Baby Got Back, Bag, Back, Bag, Back

Artist and curator Agnete Bertram on the artistic praxis of Anna Walther: In a feminist and at times lawless art practice, the art pieces arise like pearls on a string. The pieces portray “mom’s spaghetti”, vandalism and one’s appearance as a woman. The physical being is described as limited as well as distressed, yet it is set free through the art.

Artworks: Anna Walther

Text: Agnete Bertram

Testimonial Bag, 2020, tæppe lavet af kulturelt approprieret tøj, givet af andre hvide mennesker som et vidnesbyrd og et ønske om at nedbryde det hvide overherredømmes billeder.

Braid U, 2018, ledninger, satin, broderi.

What is seen here is fiction. Walk out the front door. Down the street. Open your eyes. Visit to an old kiosk and view the art on display irl.

In a feminist and at times lawless art practice, the art pieces arise like pearls on a string. The pieces portray “mom’s spaghetti”, vandalism and one’s appearance as a woman. The physical being is described as limited as well as distressed, yet it is set free through the art. This is self-therapy through imagery, which testifies to a strength that makes the therapy’s insistence on finding a victim fade away.

Mom´s Spaghetti, 2018, spaghetti, satin, rosette.

True; to process something fragile fosters strength. A strength which is intrinsic in Walther’s imagery that, along with the dichotomy, is among the things which make this a worthwhile and significant experience to the viewer.

This is not an echo chamber. This is a base for attempts, works, statements and moreover life; which is lived. Opinions are changed and restored in the same rhythms as the art. Nothing is defined in absolutes. The collective energy is the foundation of the art pieces as well as the context. This reveals more about the artist, as opposed to the long list of materials used to create the art pieces. The materials are those which are at hand when the art is delivered in the present. Tomorrow the composition will already divert.

Hexezine soundscape på positiv graviditetstest, 2019, lavet i samarbejde med Anný Djurhuus Øssurdóttir, Rosa Folker Kappel og Helene Von Tabouillot.

Søvnforbruger, 2019, pude syet af jumpsuit fra H&M Conscious Collection.

Humor is Walther’s wing woman when the themes hit the bullseye in her porosity.

Along with her humor, Walther is dancing through Home Depot removing the chanting tv commercials from the tv screens placed above the products on sale. The sound emanating from the screens is unbearable. It awakes apathy; carelessly the product is put into the shopping cart — now toward the checkout, away from the sound. The only stops on the way occur at the other screens — the scenario is repeated while junk is piled up in the shopping cart. If the noise from the hypnotizing commercials were to vanish, the products would remain on the shelves. The oceans would cheer from the microscopic reduction of plastic that in the future would be less burdensome — EVERYTHING counts.

Wrecking Dress, 2018, 3 meter lang kjole syet af men’s wear fundet på gaden.

Because of this I applaud you, when you steal my inner pocket before I have even bought the jacket. This makes my future pennies roll out in the street and become a part of the lawless underground economy. In spite of everything, this comes across as more genuine compared to the plastic that otherwise would have accompanied me home.

Lommer, 2015, 30 udklip af lommer fra 30 ikke købte jakker.

*Anna Walther, b.1990. Educated from Funen Art Academy 2017. @annawalther1*