Anna Ling Östra Kristinelundsvägen 25 a, Malmö, Sweden

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1 Anna Ling Östra Kristinelundsvägen 25 a, Malmö, Sweden

2 CV Anna Ling Born 1971 Gothenburg, Sweden Lives and works in Malmö, Sweden Education Malmö Art Academy, MFA program, Edinburgh College of Arts, exchange with the Proto Academy 2000 Video/Feminism Kvinnofolkhögskolan, Gothenburg, Hovedskous paintingschool, Gothenburg, Selected solo exhibitions 2013 Galleri Elastic, Malmö, Sweden 2012 Galleri Arnstedt, Båstad, Sweden 2011 Gallery Gregor Podnar, Ljublijana, Slovenia Galleri 54, Göteborg, Sweden 2010 Elastic, Malmö, Sweden 2008 Drawing a line, Bohusläns museum, with Alexander Gutke, Uddevalla, Sweden Galleri Tom Christofferssen, Cube, Copenhagen, Denmark 2006 Elastic, Malmö, Sweden Ystads artmuseum, Room five, Ystad, Sweden Kristinehamns artmuseum, Kristinehamn, Sweden 2005 Elastic, Malmö, Sweden 2004 Milliken, Stockholm, Sweden Galleri Magnus Åklundh, Malmö, Sweden Galleri Box, with Ann Böttcher, Gothenburg, Sweden 2003 Screen, Bildjournalen, SVT, Sweden 2002 Lobby, SAS Raisson hotel, Rooseum, Malmö, Sweden Vinge Advokatkontor, Malmö, Sweden Peep gallery, Malmö, Sweden Liste, Cargolino, with Luca Frei, Basel, Switzerland Cargobar, with Luca Frei, Basel, Switzerland Selected group exhibitions 2013 Nordiska Akvarellmuseet, Skärhamn, Sweden Galleri Arnstedt, Båstad, Sweden 2012 Kunstgallerie Bonn, Germany Skissernas Museum, Lund, Sweden Armory show, Elastic, nordic section, NY, USA 2011 Till havs, Varbergs konsthall, Sweden Papi, galleri st. Gertrud, Malmö, Sweden 2010 Utan titel, Ystads konstmuseum, Ystad, Sweden 2009 Elastic, Malmö, Sweden 2008 Malmö Konstmuseum, Malmö, Sweden, (catalogue) Signal, Malmö, Sweden Lillehammer kunstmuseum, Lillehammer, Norway 2007 Freunde fur immer, Bonner Kunstverein, Bonn, Germany Pumphusets konsthall, Landskrona, Sweden Jag vill kunna se vad det är, Lunds Konsthall, Lund, Sweden,(catalogue) Landskap nu, Rackstadmuseet, Arvika, Sweden Bra konst!, VikingsbergsKonsthall, Helsingborg, Sweden (catalogue) 2006 Dreamlands Burn Mücsarnok/Kunsthalle Budapest, Ungern, (catalogue) Elastic, Malmö, Sweden The sun on the wall,latvian National Museum of art, Riga, Latvia, (catalogue) The sun on the wall, Pavel Haus, Laafeld, Austria 2005 Malmö konsthögskolas Jubileumsutställning, Rooseum, Malmö, Sweden, (catalogue) 2004 Attraktion samtidskonst i Skåne, Stockholm Art fair, Elastic Projects, Konstfrämjandet 2003 Contemporary art from Sweden, The Nordic embassy, Berlin, Germany, (catalogue) Nya namn, Malmö konstmuseum, Sweden, (catalogue) Contemporary art from Sweden, ECB, Frankfurt, Germany, (catalogue) 2002 Gwangju Biennale, Signal, Gwangju, South Korea, (catalogue) Malmö-Oslo, overstation, Astrup Fearnley Museet, Oslo, Norway 2001 Ett annat sted, Hordalands kunstnercenter, Bergen, Norway Greetings from Liverpool, Bluecoats, England The Wight Biennale, with Luca Frei, Wight Gallery, UCLA, USA, (catalogue) Nomadsland-proto academy, Malmö Art academy, Rooseum, Malmö, Sweden 2000 Lost in space, Färgfabriken, Stockholm, Sweden, (catalogue) Cashbox, Galleri Box, Gothenburg, Sweden Video shop, Edinburgh, Scotland Flat show, Proto Academy, Edinburgh, Scotland Transitory cooperation, Edinburgh, Scotland A5 invitational, Backstage, Stockholm, Sweden 1999 Cashbox, Galleri Box, Gothenburg, Sweden Roll on video, Roll on project, Malmö, Sweden 1419A, The Royal Art Academy, Stockholm, Sweden Gallery Gulp, Malmö/Reykjavik, Sweden/Iceland Prices, grants 2003, Aase & Rickard Björklunds stipendiefond 2004, One year working grant from konstnärsnämnden 2005, Nifca, two month residency in Soumenlinna, Helsinki 2006, Region Skånes Kultur pris 2007, Two year working grant from konstnärsnämnden 2008, The Edstrandska Foundation Grant 2013, Two year working grant from konstnärsnämnden Collections The European investmentbank of Luxenburg Statens konstråd Lunds kommun Apoteksbolaget Region Skåne Sveriges allmäna konstförening Private collections Malmö, Konstmuseum Nordiska Akvarellmuseet Public art Lunds kommun, Förskolan Ormen Långe Rättspsyk, Fleemmingsberg

