Project and content management for Contemporary Authors volumes
WORK TITLE: The Excavation
WORK NOTES:
PSEUDONYM(S):
BIRTHDATE: 11/28/1962
WEBSITE:
CITY:
STATE:
COUNTRY:
NATIONALITY: Swedish
http://www.maxandersson.com/info.html
RESEARCHER NOTES:
PERSONAL
Born November 28, 1962, in Karesuando, Sweden.
EDUCATION:Attended RM-Berghs, 1982-84; film study at New York University, 1985.
ADDRESS
CAREER
Writer, artist, illustrator, and cartoonist. Solo exhibitions, including: Max Andersson – Moderna sagor för en komplicerad samtid, Uppsala Konstmuseum, Uppsala, Sweden, 2002, Norrtälje, Sweden, 2002, and Sundsvall, Sweden, 2003; Windshield Eyes, COX 18/Calusca City Lights, Milan, Italy, 2004; Ge Tid, Kartago, Stockholm, Sweden, 2005; Galerie Streitenfeld, Oberursel, Germany, 2007; Stanica Cultural Centre, Zilina, Slovakia, 2008; Titoland, Kinodvor, Ljubljana, Slovenia, 2011; Hotel Aalborg, Amsterdam, Netherlands, 2012; Hambis Printmaking Museum, Platanisteia, Cyprus, 2013; I Feel Great, Roham Gallery, Budapest, Hungary, 2013; Nextcomic Festival, Kapu, Linz, Austria, 2014; Titoland, Metropolis Art Cinema, Beirut, Lebanon, 2015; and Rönnells Antikvariat, Stockholm, Sweden, 2016. Also numerous group exhibitions.
AWARDS:
Melbourne International Film Festival, 1st Prize, Animation, 1985; Grand Prize Feature Film, Ottawa International Animation Festival, 2013; Best Feature Film, Be There! Corfu Animation Festival, 2014, for Tito on Ice.
WRITINGS
Also author of Arrival of the Tito Train (flip book), Animateka, 2011; the “Container” series of comics published in Germany. Contributor to anthologies, including Outbreaks of Violets, Deadline Publications, 1995; The Narrative Corpse, Raw Books/Gates of Heck, 1995; Gare du Nord, Tago Förlag, 1997; Serinord, Bladkompaniet, 1998; Comix 2000, L’Association, 1999; Bardín el Superrealista #2, Medio Muerto, 2000; Sònic Comics, Inrevés Edicions, 2001; Plaque 01, Avant-Verlag, 2003; Hotwire Volume 1, Fantagraphics Books, 2006; Hotwire Volume 3, Fantagraphics Books, 2010; and Serieantologi 2014, Natt Förlag, 2014.
Also filmmaker and screenwriter of short films, including Years One Hundred, Filminstitutet, Sweden, 1984; Ingen kommentar, Filminstitutet, Sweden, 1987; Spik-Bebis, Max Andersson, Sweden, 1987; Pesce Pesce, Filmtecknarna/Max Andersson, Sweden, 1988; Varför är det så mycket svart, Filminstitutet, Sweden, 1988; Lolita Separerar, Råfilm, Sweden. 1989; Tito on Ice, Nail Films, Sweden/Germany, 2012; and Sayonara, Nail Films, Germany, 2017.
SIDELIGHTS
Swedish comic artist and short filmmaker Max Andersson studied graphic design in his native Sweden. He then pursued film production studies at New York University and has made several short animated films. He is an artist who works in various media, including mixed media, and has had numerous solo exhibitions. Andersson was one of the first contemporary Swedish cartoonists to be published in the United States when Fantagraphics Books published his graphic novel Pixy in 1993. He is also the author an artist of the “Death & Candy” series of comic books.
Bosnian Flat Dog
Andersson is coauthor with Swedish artist Lars Sjunnesson of the comic Bosnian Flat Dog. Both artists contributed drawings to the book-length comic. The story recounts the two artists’ experiences at an alternative comics convention in the Balkans and their search for a Bosnian friend after NATO began bombing Serbia in 1999. Making their way through a surreal environment, Andersson and Sjunneson have a difficult time distinguishing the borders between dream and reality. They are hit with ice cream grenades and encounter American solders who were abducted and have become zombies.
