Anna-Karin Rasmusson

Anna-Karin Rasmusson works mainly with video and installations, in which painting plays an important role. Everyday tasks are repetitively performed in a scenography built like a collage of painted cardboard boxes and boards. Video works are often projected on top of each other, creating multifaceted layers of moving images. In her art, Rasmusson focus on human interaction, both physical and emotional. The masked characters in her videos – played by herself – are involved in somewhat clumsy attempts to support, comfort and reach out to each other. In a broad sense, Rasmusson’s expressive and painterly imagery highlights complex feelings of inadequacy, disorientation and tenderness.
Anna-Karin Rasmusson (b. 1983) is based in Stockholm and has an MFA from the Royal Institute of Art in Stockholm (2016). Recent exhibitions include Modernautställningen 2018 at Moderna Museet, Stockholm, the Gothenburg Museum of Art and Konstnärshuset, Stockholm. Rasmusson has exhibited at Köttinspektionen, Uppsala, Den Frie, Copenhagen, Strandverket konsthall, Marstrand, Växjö konsthall, Konstepidemin, Gothenburg, Kunsthal Charlottenborg, Copenhagen, and in several gallery exhibitions. Her video installation Mater Nostra, which premiered at the Royal Academy of Fine Arts in 2017, is part of the collection at Moderna Museet and the Gothenburg Museum of Art. She is also represented in the collections of Malmö Konstmuseum and Public Art Agency Sweden. Awards and scholarships include Stockholm City Cultural Award (2019), the IASPIS Studio Grant in Stockholm (2018) and the Bernadotte Grant (2016), awarded by the Royal Academy of Fine Arts.
Later this year, Rasmusson has upcoming group shows at the Gotland Museum in Visby, Växjö konsthall, Kummelholmen in Stockholm, and a collaboration with Institutet in Tornedalen, which will result in a performance and installation premiering at Bildmuseet in Umeå this autumn.


”The thin line between empathy and domination…”, Frida Sandström / ARTFORUM Read more…
”…en arketyp för våra egna tillkortakommanden men visar samtidigt på vår vilja att ändå försöka”, Johanna Theander / Read more… 
”Det omedelbara tilltalet är starkt och medryckande.”, Kristina Maria Mezei / Omkonst Read More…

”Chockerande slapstick som ingen skrattar åt”, Joanna Persman / SvD Read More… 


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