Martina Hoogland Ivanow makes use of dark, fascinating aesthetics
and raises a number of questions concerning the “outside” and being an outsider, which are intended not only to affect the subjects of her pictures, but the viewer of the photographs as well.
In the recent series Circular Wait, Hoogland Ivanow explores the
relationship between man and nature—a relationship that oscillates between control and a lack thereof, where the unfathomable instills a security of sorts.
Her new video work Annelise Frankfurt (2013) deals with the life of the dancer, choreographer, and doll-maker who was active in the 1950s and 60s and who has been largely forgotten. Annelise
Frankurt’s (1926–2007) fate is fascinating and links in to Hoogland Ivanow’s interest in opposites, the in-between, and human relationships.
Martina Hoogland Ivanow, born in Stockholm in 1973, moved from
Sweden at the age of 18 to study photography in Paris and later New York. After an early breakthrough in the mid 90’s living in London with many commercial commissions, she has spent the last 13 years focusing on her artwork and exhibitions. In 2010 she received an IASPIS grant and a one-year residency in at Kunstlerhaus Bethanien, Berlin and a Scanpix photo prize for her project “Satellite.”
Hoogland Ivanow’s work has been exhibited at Moderna Museet (Stockholm), The Barbican (London), Gun Gallery (Stockholm), Kulturhuset (Stockholm), Künstlerhaus Bethanien (Berlin) and Hermes Foundation (New York). She has published 3 books, Far too Close, SteidlMACK in 2011, Speedway, 2013 and Circular Wait + Speedway together with Livrasion books and Art and Theory Publishing, 2015.
She lives and works in Stockholm.