Henrik Håkansson (b. 1968) has worked with questions relating to our natural environment in large multi-
International ongoing exhibitions
Exhibition June 08 -
KODE Art Museums and Composer Homes, Rasmus Meyers allé 9 -
© ArtCatalyse International / Marika Prévosto 2018. All Rights Reserved
Håkansson often places biological elements such as trees, plants, earth and insects directly in the exhibition rooms, allowing nature itself to play the main role. He has released the song of a Skylark as free records on vinyl, generated projects on wind tunnels for birds, and made paintings out of mosquitoes colliding with the canvas.
Disrupts the image of nature
Håkansson and Dahl both relate to the natural sciences of their time. Dahl discovered the Norwegian landscape artistically, alongside early cartographers and geologists, and included both meteorology and botany as a part of his nature studies. Håkansson makes use of methods that often resemble the systematic nature observations of science disciplines, such as dissection and close-
In Håkansson’s ambiguous staging, the sections of nature appear unexpected and disturbing, and disrupts the image of nature we have been taught to appreciate. In this way Håkansson debates our complex relationship to nature, not only in relation to ethics and ecology, but also to the very definition of nature that have been cultivated by art and science in the past centuries.
A memory of a tree
Developed on the concept of “a memory of a tree,” Håkansson’s project for Bergen will emanate into a site-
This is the first time Håkansson will have a solo exhibition in Norway. He has a long international career that stretches back to the mid-
Left : J.C. Dahl, Bjerk i storm, 1849. Photo: Dag Fosse. Right : Henrik Håkansson, A Forest Divided, Lunds Konsthall. Photo: Terje Östling.