| |
|
| |
Henrik Håkansson (Sweden, 1968) |
| |
|
| |
Henrik Håkansson’s projects are the result of his interdisciplinary naturalistic approach and combine cross-cutting biological, anthropological and aesthetic interests. The attentive observation of the natural rhythms of life and the study of plants and animals form the scientific basis for wider reflection – conducted by recording and presenting fragments of natural cycles – on the possible forms of relation between man and nature. |
| |
|
| |
 |
| |
|
| |
 |
| |
MARCH.16, 2008 (Pharomachurus mocinno), 2008
amplifier (fender super reverb 65), wooden plinth, framed c-print
(48,8 x 68,8 cm), CD player
Courtesy Rennie Collection, Vancouver, Canada;
Galleria Franco Noero, Turin.
Photo Credit: CCCS, Firenze; Valentina Muscedra |
| |
|
| |
In 2008, the Museo Rufino Tamayo in Mexico City staged an important solo exhibition dedicated to Håkansson’s work, following the artist’s stay in the Mexican reserve of Montes Azules, in the Selva Lacandona area. Among the works created during this period (Chronicles), Selva Lacandona presented 100 images taken from a series of films made using 12 video surveillance cameras positioned in the southern part of the forest. While the wish to study natural processes continues to constitute the focus of the project, this work is imbued with different meanings due to the endangered status of the Selva, whose area is gradually shrinking as a result of human activities. Indeed, in this case the behaviour of the animals becomes the study of a struggle for survival against the progressive reduction of living space.
The audio works presented at the Museo Tamayo include MARCH.16,2008 (Pharomachurus mocinno), also featured in Green Platform, which reproduces the song of the quetzal, the most famous Central American bird, venerated by the Maya and the Aztecs with the name Quetzacoatl, the plumed serpent. Still considered the “king” of birds, the quetzal is now an endangered species. In Håkansson’s work the song of the quetzal is reproduced by an amplifier, a Fender Reverb 65, which is itself considered a legend and defined, on the rock scene, as the “king” of its kind. The work thus takes the form of a sculpture/sanctuary, a tribute to the living legend of the quetzal, whose song will soon probably be heard only by artificial means.
|
| |
......................................................................................................................................... |
| |
go to top |
| |
|
|
