PL: You appear in all of your photos. Do you think of yourself as a consistent character in your work?
EB: Let’s say there’s two different categories. Some works are autobiographical, like ANNONCIATION (), which is about what was happening to me in my life at that moment. That’s one category, then there’s another set of images in which I don’t think the person is me — it’s a human figure, a woman, or girl. I don’t even say it’s me when I’m talking about the pictures, I say ‘that person’. I want to ask you the same question, because you appear in your pictures too, do you feel like there is a consistency, or does it change?
PL: It does change, but I think it’s more consistent. For me, most of the work belongs to the same project. I think it is a character that I want to make for myself, like an alter ego. It’s not always me and my boyfriend, exactly, it’s someone else we can’t always play.
EB: Maybe it’s not necessary for us to establish it so strictly, and keep the freedom of just playing around. One day it can be one thing, and tomorrow it can be something else. It’s fantastic that you have the possibility to continue to work together. That’s one of the fantastic thin
Elina Brotherus 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 ss. 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.
Elina Brotherus lives and works in Helsinki, Finland and Avallon, France. She has an MA degree in Photography from the University of Art and Design Helsinki (now Aalto University) and an MSc in Chemistry from the University of Helsinki. She has been awarded, among others, the Artist Professorship Grant of the Arts Promotion Centre Finland (), Carte blanche PMU, France (), the Finnish State Prize for Photography (), and the Prix Niépce of Gens d’image (). Her works are in ov
Elina Brotherus
Born in , Helsinki, Finland.
Lives and works between Paris and Helsinki.
EDUCATION
&#; Master of Arts (Photography), University of Art and Design Helsinki (UIAH)
&#; Master of Science (Analytical Chemistry), University of Helsinki
SOLO EXHIBITIONS
In the Architect’s House – Elina Brotherus on Alvar Aalto, KØS Museum of Art in Public Spaces, Køge, Denmark
Somebody Else, Théâtre La passerelle, Gap, France
Vies silencieuses, in Festival Planches Contact, Deauville, France
Over Seas, The Nordic Art Symphony Project, Kilden Concert Hall and Kunstsilo, Kristiansand
Artist as Clown, camara oscura galleria de arte, Madrid, Spain
Face with Lipstick, Instituto Iberoamericano de Finlandia, Madrid, Spain
Spaces and Places, Helsinki Contemporary, Helsinki, Finland
Large de Vue, Arter, Istanbul, Turkey
VISITOR, Didrichsen Art Museum, Helsinki, Finland
Elina Brotherus, Joseph Beuys and René Block: Potato Planting – Transformations, Museum Schloss Moyland, Germany
Space, Time, Movement, Aalto Museum, Jyväskylä Art Museum and Gallery Ratamo, Jyväskylä, Finland
Elina Brotherus – In Reference To A Sunny Place, Fotografie Forum Frankfurt, Germany
Dialo
Elina Brotherus
Autoportraits.
Elina Brotherus est une photographe finlandaise, née en Elle partage sa vie entre la Finlande et la France.
Cliquez sur les photos pour les agrandir.
Explication d’Elina Brotherus sur la série qui suit :
Qui regarde qui ? Qui est l’artiste, qui est le modèle ? À qui revient le « dernier regard » ?
M’étant longtemps servi de modèle, j’ai voulu approfondir les notions de regard d’artiste, de modèle et d’autoportrait d’artiste. [&#;] J’ai rencontré deux jeunes peintres, Jan Neva et Teemu Korpela. Ils ont étudié à l’Académie des Beaux-Arts de Saint-Pétersbourg, où prévaut encore la tradition académique de peindre le nu.
Dans l’histoire de l’art, on peut trouver un type d’image où le peintre se présente avec le modèle dans l’atelier (et regarde souvent par-dessus son épaule vers le spectateur). Je voulais une situation où c’est le modèle qui se présente en se faisant passer pour un modèle. Traditionnellement le peintre regarde le modèle et le modèle ne regarde p
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