Cold, 1999

Family relationships, the passing of time and the impermanence of the body are just some of the themes that Anneè Olofsson explores most frequently in her video and photo works. The domestic environment, meant both as a physical and a mental space, is the stage of choice on which she sets her theatre of obsessions, of which she is a protagonist together with a close circle of people. As well as turning the camera lens onto her own body, other recurring subjects are her mother and father, friends and ex-boyfriends, while only more rarely does she allow external models to infringe on this private cosmos. Impeccable from a formal point of view, her works recreate the intimacy of relationships through an almost cinematographic lighting, which lets the figures emerge from restricted spaces and ones immersed in compact darkness. [...]