Annika Eriksson is a Swedish artist living in Berlin. Over the years, Eriksson has produced a large number of works in which the perception of time, structures of power, and once acclaimed social visions are called into question. Strategically Eriksson plays with the heated debates around the public realm and structures that regulate it, revealing the urban changes and how this is subject to unexpected political appropriations and inversions.
Eriksson's projects conjure up the question of whether art, within Late Capitalism, can become a cultural form on the rise, a form that can generate a cognitive estrangement as a critical position within a post-fordist anxiety of overproduction. It is a process of distortion, one that art also can achieve from science fiction as a genre that allegorizes our present. Eriksson’s work revitalizes the pair of art and politics but it does so from a new perspective; using the directness of an aesthetic of realism plus the magical aspects hidden in reality. Even if any theory that attempts to depict our world system is a ‘capitalist realism’ (as defined by Mark Fisher) this cannot only be sustained by old representations of an aesthetic of realism (or old forms of resistance, including political art) but rather need the component of a Brechtian estrangement that is often housed in science fiction. In the artist, this commitment is marked by an estrangement as the result of a dislocation or context switch that most of the occasions reveals the uncanny in the normality of the everyday.