which may be regarded as both a creative process and an act of destruction. Ax uses large bales consisting of thousands of compressed layers of recycled paper.

With violent force, she breaks up the paper and lets ink flow over the installation. Here she deconstructs the white cube and blackens its walls and symbolic value. The artist’s own body plays a decisive role, since through her physical intervention the work changes continuously throughout the act. After a violent rebellious process in which structures are destroyed and contaminated with ink, a form of recycling takes place.

The material is reformulated and sorted or totally reconstructed into a new structure and order. In its fragmented, chaotic form, the work demonstrates not only the large amount of rubbish we leave behind us, but also the personal narrative. As such, the work represents our history, our memory, forming an archive of the unwanted.