1st spread: Endless Morning II, Christian Andersson, 2015, felt pen drawing on inkjet print, 21cm x 29.7 cm, Collection Hallands Konstmuseum, photo: Fagot Koroviev for CCQ 2nd spread, both images: are we not drawn onward, we few, drawn onward to new era, Christian Andersson, 2009, lambda print, vinyl, 3 photo flashes, 3 tripods, timer, print: 125cm x 750cm, courtesy the artist & von Bartha, BASEL, Galerie Nordenhake Berlin/Stockholm & Cristina Guerra Contemporary Art, Lisbon, photo: Terje Östling / Moderna Museet 3rd spread, left page: Self Portrait / Living Fossil, Christian Andersson, 2013, C-print, walnut frame, 69.5cm x 96.5cm, courtesy the artist & von Bartha, BASEL, Galerie Nordenhake Berlin/Stockholm & Cristina Guerra Contemporary Art, Lisbon, photo: Christian Andersson 3rd spread, right page: From Lucy with Love, Christian Andersson, 2011, mixed media installation, 196cm x 70cm x 600cm, collection MUDAM, Luxembourg, photo: Terje Östling / Moderna Museet 4th spread, left page: Angel of the Hearth, Christian Andersson, 2011, stainless steel, plaster, 125cm x 110cm x 75cm, courtesy the artist & von Bartha, Basel, Galerie Nordenhake Berlin/Stockholm & Cristina Guerra Contemporary Art, Lisbon. Photo: Terje Östling / Moderna Museet 4th spread, right page: Now Wait for Last Year, Christian Andersson, 2016, oak wood, 31cm x 31cm x 27cm each, courtesy the artist & von Bartha, BASEL, Galerie Nordenhake Berlin/Stockholm & Cristina Guerra Contemporary Art, Lisbon, photo: Gerhard Kassner / Galerie Nordenhake opposite left to right: Scanner (Plate I), Christian Andersson, 2012, MDF, electric motor, titanium plate, acrylic glass, 180cm x 30cm x 30cm, von Bartha Collection, photo: Andreas Zimmerman / von Bartha Scanner (Plate IV), Christian Andersson, 2012, MDF, electric motor, titanium plate, acrylic glass, 180cm x 30cm x 30cm, von Bartha Collection, photo: Andreas Zimmerman / von Bartha Scanner (Plate VII), Christian Andersson, 2012, MDF, electric motor, titanium plate, acrylic glass, 180cm x 30cm x 30cm, von Bartha Collection, photo: Andreas Zimmerman / von Bartha final spread: Shelving in Christian Andersson’s studio bunker, Fagot Koroviev for CCQ, Malmö 2016
Visually, the image has a deep core; physically, it has a backbone, like a creature. I realised that, as the credibility of the Rorschach test was slipping away, so, at the same time, it was growing as a cultural icon; it was becoming mythologised. RB: You are worried you might become a Rorschach fan? CA: I am concerned that I might become a Rorschach follower; I have to be prepared to heckle, or even to take a hammer to,
Rorschach and Mies van der Rohe, if the need should arise. I am not the guy to sit opposite you, whilst you recline on a couch, and help you with your issues. RB: I guess I had better be off then—CCQ
Christian Andersson’s solo exhibitions, at von Bartha, BASEL and Galerie Nordenhake, Berlin (Put the cobwebs back in place) have just closed. This autumn his work can be seen in group shows at Boijmans van Beuningen Museum, Rotterdam, and
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The Living Art Museum, Reykjavik. In 2017, he will do a commissioned work in Le Havre, France and a solo presentation at Museum CIAJG, Guimarães. Christian Andersson is represented by von Bartha, BASEL, Cristina Guerra Contemporary Art, Lisbon and Galerie Nordenhake, Berlin/Stockholm. christianandersson.net vonbartha.com cristinaguerra.com nordenhake.com