3 Fossil and Polystyrene Fossil and Polystyrene, 2013, plaster, fabric, glass, and steel, 120 x 90 x 70 cm.

4 Sediment Sediment, 2013, ink on paper, 64 x 48 cm.

5 My Slovenian garden My Slovenian garden, 2012, ink on paper, 55 x 40 cm, installation view Galleri Arnstedt, Båstad.

6 My Slovenian garden, Desk, 2012, ink on paper, 55 x 40 cm. My Slovenian garden, Linoleum, 2012, ink on paper, 55 x 40 cm. My Slovenian garden, 2012, ink on paper, 55 x 40 cm, installation view Galleri Arnstedt, Båstad. My Slovenian garden, For Vinko, 2012, ink on paper, 55 x 40 cm.

7 My Slovenian garden, Agatas, 2012, ink on paper, 55 x 40 cm. My Slovenian garden, Nedelisce, 2012, ink on paper, 55 x 40 cm. My Slovenian garden, Embroidery, 2012, ink on paper, 55 x 40 cm. My Slovenian garden, Rakovci, 2012, ink on paper, 55 x 40 cm. My Slovenian garden, Camouflage #1, 2012, ink on paper, 55 x 40 cm. My Slovenian garden, Mossängen, 2012, ink on paper, 55 x 40 cm.

8 Caves Caves, collage, 38 x 53 cm, 2011, installation view artists studio.

9 Caves, #1, collage, 38 x 53 cm, Caves, #2, collage, 38 x 53 cm, Caves, #5, collage, 38 x 53 cm, Caves, #6, collage, 38 x 53 cm, Caves, #3, collage, 38 x 53 cm, Caves, #4, collage, 38 x 53 cm, Caves, #7, collage, 38 x 53 cm, Caves, #8, collage, 38 x 53 cm, 2011.

10 Oceans of air In Anna Ling s cloud drawings, the clouds appear as airy light figures. They hover quietly above and inside the paper, halftoned, in a state of decomposition. Just as in the real world, some of these clouds seem to be mere shadows, as if they were on the verge of existence, while the appearance of others is more obvious and indisputable. A cloud is a contradiction. It is a poetic metaphor of immaterial beauty. It is also a rather crude atmospheric phenomenon an accumulation of drops of water and ice crystals. Clouds have always represented the transitoriness of existence. They are often in the background but in romantic landscapes, for example, they play a central role. There, they talk of the frailness of life and about our longing for the ungraspable. Nowadays, clouds appear in digital form: information, knowledge and relationships float, constantly available but invisible, in the atmosphere. There is an educational aspect to Anna Ling s eleven cloud drawings in Indian ink and graphite. They account for the ten basic cloud categories, as they were studied, classified and named by the British chemist Luke Howard during the infancy of nephology at the beginning of the 19th century. The eleventh cloud is our time s typical cloud, the condensation trail, which is made by the condensed and frozen exhaust of aircraft engines. Oceans of air, eleven drawings, ink and pencil on paper, 77 x 109 cm, 2010, installation view Elastic, Malmö. Karin Faxen

11 Oceans of air, Rain-Layer, ink and pencil on paper, 77 x 109 cm, Oceans of air, Layer, ink and pencil on paper, 77 x 109 cm, Oceans of air, eleven drawings, ink and pencil on paper, 77 x 109 cm, 2010, installation view Elastic, Malmö. Oceans of air, Heap-Rain, ink and pencil on paper, 77 x 109 cm, Oceans of air, Curl of hair, ink and pencil on paper, 77 x 109 cm, 2010.

12 Oceans of air, Layer-Heap, ink and pencil on paper, 77 x 109 cm, Oceans of air, Curl of hair-layer, ink and pencil on paper, 77 x 109 cm, Oceans of air, High-Heap, ink and pencil on paper, 77 x 109 cm, Oceans of air, Condensation trails, ink and pencil on paper, 77 x 109 cm, Oceans of air, Curl of hair-heap, ink and pencil on paper, 77 x 109 cm, Oceans of air, High-Layer, ink and pencil on paper, 77 x 109 cm, Oceans of air, Heap, ink and pencil on paper, 77 x 109 cm, 2010.

