Elina Brotherus works in photography and moving image. Her work has been alternating

between autobiographical and art-historical approaches. Photographs dealing with the human

figure and the landscape, the relation of the artist and the model, gave way to images on

subjective experiences in her recent bodies of work Annonciation and Carpe Fucking Diem. In

her current work she is revisiting Fluxus event scores and other written instructions for

performance-oriented art of the 1950s-70s.
 

Elina Brotherus lives and works in Helsinki, Finland and Avallon, France. She has an MA

degree in Photography from the University of Art and Design Helsinki (now Aalto University)

and an MSc in Chemistry from the University of Helsinki. She started exhibiting internationally

in 1997. Her works are in public collections including the Pompidou Centre, Paris, Kiasma

Museum of Contemporary Art, Helsinki, Moderna Museet, Stockholm, Museum Folkwang,

Essen, Saatchi Collection, London and MAXXI, Rome, to name a few.
 

Her work has been given prominence in numerous art and photography books and

magazines. She has published nine monographs, most recently Playground, a limited edition

hand-made box featuring 80 works from her exhibition at Serlachius Museum, Finland. She has

been awarded, among others, Carte blanche PMU, France, in 2017, the Finnish State Prize for

Photography in 2008, and the Prix Niépce in 2005.
 

Elina Brotherus is represented by gb agency, Paris.

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I can only acknowledge that work follows life. I made autobiographical self-portraits in the very beginning of my career while still in art school. At the same time I finished my previous university studies of chemistry and my first marriage. It was a major liberation on all fronts and it had to become visible in my photography. Then, for ten years, I did other things - I was interested in painting, the way artists look at their models and how to represent this in a picture. I was using myself as a model but the photos didn’t talk about what was going on in my life. I was an image-maker, dealing with formal, visual and art-historical issues. Then I approached 40 and life got complicated and the autobiography sneaked in again. It wasn’t anything I planned but I didn’t push it back either. This is my strategy as an artist: to accept the pictures that need to happen.