*1968 in Helsingborg, Sweden, lives and works in Falkenberg, Sweden, and Berlin
In his works, Henrik Håkansson deals with (nature) cycles frequently and, through this, the present perception of nature. Until when is nature still natural, and when is it “artificial nature”? Håkanssons works bring together the layers of nature and technology on the level of pictures like films or photography. For the project “Field Test”, Håkansson put a giant steel tub in the middle of a landscape, filled it with topsoil and let the plants of the lake area reclaim it piece by piece. When the lake area was not flooded, the artwork was barely visible. When it did flood, the big tub started to float. It became a kind of ‘Island’, keeping a part of the local landscape safe.
For his projects, it matters to Håkansson „to show the connection of humanity to nature and the environment, and sentizise people for processes they are not aware of anymore. For this, nature is the symbol of the processual. This is especially important in times where unrestricted growth and ecological crisis assist the exploitation and ruin of natural resources. Film, video, photography, text and sound create a frame, from which the artist creates room for the performative, encouraging the observer to think and to act.
Exhibitions and Awards (selection):
Venedig Biennale (2003), Sao Paulo Biennale Brasilien (2004); Le Palais de Tokyo, Paris (2006); Art Basel Miami Beach (2006), Galleria Franco Noero, Torino Italien (2010); Museo Rufino Tamayo de Arte Contemporáneo, Mexiko (2008); and Kettle’s Yard, Cambridge, England (2007).