The existential core of the exhibition explores both the external material values which can be attributed to the objects as well as the intrinsic intangible coding they possess, like status, visions and dreams. In this way Andersson lets his works mirror human processes, and the experience often makes us wonder what is happening – can we rely on what our senses are telling us and is reality really what it seems to be?

By setting the artefacts free from their former traditional roles they can be offered a new voice, filled with associative, alternative content and attitudes to our present, history and future. The works, with their ever-latent metaphysical perspective, leave room for mystery and dreamlike, surrealistic dimensions – where unexpected contours are formed and new questions can be formulated.

This exhibition is a collaboration between Borås Konstmuseum and Hallands Konstmuseum in Halmstad. Its title, NO PROSPECT OF AN END, is taken from the geologist James Hutton’s (1726-97) paper Theory of the Earth, presented in 1785, where he describes the fundamental processes for, among other things, the formation and transformation of the earth’s crust and rocks. The poetic and chronologically open-ended formulation: “No vestige of a beginning – No prospect of an end” has been used to shape the two parts and provide the title for the respective museums’ exhibitions, as well as fittingly reflect Andersson’s interest in time and space perspectives.

Christian Andersson (b. 1973) grew up in Varberg, Sweden but now lives and works in Paris, France and Coimbra, Portugal. He studied at Konsthögskolan in Malmö. Andersson has exhibited at Frac Normandie, Rouen, France; CIAJG, Guimarães, Portugal; Kunstmuseum Thun, Switzerland; and Moderna Museet in Malmö, among others. Since 2019 his sculpture Beta has been a permanent feature in Råå, Helsingborg, and a copy is on show in one of Borås’ public spaces. Other public works in Sweden are on show in Bälinge and Tierp. His work is represented in collections at, among others, MUDAM, Luxemburg, Moderna Museet, Stockholm/Malmö, Malmö Konstmuseum and Hallands Konstmuseum, Halmstad.

Borås Konstmuseum would like to thank the artist, Hallands Konstmuseum, Malmö Konstmuseum, Galerie Nordenhake, Galerie von Bartha, Cristina Guerra Contemporary Art, Mudam Luxembourg and Wanantaka Art Collection for the collaboration and loan of work.

For collaboration on and support for production of the catalogue: Art & Theory, writers Sara Arrhenius and Jerker Virdborg, the Barbro Osher Pro Suecia Foundation and Stiftelsen Längmanska Cultural Foundation.