13 Guardians Guardians, gold, bronze and concrete, The six redlisted swedish frogs are placed in front of the six entrances of an preschool in Lund, Sweden. The frogs are also placed on the wall inside the school. Guardian is a public commission for Lunds kommun.

14 Guardians, gold, bronze and concrete, 2008, public commission for Lunds kommun. Guardians, gold, bronze and concrete, 2008, public commission for Lunds kommun.

15 Grey navigation Anna Ling s pictures depict places in the mind as well as everyday rooms and objects. The borders between outer and inner space are never ambiguous, but wide open. The drawings have been reduced and pared down, and she often puts the white nuances of the blank paper to careful use as part of a motif. Her works Grey navigation, 2007 and The geography of grey mass, 2006 are ink drawings, seemingly describing a walk through and around a house. The light in Grey navigation makes me think of early dawn or dusk, the hour of the wolf, the non-time that exists in-between sleep and wakefulness. A door is open, but just a bit, some steps take you out toward something unknown, she zooms in on some densely green bushes. The house is a proper, actual house; it has everything that normally is part of a house: balcony, floor, walls, a pitched roof. But the rooms are empty of people. I am reminded of Ingmar Bergman s early films. Inner psychological tension is reflected in the interior, surroundings and setting. There is a silent, cinematic aspect to The geography of grey mass as if the drawings were sketches for backdrops, an old storyboard, in frozen wait for protagonists and play. To me, the work is about the issues that surround memory and the past, about the difficulty of differentiating between actual realitybased experience and one based on dreams and wishes. Karin Faxen Grey navigation, 2007, 15 ink drawings on paper, 24x35 cm. Installation view, Bonner Kunstverein, Bonn, Germany, 2007.

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17 Grey navigation, 2007, 15 ink drawings on paper, 24x35 cm.

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19 Untitled Untitled, 2007, 4 ink drawings on paper, 84x112 cm, 7 ink drawings on paper 42x56 cm, Installation view, Artists studio.

20 Untitled, 2007, 4 ink drawings on paper, 84x112 cm, Installation view, Artists studio.

21 Untitled, 2007, 7 ink drawings on paper 42x56 cm, Installation view, Artists studio.

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23 The geography of grey mass These black-and-white ink drawings invite the viewers for a tour around a house. The artist has chosen her parents summer house as her object of study. Pared-down architectural details of stairs, window-sills, a door left ajar, part of a terrace with greenery are presented as if they were an abstract story-board for a film. The views are taken at a child s eye-level, which indicates that the artist has worked with her own memories of childhood summers. The work also deals with the difficulty of what constitutes an authentic early memory and what is an after-construction based on other people s stories, photographs and films. The references to cinema and fiction highlight the precariousness of all such reconstructions. How memory lives on in the body, in ourselves, is crucial for how we utilise it in the present. Åsa Nacking The geography of grey mass, 2006, nine ink drawings on paper, 42x56 cm. Installation view, Elastic, Malmö 2006.

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25 The geography of grey mass, 2006, nine ink drawings on paper, 42x56 cm.

26 Observations on open sea A series of 12 ink drawings showing the sea in different weather conditions: light air, light breeze, gentle breeze, moderate breeze, fresh breeze, strong breeze, near gale, gale, strong gale, storm, violent storm, hurricane. The seascapes correspond to the twelve-degree scale established by Sir Francis Beaufort in the early 19th century for calculating wind speed by observing the movements of the sea. The artist was fascinated by the poetry of the visual reading that underlies this scientific method. The Beaufort scale may be used for observations on dry land, for instance by measuring the thickness of twigs broken by the wind. Åsa Nacking Observations on open sea / Observationer på öppet hav Moderate Breeze / Frisk bris, 2006 (4 of12) Ink on paper / Tusch på papper, 58 x 79 cm Installation view, Ystads Konstmuseum, 2006

27 Observations on open sea / Observationer på öppet hav Light Air / Nästan stiltje, 2006 (1 of 12) Ink on paper / Tusch på papper, 58 x 79 cm Observations on open sea / Observationer på öppet hav Light Breeze / Lätt bris, 2006 (2 of 12) Ink on paper / Tusch på pappe, 58 x 79 cm Observations on open sea / Observationer på öppet hav Ink on paper / Tusch på papper, 58 x 79 cm Installation view, Ystads Konstmuseum, 2006 Observations on open sea / Observationer på öppet hav Gentle Breeze / Mild bris, 2006 (3 of 12) Ink on paper / Tusch på papper, 58 x 79 cm Observations on open sea / Observationer på öppet hav Moderate Breeze / Frisk bris, 2006 (4 of12) Ink on paper / Tusch på papper, 58 x 79 cm

