Almost Nothings

Katarina Löfström has received considerable attention both in Sweden and abroad for her installations, video- and three-dimensional works.

Light, perception and how we choose to interpret the world around us is a recurrent theme in Löfström’s work. Her light installations for instance are often based on colored films placed on windows or colored light illuminating the space creating various illusions. Another recurring focus is her conviction in the images' ability to function as meaningful without the help of written word. Through images we reach parts in us that complement our rational, intellectual self, which differ from how words and text create meaning. From this perspective Löfström’s work stand out from one of the stronger trends in contemporary art today, but at the same time the work relates to the continuous tradition of image making.

Many of Katarina Löfström’s work, both moving images and sculptures, are often looped, without a beginning or an end. The only key offered is the title, which doesn’t really offer any immediate understanding but functions more as a starting point. The work is comparable to many pieces of music, were there is a title but no lyrics. With Katarina Löfström’s exhibition Oslo Kunstforening/Oslo Fine Art Society whishes to introduce a new body of work to the Oslo audience, but also to examine visual art's inherent ability to break loose from traditional learning patterns and rational thinking. Perhaps it is precisely this ability that continues to make visual art so explosive, exposed to both accusations as well as praises. Both new and older works will be presented at the exhibition.

About Katarina Löfström

Katarina Löfström has received an MFA from the University College of Arts, Crafts and Design in Stockholm and works primarily with video, digital animations, audio interactivity, and sculptural installations.

During the late '90s, she worked with Swedish commercial film with director Jonas Åkerlund, scripting pop videos for amongst others Madonna, Prodigy, Moby and Metallica.

During the early 00's, she and DJ Linus Winstam ran Club Bevil, with the aim to show art, street art and music in unexpected places. It was also during this period that digital animations such as "Hang Ten Sunset" and "Whiteout" were produced.

As part of IASPIS Studio Programme she stayed at Künstlerhaus Bethanien in Berlin and began to work with Jan Winkelmann at Winkelmann / Berlin, a collaboration that lasted until 2008. During this time she produced some of her best-known video works, "An Island", "Tower" and "Score".

Back in Stockholm in 2005 she began working on a public commission in the form of a sound interactive light piece for the new concert hall in Uppsala, UKK. This was followed by other public commissions, for instance in the World Heritage High Coast and at the Karolinska Hospital in Stockholm.

Since the turn of the millennium Löfström’s work have been presented in solo exhibitions at, among others Index in Stockholm, Norrköping Art Museum, Skellefteå Konsthall, Malmö Konsthall and Uppsala Art Museum. This summer she participated in the Momentum Biennale "Imagine Being Here Now", and is currently working on three public commissions.



Katarina Löfström is represented by Andréhn-Schiptjenko in Stockholm.