그의 작품은 스톡홀름의 포토그라피스카 박물관, 보니어 컬렉션, 웁살라미술관 베스테로스 미술관, 예테보리의 핫셀블라드 센터, 카네기 컬렉션 등에 소장되어 있다.

We represent established, mid-career and emerging Scandinavian and international artists. The sculptures, with their clean and polished surfaces, have become something of Krisár’s hallmark. 1, 4

Nilsson, Håkan “Vaghet som styrka”, Dagens Nyheter, March 15

Fanlström, Jennie “Anders Krisár”, www.konsten.net, February 27

Brodow, Anna “Kroppar och anleten speglar ett naket inre”, Svenska Dagbladet, February 23

2007

Nunez-Fernandez, Lupe “Anders Krisár at Union”, www.saatchi-gallery.co.uk, November 29

Jones, Alice “First Sight: Zoo Art Fair”, The Independent, October 12

Karlstam, Cristina “Visuellt rekviem”, Uppsala Nya Tidning, March 17

Garwood, Deborah “Scenes From the Boulevard”, The New York Sun, January 11

2006

Che, Kyongfa “Noise Within, Through and Beyond”, Exhibition catalogue Janus

Fredriksson, Ida “Utlämnande bilder”, Norrländska Socialdemokraten, May 13

Orrghen, Anna, Veckans val, Svenska Dagbladet, March 24

Ekholm, Rikard “Insyn I det privata väcker nyfikenhet”, Svenska Dagbladet, February 25

Lind, Ingela “Genkonst som provocerar”, Dagens Nyheter, February 23, p.

1, 22-23

2005

Schibli, Martin “I fablernas värld”, Helsingborgs Dagblad, July 23

2004

Söderholm, Carolina “Guldkorn lyfter stabil samling”, Sydsvenskan, November 26

Orrghen, Anna “Foton som döljer och belyser”, Svenska Dagbladet, April 10

Lind, Ingela “Mot strömmen”, DN På Stan, April 8

Lind, Ingela “Utflykt från konstens samtidstyranni”, Dagens Nyheter, April 3

Nilsson, Håkan “Förvridna foton”, DN På Stan, April 2

Glueck, Grace “Anders Krisár”, The New York Times, Art in Review, January 16

Family Matter, Catalogue, Stockholm

2003

Kreuger, Anders and Muller-Westermann, Iris, Exhibition catalogue Close, please

Rydell, Malena “Anders Krisár”, Recention av årets fotoböcker, p.

According to neurobiology and modern psychology, the pursuit of absolute purity and perfection is the brain's way of compensating for the inner emotional turmoil, and Krisár’s art seems to be a physical manifestation of this contradiction.

A larger new piece in the exhibition, Mirror Man, 2014, illustrates very accurately how the creation of the Self is completely dependent on the Other.

The violence that underpins both these sculptures is a recurring theme and is rendered with care and deliberation, so that it appears both aesthetic and inevitable. The gallery is committed to nourishing the careers of represented artists, while introducing to the general public other significant international artists who have rarely, if ever, exhibited in Sweden.

The exhibition Flesh Mirror deals with the Self and it’s total dependence on others to become whole, and the artistic vision thus revealed is both passionate and determined.

 The pursuit of an impossible perfection and purity marks Anders Krisár’s entire artistic oeuvre. In an early interview, in connection with publishing of his award-winning photographic book Chords No.

1-17 , Krisár expresses: I want to achieve absolute purity, to depict a world without people and thoughts. Since then, Krisár has included people in his artistic universe, but he chose to put them in a form as pure as was physically possible.

However, Krisár’s stripped, de-sexed and mute sculptural figures reveal something about a human emotional state that is far from "clean".

And it’s not a striving for satisfaction, it’s rather to avoid pain.” 

 

안데르스 크리사르는 독학으로 예술을 공부하여 20대 후반에 작가가 된 안데르스 크리사르는 신체 일부의 조형 또는 사진을 통해 자서전적 이야기를 다룬다.

The Birth of Us (Boy) features a child’s torso, marred by the indentation of two adult hand prints; in M the life size figure of a boy is split in two and then rejoined, so that a single figure becomes two halves, severed twins clasping hands. A shiny polished human silhouette takes on it’s body color - and by extension, it’s humanity - only by mirroring itself in a large, anonymous, body colored monochrome, representing the Other as a kind of a flesh mirror.

A new elegant series of photograms in deep dark red color, Flesh Clouds, 2014, are abstract representations of a human presence.

The sculptures are uncanny because of the meticulousness with which they are executed; according to Krisár, “I’m a perfectionist because I have to be, it’s not really a choice. He is currently participating in the group exhibition Leiblichkeit und Sexualität at the Votive Church in Vienna, along with artists such as Doug Aitken, Erwin Wurm, Takashi Murakami and Damien Hirst.

날카로운 사실적 묘사와 절단과 같은 표현으로 인간의 몸체를 분석하는 그의 작품은 변형된 재현을 통해 숨김과 드러냄을 반복하며, 작품에서 보이지 않는 부분을 관람객의 마음에서 이어나간다. 1, 6-7

Pollinger, Clemens, Veckans val, Svenska Dagbladet, February 17

Wallgren, Måns “Löshudad”, DN På Stan, February 10, p. Krisár’s sculptures ‒ immaculately produced, and often bear a deliberate blemish that is itself impeccably rendered ‒ are discomfiting, objects of simultaneous horror and beauty.