Throughout the journey, the corpse of Joseph Tito, the former strong-arm president of the former Yugoslavia, keeps turning up in various places. Throughout the course of the story, the comic delves into the psyche of its authors. A Publishers Weekly Online contributor remarked that the story “trades in strange and loaded images to express life during constant conflict.” Noting the “blocky, woodcuttish style full of brutal, pop-eyed figures,” Booklist contributor Ray Olson thought that the drawings look “exactly right for the fun house-morgue aura of the story.” Andersson and Sjunnesson also collaborated on the feature-length documentary Tito on Ice, which documented their promotional book tour through the former Yugoslavia with a dummy corpse of Tito.
The Excavation
Andersson drew upon his own dreams for his graphic novel The Excavation. The surreal story revolves around a man who takes his girlfriend to meet his estranged family. However, once there they find that his old home has sunk into the ground and become a strange archeological excavation site. To get into the site, the couple has to pay admission. Once inside, however, they discover a surreal world where, according to a Publishers Weekly Online contributor, “everything—houses, people, memory—is in the process of being chopped up and stitched back together.” For example, one of the first things the couple come across is the man’s father, who is stitching back together the man’s brother while his mother has become a conjoined twin.
Like a dream, time is disjoined and rooms are encountered that the man had no idea existed. The disturbing world his family and home now inhabit leads the couple to quickly leave. However, once they return home, they hear the doorbell ring and when they answer it there are the man’s mother, father, and brother. With them is a corpse whose face is shattered. Meanwhile, the girlfriend has entered into a dreamlike world where the streets of her hometown seem dangerous and the guy’s dysfunctional family ends up forcing the woman to essentially lose her own self-identity as they make her wear another woman’s wig and dress.
“This is essentially the story of a guy bringing his girlfriend to meet his estranged family for an uncomfortable visit that puts ugly truths about the family dynamic on display,” wrote Comics Beat website contributor John Seven, who went on to note the story’s “despairing” atmosphere but added: “Andersson always injects slapstick and cleverly amusing dialogue that reveals it as far more than just an exercise in negativity.” Pete Redrup, writing for the Quietus website, commented: “The Excavation is a book always on the go with a relentless momentum. The slashing ink lines are used to reinforce the violence and explosive energy of the work.”
BIOCRIT
PERIODICALS
Booklist, November 1, 2006, Ray Olson, review of Bosnian Flat Dog, p. 37.
ONLINE
Comics Beat, http://www.comicsbeat.com/ (March 28, 2017), John Seven, review of The Excavation
Internationales Literaturfestival Berlin, http://www.literaturfestival.com/ (October 10, 2017), author profile.
Lambiek Comic Shop, https://www.lambiek.net/ (October 10, 2017), author profile.
Max Andersson Home Page, http://www.maxandersson.com/ (October 24, 2017)
Publishers Weekly Online, https://www.publishersweekly.com/ (November 6, 2006), review of Bosnian Flat Dog; (January 16, 2017), review of The Excavation.
Quietus, http://thequietus.com/ (January 27, 2017), Pete Redrup, “Tome on the Range: Behold! January’s Quietus Comics Round Up Column.”
Born in 1962, Max Andersson is a comic artist, animator, and filmmaker. from Karesuando, Sweden. He studied graphic design at RMI-Berghs in Stockholm and film production at New York University. His graphic novel Pixy was published by Fantagraphics Books in 1993, making him one of the first contemporary Swedish cartoonists to be published in the United States. Other notable works include the series Death & Candy, contributions to the anthology Zero Zero, and the graphic novel Bosnian Flat Dog, done in collaboration with artist Lars Sjunnesson. Andersson and Sjunnesson also produced a feature film, Tito on Ice (2012), documenting their promotional book tour through the former Yugoslavia with a dummy corpse of Marshall Tito.
Max Andersson
From Wikipedia, the free encyclopedia
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For the Swedish politician, see Max Andersson (politician).
Max Andersson
Andersson attending the Seattle International Film Festival, 2013
Born
November 28, 1962
Karesuando, Sweden
Nationality
Swedish
Area(s)
Cartoonist
Notable works
Pixy, Death & Candy
http://www.maxandersson.com
Max Andersson (born November 28, 1962) is a Swedish comic creator and film maker, mostly doing "underground style" and "artistic" comics. His comics have mainly been published in Swedish albums, and in the Swedish art magazine Galago.
