Anders Krisár

b. 1973

Lives and Works in Stockholm, Sweden


The subject of numerous museum shows, Anders Krisár’s work, often focuses on the human body. Krisár’s sculptures often features or makes reference to the human form, exhibiting a preoccupation with formal rigor and abstraction. Using this exacting approach, he employs precision of form to create intensely personal, psychological landscapes. Krisár’s sculptures – immaculately produced, and often bear a deliberate blemish that is itself impeccably rendered – are discomfiting, objects of simultaneous horror and beauty. The Birth of Us (Boy) features a child’s torso, marred by the indentation of two adult hand prints; in M the life size figure of a boy is split in two and then rejoined, so that a single figure becomes two halves, severed twins clasping hands. The violence that underpins both these sculptures is a recurring theme and is rendered with care and deliberation, so that it appears both aesthetic and inevitable. The sculptures are uncanny because of the meticulousness with which they are executed; according to Krisár, “I’m a perfectionist because I have to be, it’s not really a choice. And it’s not a striving for satisfaction, it’s rather to avoid pain.”

Selected solo exhibitions: Anders Krisár, Mobius Gallery, Bucharest, Romania (2018, solo); Galleri Örsta, Kumla, Sweden; Thomas Wallner Galleri, Simrishamn, Sweden (2017); Faulconer Gallery, Grinnell College of Art, Iowa, US (2016); Christian Larsen, Stockholm, Sweden (2014); Thomas Wallner Galleri, Simrishamn, Sweden (2013); Nordin Gallery, Stockholm, Sweden (2012); Ramis Barquet, New York, US (2011); Fotografiska Galleriet, Stockholm, Sweden (2010); UNION Gallery, London, UK (2009); US Norrbottens Museum, Luleå, Sweden (2006); Art Brussel, with Galerie Lelong, Brussels, Belgium (2004); Chords No. 1-17, National Maritime Museum, Stockholm, Sweden (2003);