Born 1956 in Sverige, Sweden
Lives and works in Berlin

Eriksson's projects conjure up the question of whether art, within Late Capitalism, can become a cultural form on the rise, a form that can generate a cognitive estrangement as a critical position within a post-fordist anxiety of overproduction. It is a process of distortion, one that art also can achieve from science fiction as a genre that allegorizes our present. Eriksson’s work revitalizes the pair of art and politics but it does so from a new perspective; using the directness of an aesthetic of realism plus the magical aspects hidden in reality. Even if any theory that attempts to depict our world system is a ‘capitalist realism’ (as defined by Mark Fisher) this cannot only be sustained by old representations of an aesthetic of realism (or old forms of resistance, including political art) but rather need the component of a Brechtian estrangement that is often housed in science fiction. In the artist, this commitment is marked by an estrangement as the result of a dislocation or context switch that most of the occasions reveals the uncanny in the normality of the everyday.

Peio Aguirre


Annika Eriksson
Shop Front Coherence
Exhibition View