Rune Guneriussen. Traces of Affection

MARCOROSSI artecontemporanea is pleased to present in Milan, after three years, Rune Guneriussen’s new solo show titled Traces of Affection. The opening reception will take in Corso Venezia 29, on Thursday, May 24, at 6:30 pm. The exhibition will be open until June 30.
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The work of the Norwegian photographer can be considered a transition between photography and installation, in which photography is the end point. Guneriussen is a conceptual artist who creates “site specific” works, especially in natural contexts that – from 2005 – he has been searching all over Norway. 
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His works cannot be considered just photo shoots, but they are sculptures and installations designed on a large scale, following an intricate process that involves the object, its history, what surrounds it and the time. In this process, photography is the conclusive moment: the condensation of a creative path built on more levels. 
 
The work is realized on the spot, in complete loneliness, surrounded by unusual and wild landscapes. The natural context plays a double role: it is at the same time framework and protagonist of the installations, created by using objects of everyday use. In the rarefied silence of Norwegian nature, Guneriussen sets lamps, books, telephones, chairs, that sound as if they were amplified in an echo, as the artist explains in the title. 
 
The process is concluded by the photographic shoot in analog format: the pictures are not edited in post production. The final effect is a fascinating union between nature and objects: they lose their peculiarity of human product as they come to life and dominate the scene, they become immutable as nature elements and they change the landscape from natural to fairy.

Rune Guneriussen was born in 1977, in Kongsberg, Norway; he studied at the Surrey Institute of Art & Design in England, and currently lives and works in eastern Norway.
 
Rune Guneriussen uses man-made objects to build temporary installations in the natural settings to create his ethereal photographic works. Most ordinary every day items, such as electric lamps, books, chairs, etc. were placed by the artist in untouched Norwegian landscapes where these objects are seemingly the only indication of the human presence.
 
The artist believes that the human approach to nature is too invasive. Therefore, with his projects, he assembles site-specific sculptures and installations creating the most enchanting of worlds, photographs them and takes them apart afterwards leaving no trace behind – as a suggestion for a more gentle approach.
 
“This process involves the object, story, space and most important the time it is made within. It is an approach to the balance between nature and human culture, and all the sublevels of our own existence”, states the artist himself.
 
As an artist he believes strongly that art itself should be questioning and bewildering as opposed to patronizing and restricting. As opposed to the current fashion he does not want to dictate a way to the understanding of his art, but rather indicate a path to understanding a story.

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