With the publication of his graphic novel Pixy by Fantagraphics Books in 1993, Andersson became the first modern Swedish artist to have a comic album published in the United States. In the '90s he was a frequent contributor to the comics anthology Zero Zero. He is also the creator of the comic book Death & Candy.
The Greek anarchopunk band The No Sin named their albums "Drug Called Future" (2006) and "Some Key According to Death and Candy"(2009) in honor of Max Andersson's comics.
CURRICULUM VITAE
Born 1962 in Karesuando, Sweden.
EDUCATION
1982-84 RMI-Berghs, Graphic Design, Stockholm
1985 New York University, Film Production, New York.
BIBLIOGRAPHY
2017 L'Excavation, L'Association, Paris, France.
2017 The Excavation, Fantagraphics Books, Seattle, USA.
2016 Vykopávka, Labyrint, Prague, Czech Republic.
2016 Utgrävningen, Kartago Förlag, Stockholm, Sweden.
2015 Pixy, Legioncomix, Querétaro, Mexico.
2013 Pixy, Sai Comics, Seuol, South Korea.
2012 Container, Reprodukt, Berlin, Germany.
2011 Bosanski Splošcenec, 2 koluta, Ljubljana, Slovenia.
2011 Arrival of the Tito Train (flipbook), Animateka, Ljubljana, Slovenia.
2011 Max Andersson, Orosdi-Back, Stockholm, Sweden.
2009 Bosensky Plackopes, Mot, Prague, Czech Republic. In collaboration with Lars Sjunnesson.
2007 Bosnian Flat Dog, comma 22, Bologna, Italy. In collaboration with Lars Sjunnesson.
2007 Pan Smierc i Dziewczyna, Kultura Gniewu, Warszaw, Poland.
2006 Bosnian Flat Dog, Fantagraphics Books, Seattle, USA. In collaboration with Lars Sjunnesson.
2006 Pixy, Strip Core, Ljubljana, Slovenia.
2005 Pixy, Kultura Gniewu, Warszaw, Poland.
2005 Container, Kartago Förlag, Stockholm, Sweden.
2005 Death & Candy #4, Fantagraphics Books, Seattle, USA.
2005 Bosnian Flat Dog, L’Association, Paris, France. In collaboration with Lars Sjunnesson.
2004 Bosnian Flat Dog, Kartago Förlag, Stockholm, Sweden. In collaboration with Lars Sjunnesson.
2004 Bosnian Flat Dog, Reprodukt, Berlin, Germany. In collaboration with Lars Sjunnesson.
2003 Kontejner, Mot, Prague, Czech Republic
2003 Döden, Galago förlag, Stockholm, Sweden.
2002 Death & Candy #3, Fantagraphics Books, Seattle, USA.
2002 Car-Boy – El nino coche, Inrevés edicions, Palma de Mallorca, Spain.
2001 En skissbok av Max Andersson, Seriefrämjandet, Malmö, Sweden.
2001 Pixy, Mot, Prag, Czech Republic.
2001 Death & Candy #2, Fantagraphics Books, Seattle, USA.
2000 Pixy/The Adventures of Car-Boy and Other Stories, Uplink, Tokyo, Japan.
1999 Container #3, Jochen Enterprises, Berlin, Germany.
1999 Death & Candy #1, Fantagraphics Books, Seattle, USA.
1998 Lamort & Cie, L’Association, Paris, France.
1998 Film, Jochen Enterprises, Berlin, Germany.
1997 Container #2, Jochen Enterprises, Berlin, Germany.
1997 L’Excavation, Les Étoiles et les Cochons, Paris, France.
1997 Pistolen Johnny, self-published, Stockholm, Sweden.
1997 Pixy, L’Association, Paris, France.
1996 Container #1, Jochen Enterprises, Berlin, Germany.
1995 Pixy, Jochen Enterprises, Berlin, Germany.
1994 Vakuumneger, Tago Förlag, Stockholm, Sweden.
1994 Pixy, Suuri Kurpitsa, Tampere, Finland.
1993 Pixy, Fantagraphics Books, Seattle, USA.
1992 Pixy, Tago Förlag, Stockholm, Sweden.
Anthologies:
2014 Serieantologi 2014, Natt Förlag, Umeå, Sweden.
2012 Workburger, Stripburger, Ljubljana, Slovenia.
2010 L’Association XXMMX, L’Association, Paris, France.
2010 Hotwire Vol 3, Fantagraphics Books, Seattle, USA.
2007 Toy Comix, L’Association, Paris, France
2006 Hotwire Vol 1, Fantagraphics Books, Seattle, USA.
2004 Día de Muertos en México, Inrevés Edicions, Palma de Mallorca, Spain
2003 Plaque 01, Avant-Verlag, Berlin, Gemany
2003 Warburger, Stripburger, Ljubljana, Slovenia
2001 Sònic Comics, Inrevés Edicions, Palma de Mallorca, Spain
2000 Bardín el Superrealista #2, Medio Muerto, Palma de Mallorca, Spain
1999 Comix 2000, L’Association, Paris, France
1998 Serinord, Bladkompaniet, Oslo, Norway
1997 Gare du Nord, Tago Förlag, Stockholm, Sweden
1995 The Narrative Corpse, Raw Books/Gates of Heck, New York, USA
1995 Outbreaks of Violets, Deadline Publications, London, UK
1989 Sesams samlade serier, Sesam Förlag, Stockholm, Sweden
FILMOGRAPHY
2017 Flat Dog Town (in production)
2017 Sayonara, 5 min, digital, color, Nail Films, Germany.
2012 Tito On Ice, 76 min, digital, Color/B/W, Nail Films, Sweden/Germany.
1989 Lolita Separerar, 17 min, 16 mm, B/W, Råfilm, Sweden.
1988 Varför är det så mycket svart, 7 min, 35 mm, color, Filminstitutet, Sweden.
1988 Pesce Pesce, 4 min, 16 mm, Filmtecknarna/Max Andersson, Sweden. In collaboration with Filmtecknarna.
1987 Spik-Bebis, 14 min, 16 mm, Max Andersson, Sweden.
1987 Ingen kommentar, 5 min, 35 mm, Filminstitutet, Sweden.
1984 One Hundred Years, 8 min, 35 mm, Filminstitutet, Sweden.
Animator only:
1989 Exit by Filmtecknarna, 21 min, 35mm, Filminstitutet, Sweden.
Actor only:
1999 killer.berlin.doc by Tina Ellerkamp/Jörg Heitmann, 74 min, 35 mm, dogfilm/ZDF, Germany.
1991 Vintertid by Boel Simouni, 15 min, s-8 mm, Sweden.
DISCOGRAPHY
1989 Varför är det så mycket svart, by SVENSK FILM (Max Andersson/Stefan Agaton), 7” vinyl, 45 rpm, b-side: Theme from Lolita Separerar, Rådisk RA-001, Sweden.
SOLO EXHIBITIONS
2016 Rönnells Antikvariat, Stockholm, Sweden.
2015 Titoland, Metropolis Art Cinema, Beirut, Lebanon.
2014 Nextcomic Festival, Kapu, Linz, Austria.
2013 I Feel Great, Roham Gallery, Budapest, Hungary.
2013 Hambis Printmaking Museum, Platanisteia, Cyprus.
2012 Hotel Aalborg, Amsterdam, Netherlands.
2011 Titoland, Kinodvor, Ljubljana, Slovenia.
2008 Stanica Cultural Centre, Zilina, Slovakia.
2007 Galerie Streitenfeld, Oberursel, Germany.
2005 Ge Tid, Kartago, Stockholm, Sweden.
2004 Windshield Eyes, COX 18/Calusca City Lights, Milan, Italy.
2003 Seriegalleriet, Stockholm, Sweden.
2003 Max Andersson – Moderna sagor för en komplicerad samtid, Konstens hus, Luleå, Sweden.
2003 Max Andersson – Moderna sagor för en komplicerad samtid, Sundsvalls Museum, Sundsvall, Sweden.
2002 Max Andersson – Moderna sagor för en komplicerad samtid, Norrtälje Konsthall, Norrtälje, Sweden.
2002 Max Andersson – Moderna sagor för en komplicerad samtid, Uppsala Konstmuseum, Uppsala, Sweden.
2001 FFF, Stadshallen, Lund, Sweden.
Max Andersson - Moderna sagor för en komplicerad samtid Uppsala Konstmuseum, 2002
