Ninna Berger, MFA, b 1980, Stockholm
Berger’s tactic of forensic layering – the constantly working and re-working of her own brand of material alchemy- is durational in execution, and yet she hides the tracks of her labour, adding
yet another layer of conscious artiface. However, her reliance on the alchemic, transformative effect of time on her work, on the molecular changes of the core materials that she consciously
choreographs during her process, is clearly acknowledged as Berger says “I’m trying to come as close as I can to a feeling of honesty as I build and destroy”.
Berger’s tactile surfaces dispute the authority of the eye. The very system within which Berger operates reproduces the hierarchy of sight over touch, and yet, at the same time, she subverts the objecthood of her work through its ephemerality.
Artist-in-residence September, November and December 2015