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Catalougetext by Pia Kristoffersson, english

There are artists whose work exudes a very special luminescence and clarity, and among these I would include Tova Mozard. My first contact with her work was the exhibition, The un-manipulated reality doesn’t always alone offer truth, at ALP galleri Peter Bergman in Stockholm, where she showed a series of photographs all based on Hollywood, the city of dreams, myths and illusions. Tova Mozard’s motifs came from the world of extras, actors, legendary film milieus and
used backdrops and there was something slightly faded about it all. In the stylistically assured shifts between the staged and the documentary, the minutely composed and the seemingly random lay an intriguing uncertainty.

The deviousness of reality is also recalled in the title of Tova Mozard’s exhibition at Gävle Konst-
centrum in 2005, The Owls Are Not What They Seem. The title is a quote from the TV series,
Twin Peaks, whose mysteriousness spellbound both the artist and Swedish TV viewers in the beginning of the 1990s. Twin Peaks introduced
a new format, delivered in a mysterious tone which, without exaggerating, possessed its audience. Interest in an existence beyond the normal, the mysterious and people’s fascination with the inexplicable resonates through Tova Mozard’s art. Not surprisingly, in one of her most recent pieces Just Visiting This Planet 2005 she is preoccupied with devotees of Science Fiction.

Tova Mozard investigates forms of narrative. With her sights focused on what lies on the margins, she examines deviance; people with odd life patterns and environments that have lost their context and function. She alters the perspective; background becomes foreground, the overlooked becomes visible. In the video Extra Story 2004 a film extra has the single leading role. The video is based on a text by a male extra in Los Angeles in which he unsentimentally describes the conditions of his profession interspersed with his personal dreams and thoughts about his life as an extra. The texts are alternated with short scenes where a man inside an empty restaurant carries out the small well-practiced gestures of an actor with great seriousness. The mirror reflections in the image create the illusion that the man is doubled; he visually and metaphorically goes in and out of himself. He disappears from the picture only to crop up again somewhere else. In her new video Wall of Love 2005 Tova Mozard has left the dream factory Hollywood for Sundsvall and a very unusual woman, Mrs Berliner-Mauer. As the name suggests, this woman has entered into a marriage with the Berlin Wall. Her sexual leaning is called objectum-sexuell, which means that she is emotionally and sexually drawn to things. The woman’s personal and sexual relationship with the wall is contrasted with its historical political significance. She describes the year the wall fell as the worst year of her life. Wall of Love presents an odd bit of reality, portrayed with artistic acuity and precision.

Pia Kristoffersson
Director, Gävle Konstcentrum