Read essay
1999 Renate Comicbibliothek, Berlin, Germany.
1999 Spende Zeit, Liebe deinen nächsten, Berlin, Germany.
1998 Erlangen Comic-Festival, Erlangen, Germany.
1998 Stadsbiblioteket, Göteborg, Sweden.
1996 Container – Comics und anderer Kram, Grober Unfug, Berlin, Germany.
1995 Galleri Dingleberry, Göteborg, Sweden.
1990 Folkets Bio, Stockholm, Sweden.
1989 Kulturmejeriet, Lund, Sweden.
SELECTED GROUP EXHIBITIONS
2017 Den stora utställningen om svensk illustration 1880-2020, Teckningsmuseet, Laholm, Sweden.
2017 GOYA, Galleri Svalan, Borgholm, Sweden.
2016 Max Andersson/Gunnar Lundkvist, Snickarbacken 7, Stockholm, Sweden.
2016 MONSTER, Galleri Svalan, Borgholm, Sweden.
2014 ENDENEU, Neurotitan, Berlin, Germany.
2014 Serier från norr, Skellefteå Stadsbibliotek, Skellefteå, Sweden.
2013 Comics aus Berlin. Bilder einer Stadt, Haus der Berliner Festspiele, Berlin, Germany
2013 Serier från norr, Bildmuseet, Umeå, Sweden.
2011 Double Elvis Gallery, Stockholm, Sweden.
2011 Svezia: Laboratorio d'Europa, Treviso, Italy.
2011 50 Jahre Super Comics, Neurotitan, Berlin, Germany.
2010 Underground and Above the Clouds, Galerija Vzigalica, Muzej in galerija mesta Ljubljana, Slovenia.
2010 Nordijsko Doba, Galerija FLU, Belgrade, Serbia.
2010 Le Monde Diplomatique: In 50 Comics um die Welt, Neurotitan, Berlin, Germany.
2010 Children No More, Palazzo Valentini, Rome, Italy.
2010 O Último Fósforo, Artside, Lisbon, Portugal.
2009 folk-artNOW!, Bremen, Germany.