28 Observations on open sea / Observationer på öppet hav Fresh Breeze / Styv bris, 2006 (5 of 12) Ink on paper / Tusch på papper, 58 x 79 cm Observations at open sea / Observationer på öppet hav Strong Breeze / Hård bris, 2006 (6 of 12) Ink on paper / Tusch på papper, 58 x 79 cm Observations on open sea / Observationer på öppet hav Strong Gale / Halv storm, 2006 (9 of 12) Ink on paper / Tusch på pappe, 58 x 79 cm Observations on open sea / Observationer på öppet hav Storm / Storm, 2006 (10 of 12) Ink on paper / Tusch på papper, 58 x 79 cm Observations on open sea / Observationer på öppet hav Near Gale / Styv kuling (7 of 12) Ink on paper / Tusch på papper, 58 x 79 cm Observations on open sea / Observationer på öppet hav Gale / Hård kuling, 2006 (8 of 12) Ink on paper / Tusch på papper, 58 x 79 cm Observations on open sea / Observationer på öppet hav Violent Storm / Svår storm, 2006 (11 of 12) Ink on paper / Tusch på papper, 58 x 79 cm Observations on open sea / Observationer på öppet hav Hurricane / Orkan, 2006 (12 of 12) Ink on paper / Tusch på papper, 58 x 79 cm

29 Aaltos nature "Aaltos nature, 4", 2005, ink on paper, 28x42 cm. Installation view, Elastic gallery, Malmö, 2005.

30 "Aino", 2005, ink on paper, 42x56 cm. Installation view, Elastic gallery, Malmö, "Aaltos natur, 1-3", 2005, ink on paper, 28x42 cm. Installation view, Elastic gallery, Malmö, 2005.

31 "Aaltos nature, 1", 2005, ink on paper, 42x28 cm. Antennas "Aaltos nature, 2", 2005, ink on paper 42x28 cm. "Aaltos nature, 3", 2005, ink on paper, 42x28 cm.

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33 Jetty 56 swedish lighthouses Axel, Björn, Viking, Frej, Karl

34 Documentation of three works shown at Gallery Peep Malmö, Jetty Jetty is a six metre long drawing consisting of nearly two hundred A4 drawings mounted directly onto the gallery wall. The motif can be compared to a hallucinatory wallpaper pattern or a surrealistic grate structure, repeated over and over. The drawing is made of short brown pen strokes that give an almost flickering impression. 56 Swedish lighthouses 56 Swedish lighthouses consists of eight small spiral bound books with drawings of lighthouses found along the Swedish coast. The books were placed on a low table in the gallery where the visitors could sit down and flick through the books. Axel, Björn, Viking, Frej, Karl Axel, Björn, Viking, Frej, Karl is a series of drawings portaying tugboats. The short male names written on the drawings create a situation where the text and the drawing is given equal prominence.

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37 And the grass is green "And the grass is green" Images from a drawing project I did during my stay in Berlin fall The series of drawings is like a storyboard without a direct beginning and end. The viewer get some clues and has to build up their own story. Size of the original drawings, ca. 21X29cm.

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39 Utopi koloni "Utopi koloni" A work I did in the spring 2001, inspired by visiting allotment gardens in Berlin. The houses in the gardens were like perfect prototypes for modernistic architecture built by found and cheap materials. I call the project Utopi Koloni both as a self critique; me looking at the allotment gardens as an utopian way of living, but also as an proposal for a way of becoming a member of a community. Size of the original drawings, 50X75 cm.

40 Camoufl age-hedge "Camouflage-hedge" living in a house living in a house with a high hedge living in a house with a high hedge and a fence living in a house with a high hedge and a fence with a locked gate living in a house with a high hedge and a fence with a locked gate and blinds living in a house with a high hedge and a fence with a locked gate and blinds and curtains Documentation of two works I showed in a flat exhibition with the Proto Academy in Edinburgh, April 2000

41 Garden were like islands set in a sea of natural wilderness "Gardens were like islands set in a sea of natural wilderness" Documentation of an action I did with Jonathan Owen and Janet Mc Crorie in a private park in Edinburgh. The action happened the 11 of April 2000 between and pm. We got in to the park through a brought ladder, we performed one work each and climbed out. We then left the ladder to give the public an open night in one of the usually closed parks. My contribution was to put a sign in one of the flowerbeds with the text: Gardens were like islands set in a sea of natural wilderness.

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