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Brotherus, Elina

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J'ai 40 ans maintenant. Depuis mes premières photographies, il y a plus de 15 ans, je me suis utilisé comme modèle. C'est un sentiment étrange de regarder en arrière le travail effectué et de regarder cette jeune personne que j'étais. Je vis maintenant quel avenir inconnu pour elle. Que s'est-il passé, qu'est-ce qui a changé? Les appartements, les copains; le visage a vieilli. Les aspects esthétiques de mes photographies sont néanmoins restés les mêmes.Surprenant de se rendre compte cependant que tout à coup, je ne suis plus la plus jeune émission de groupe. À mon âge, mes parents étaient déjà morts. Ma santé se dégrade, comme pour beaucoup d'amis de mon âge. Certains sont décédés. Je suppose que ce sont toutes ces pensées morbides qui ont conduit à l'idée de ce livre. Je ne voulais pas que ce soit "juste la quatrième monographie". Il est important de juxtaposer des images de différentes époques pour les comparer, rechercher l'âge, interroger ce que nous sommes à un moment donné, où je me vois maintenant.Je souhaite montrer le décalage temporel de 1996 à 2011, la ligne qui se poursuit tout au long du travail et regarder la jeune Elina avec un certain amusement, mais avec tendresse. Brotherus emphasis has shifted over the years from a diacritic documentary strategy to larger philosophical questions of life and art. Her deep understanding of art history has a paradoxical effect. You can consider her as a person but also as a model. In her photographs there is a closeness you feel to her but also a cool conceptual distance. This complicates viewing the work in terms of self- portraiture, landscape or a diary. Photographs that can often appear quiet and straightforward on first encounter but become denser and laden with histories as you spend time with them. The 'back stories' which lie behind the beautiful, lush compositions are set in relief as she reaches that somewhat terrifying 'mid career' point and looks back on her life as an artist. I'm 40 years ol now. Since my early photographs, more than 15 years ago, I have used myself as a model. It's a strange feeling to look back at the work done and to look at that young person I used to be. I am living now what an unknown future for her. What has happened, what has changed ? The apartments, the boyfriends ; the face has grown older. The asthetics of my photography have nevertheless, remained the same. Surprising to realise though, that all of a sudden I'm no longer the youngest one in group shows. At my age my parents were already dead. My health degrades, like for many friends of my age. Some have passed away. I guess it's all these morbid thoughts that led into the idea of this book. I didn't want it to be "just the fourth monograph". It's important to juxtapose images of different times for comparison, investigating age, questionning what we are at a certain moment, where do I see myself now. I wish to show the time warp from 1996 to 2011, to show the line that continues through the work, and to look at the young Elina with a certain amusement, yet tenderly.

Brotherus, Elina,

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Brotherus, Elina --- Kahre, Markus --- Merenmies, Elina --- Tuori, Anna

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Brotherus, Elina --- Kannisto, Aino --- Kannisto, Sanna --- Niemi-Junkola, Fanni --- Tykkä, Salla --- Finland

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Drawing --- Painting --- Photography --- Film --- drawing [image-making] --- painting [image-making] --- photography [process] --- video art --- OLO --- Brotherus, Elina --- Grönlund, Tommi --- Kivi, Jussi --- Lehtola, Jouko --- Männikkö, Esko --- Nisunen, Petteri --- Niva, Jussi --- Törrönen, Anssi --- Ahtila, Eija-Liisa --- anno 1900-1999 --- Finland