The Eerie Humor of Lars Tunbjörk’s Photography
Table of Contents
- 1. The Eerie Humor of Lars Tunbjörk’s Photography
- 2. What inspired Erin Stromgren to choose Lars Tunbjörk’s work for the exhibition “lars Tunbjörk – A View From the Side”?
- 3. Unveiling the Absurdity of Everyday Life: An Interview with Curator Erin Stromgren
- 4. A Master of Capturing the Unexpected
- 5. The Enduring allure of “Office”
- 6. Beyond the Beige Walls: Exploring Tunbjörk’s Themes
- 7. Food for Thought
There’s a chilling humor to the image displayed at the American Swedish Institute. A snowman, hastily constructed from dirt, looms menacingly, a black spray-painted smile a stark contrast to the pristine white snow blanketing the landscape outside.
This photograph, part of Swedish photographer Lars tunbjörk’s 2007 series “Winter,” is not your typical winter scene. It’s unsettling, satirical, and perfectly encapsulates the unique tone found throughout Tunbjörk’s work.
Tunbjörk, a respected photographer who contributed to renowned publications like Time and The New York Times Magazine, had a knack for finding the extraordinary in the ordinary. His 2001 series “Office,” a poignant and darkly humorous portrayal of ’90s office life, struck a chord with audiences and even inspired the captivating visual style of the hit TV series “Severance.” His images, often awash in bold, almost unreal colors, captured the awkward absurdities of everyday life with a unique blend of irony and wit.
“What he’s capturing in his ‘Office’ series, and in a lot of his photography, are these kind of mundane, everyday scenes but with a different lens, with a little bit of irony and humor in them,” explains Erin Stromgren, Exhibition Manager at the American Swedish Institute.
The traveling exhibition ”Lars Tunbjörk – A View From the Side,” curated by the Embassy of Sweden in Washington, D.C.,and the Lars Tunbjörk Foundation,brings together four of Tunbjörk’s most celebrated series. Fans will find glimpses into his iconic “Office” work alongside selections from “Landet utom sig/Country Beside Itself” (1993), a commentary on the changing landscape of Sweden, and “Home” (2003), which offers a nostalgic look at his childhood neighborhood.
But it’s his “Office” series, with its haunting depiction of the alienation of modern work life, that has captured the attention of many. “His ‘Office’ pictures are not Edward Hopper’s ‘Office at Night’ over at the Walker,” observes Robert Silberman, Associate Professor of Film Studies and the History of Photography at the University of Minnesota. “Computer cables and carrels and that sort of antiseptic grey and gunmetal colors, and then people underneath the tables are showing their feet, shoes off. So it’s sort of split between a certain kind of desolation and comedy.”
Tunbjörk’s untimely passing in 2015 was a loss to the world of photography. But his legacy lives on, his images serving as both a reflection of our times and a timeless exploration of the human condition.
What inspired Erin Stromgren to choose Lars Tunbjörk’s work for the exhibition “lars Tunbjörk – A View From the Side”?
Unveiling the Absurdity of Everyday Life: An Interview with Curator Erin Stromgren
“Lars Tunbjörk – A View From the Side,” a captivating exhibition highlighting the works of the renowned Swedish photographer, is currently on display at the American Swedish Institute. We sat down with Erin Stromgren, Exhibition Manager at the Institute, to delve deeper into Tunbjörk’s unique viewpoint and the stories behind his iconic photographs.
A Master of Capturing the Unexpected
Archyde: erin, what drew your attention to Lars tunbjörk’s work specifically for this exhibition?
Erin Stromgren: Tunbjörk had an uncanny ability to find – and elevate – the extraordinary in the mundane. His photographs, often seemingly simple snapshots of everyday moments, were imbued with a singular blend of irony, wit, and a touch of unsettling humor. There’s a depth to his work that keeps you engaged, questioning, and coming back for more.
The Enduring allure of “Office”
Archyde: His “Office” series, with its haunting portrayal of 1990s office life, seems notably resonant in today’s world, where work-life balance and alienation are constant themes.
Stromgren: Precisely. Tunbjörk captured the awkward absurdities of modern work life with remarkable accuracy. The confined spaces,the sterile aesthetics,the weary expressions – it’s a poignant commentary on the human experience within those cubicle walls. And that, I believe, is what makes it so relevant even today.
Beyond the Beige Walls: Exploring Tunbjörk’s Themes
Archyde: The exhibition showcases four of Tunbjörk’s most celebrated series. What overarching themes connect them?
Stromgren: while Tunbjörk excelled at capturing the specificities of each subject, a common thread runs through his work – a keen observation of how we navigate our own environments, our relationships with our surroundings, and ultimately, with each other. Whether it’s the changing landscape of Sweden in “Landet Utom Sig/Country Beside Itself” or the nostalgic gaze at his childhood in “Home,” a sense of introspection and societal commentary pulsates through his images.
Food for Thought
Archyde: Do you have a favorite photograph from the exhibition that encapsulates this essence for you?
Stromgren: Choosing just one is incredibly arduous. But, the photograph from the “Winter” series – the dirt snowman with the menacing black smile – always sticks with me.It’s a playful yet unsettling image that speaks volumes about how we perceive the world around us, even in the seemingly simplest of things.
