CIRCULAR WAIT + SATELLITE + SECOND NATURE
In Martina Hoogland Ivanow’s most recent work, the series
Circular Wait [2010–2014], she has focused on examining our oftentimes artificial and contradictory relationship with nature
– a relationship that is largely about control. Like Satellite [2009-10], Circular Wait proceeds from the longing for the authentic and wild that is fundamental to many subcultures that
to a greater or lesser degree distance themselves from urban culture. Seeking to live in harmony with nature is often exclusive and only accessible to a select few. Other problematic dimensions include issues of sustainability and gender. The wilderness is
not big enough for everyone to live in and warm themselves by an open fire, and, in most cases, a return to a more “original” life involves a return to more rigid gender roles.
In Circular Wait images from places such as eco villages, Rainbow Gatherings, and Teaching Drum – a stone-age survival school – are juxtaposed with different forms of outdoor life and encounters
in or about nature, situations of contemplation or surveillance. The images of lone birdwatchers or hunters remind us of our own vulnerability while monitoring another, drawing parallels to the surveillance society of today. Documentary elements alternate with color and light abstractions in artificial colors that infuse the images with a dream-like, painterly dimension, while bringing to mind pollution, poison, and other forms of environmental destruction.
Both Circular Wait and Satellite exposes the fragile balance between humankind, culture, sustainability, and nature. The title Circular Wait refers to a state in harmony with the cycles of nature, but by extension also to an inability to break a pattern. The images evoke questions regarding our human shortcomings and capture the anxiety of our times that comes from knowing what we should do from an environmental perspective while at the same time finding it difficult to live up to the expectations of real change. Another element is the exploration of the simultaneously regressive and visionary desire to live closer to nature.
An interest in what is complex and contradictory runs like a common thread through Martina Hoogland Ivanow’s work, in which the photographic process becomes an investigation into our dualistic nature and how the self relates to the outside world.
Estelle af Malmborg
CURATOR AND WRITER
Estelle af Malmborg
CURATOR AND WRITER
Slipcase including three books of two separate projects, Satellite + Circular Wait (Livrasion books) followed by a smaller book, Second Nature, Martina Hoogland Ivanow (Art and Theory publishing)including an essay and an interview with the artist.
FORMAT: 295 X 235 MM PAGES: 52
PRINT: FULL COLOR
CIRCULAR WAIT: EDITION: 666
FORMAT: 295 X 235 MM PAGES: 84
PRINT: FULL COLOR
In the frozen dead of night a group of speedway riders circles a dirt track. Gathered under the racetrack lights in an almost ceremonial fashion, they seem like a secret society engaged in an enigmatic ritual. Yet, any clear answer about what we are actually witnessing keeps slipping away, like rain on a windshield.
This is the darkly opaque universe that Martina Hoogland Ivanow’s »Speedway« beckons us to enter. A world of minimal molecular motion. A landscape of ice, snow, dirt and night. One in which shadowy speedway bikers – almost as an afterthought – seemingly race to outduel the overwhelming forces of nature rather than compete with each other. Perhaps just to keep themselves warm. But nature is indifferent and unforgiving. It keeps on winning, forever on the verge of turning everything into an arrested state of ice and darkness.
Moving from one image to the next we hope to get closer to the real action. But the deeper we immerse ourselves into this universe the slacker the ties to the real world become, allowing the fictional dimension of photography to take hold. The unfamiliar overlaps the familiar. Without realizing it we find ourselves in a twilight zone where reality meets the dream and the drivers turn into leather-clad, one-gear, no-brake ghost riders.
Format 295 X 254 mm
Print: full color, 380% black
Edition of 666
FAR TOO CLOSE
Far Too Close is a visual meditation on distance, both physical and emotional, of closeness to a subject and remoteness from a place. Applying a dark mesmerizing aesthetic which conveys in her images a heightened presence as real as it is poetic, Martina Hoogland Ivanow interweaves family portraits and interiors of home with landscapes of some of the most remote and far flung locations at the very ends of the Earth. Over seven years she travelled to Siberia, Sakhalin Island north of Japan, Tierra del Fuego on the southern tip of Argentina, and the Kola Peninsula in Russian Lapland. Each of these places has its own dark history and has been the focus of dispute and discontent. Combined with photographs of her own community, a literary tale emerges which shifts from disturbing to familiar and is about the very nature of photography, its capacity to relate history and emotion from afar and nearby.
Published by SteidlMack
Edited by Michael Mack and Martina Hoogland Ivanow
Format 297 X 238 mm
ELEPHANT AND CASTLE
Kning Disk 2011
Elephant & Castle is a musical work created by composers Matti Bye and Mattias Olsson. It is a journey through forgotten landscapes and a visit to an abandoned amusement park, to the sounds of an underwater orchestra playing broken barrel organs and strange instruments from a sunken ship.
The album was created in relation to the photographic work of Martina Hoogland Ivanow. Her images were used for inspiration during the recording sessions, as a visual partition for the music.
The result is presented in a stunningly beautiful box with a vinyl record, a phonograph cylinder, and fourteen photographs.