2009 Bosnian Flat Dog, VICE Gallery, Prague, Czech Republic.
2009 Jahaa, Felleshus, Berlin, Germany.
2009 The Last Match, Riga, Latvia.
2008 Biennal Contemporary Art, Triggiano, Italy.
2008 BD-FIL, Lausanne, Switzerland.
2008 Hotwire, Scott Eder Gallery, New York, USA.
2007 Toy Comix, Musée des Arts Décoratifs, Palais du Louvre, Paris, France.
2006 Fantagraphics, Society of Illustrators, New York, USA.
2005 Bosnian Flat Dog, Aux Voûtes, Paris, France.
2005 Raw, Boiled and Cooked, Grand Central Art Center, Fullerton, USA.
2005 Salao Lisboa, Lisbon, Portugal.
2004 SchwEDEN, Nordische Botschaften, Berlin, Germany.
2004 Nosotros somos los muertos, Semana Negra, Gijón, Spain.
2004 Raw, Boiled and Cooked, Michigan Avenue Galleries, Chicago, USA.
2004 Raw, Boiled and Cooked, Museum of Contemporary Art, Santa Rosa, USA.
2004 Raw, Boiled and Cooked, Maryland Institute College of Art, Baltimore, USA.
2003 Comic-Welten, Backfabrik, Berlin, Germany.
2003 Buenaventura Gallery, San Diego, USA.
2003 Bosnian Flat Dog, Mirada, Ravenna, Italy.
2003 Bosnian Flat Dog, Access, Sarajevo, Bosnia-Herzegovina.
2003 Bosnian Flat Dog, Alternativni Institut, Mostar, Bosnia-Herzegovina.
2003 Bosnian Flat Dog, Art Klub, Pancevo, Serbia and Montenegro.
2003 Bosnian Flat Dog, refract, Belgrade, Serbia and Montenegro.
2002 Bosnian Flat Dog, Mocvara, Zagreb, Croatia.
2002 Bosnian Flat Dog/Darovanje Casa, Alcatraz, Ljubljana, Slovenia.
2002 Raw, Boiled and Cooked, Yerba Buena Center for the Arts, San Francisco, USA.
2002 Passion, Centre Culturel Suèdois, Paris, France.
2001 Bildsturmtexte, Kulturbrauerei, Berlin, Germany.
2001 Sònic Comics, Esporles, Spain.
2001 Les Boréales, Caen, France.
2000 XA!, Athens, Greece.
2000 BIG Torino 2000, Torino, Italy.
2000 Comix 2000, Angouleme, France.
1999 Pulp Store, Galerie Schuster & Scheuermann, Berlin, Germany.
1999 Museum of Modern Art, Rijeka, Croatia.
1998 SeriNord, Kungliga Biblioteket, Stockholm, Sweden.
1997 SeriNord, Philip Schaeffer-Bibliothek, Berlin, Germany.
1997 SeriNord, Angouleme, France.
1997 Babel, Athens, Greece.
1997 Die 4. Dimension, Hamburg, Germany.
1997 Jag har en mardröm, K, Stockholm, Sweden.
1996 Kafé Kafka, Helsinki, Finland.
1996 Konsten att teckna serier, Katrineholms konsthall, Katrineholm, Sweden.
1995 National Museum of Cartoon Art, London, UK.
1995 Magasin 2, Ystad, Sweden.
1995 Jag har en mardröm, Trixter, Göteborg, Sweden.
1995 Jag har en mardröm, Kulturen, Lund, Sweden.
1994 Serier, Galleri Haga, Solna, Sweden.
1993 Ostankino, Moscow, UdSSR.
1992 Säg det i serier!, Gävle Konstcentrum, Gävle, Sweden.
1991 Serier och annat skräp, Nationalgalleriet, Stockholm, Sweden.
1990 Serier, Kalmar Konstmuseum, Kalmar, Sweden.
1988 Svenska serietecknare, Konstforum, Norrköping, Sweden.
LECTURES
2015 Beirut Animated, Metropolis Art Cinema, Beirut, Lebanon.
2013 Primanima, Jokai Mor Cultural Centre, Budaörs, Hungary.
2013 Animafest Cyprus, Columbia Resorts, Cyprus.
2012 Some Conference, Burg Giebichenstein Kunsthochschule Halle, Germany.
2011 Die Untoten – Science and Pulp Fiction, Kampnagel, Hamburg, Germany.
2010 Galerija Vzigalica, Ljubljana, Slovenia.
2010 Modern Graphics, 12. Lange Buchnacht, Berlin, Germany.
2009 Burg Giebichenstein Hochschule für Kunst und Design, Halle, Germany.
2009 Roxy/NoD, KomiksFest, Prague, Czech Republic.
2009 Glocken-Lichtspiele, 29. Erlanger Poetenfest, Erlangen, Germany.
2008 Phil, Buch Wien ’08, Vienna, Austria.
2008 Wannsee Forum, Goethe-Institut, Berlin, Germany.
2008 Hochschule für Gestaltung, Offenbach am Main, Germany.
2008 Stadsbiblioteket, Göteborg, Sweden.
2007 Galerie Streitenfeld, Oberursel, Germany.
2004 COX 18 /Calusca City Lights, Milan, Italy.
2003 International Encounters, Festival International de Bande Dessinées, Angouleme, France.
2002 Theatre la Fourmi, Luzern, Switzerland.
2001 Kulturbrauerei, Berlin, Germany.
2001 Philip-Schaeffer-Bibliothek, Berlin, Germany.
1998 Göteborgs Stadsbibliotek, Göteborg, Sweden.
1997 Östgöta Nation, Uppsala, Sweden.
1996 Helsinki Comics Festival, Helsinki, Finland.
1996 Serietecknarskolan, Hofors, Sweden.
1995 Serietecknarskolan, Hofors, Sweden.
1994 Konstfack, Stockholm, Sweden.
1993 Umeå konsthögskola, Umeå, Sweden.
1992 Pipeline, Sundsvall Underground Film Festival, Sundsvall, Sweden.
1992 Bok & Biblioteksmässan, Göteborg, Sweden.
SELECTED SCREENINGS
2016 Tito on Ice, Littfest, Umeå, Sweden.
2016 Tito on Ice (Theatrical release), Lichtblick-Kino, Berlin, Germany.
2015 Tito on Ice (Middle East Premiere), Beirut Animated, Beirut, Lebanon.
2015 Spik-Bebis, Göteborg Film Festival (Svensk Animation 100 år), Göteborg, Sweden.
2014 Tito on Ice, 1001 Documentary Festival, Istanbul, Turkey.
2014 Tito on Ice, BeThere! Corfu Animation Festival, Greece.
2014 Tito on Ice, GEORAMA Animation Festival, Tokyo/Yamaguchi/Kobe, Japan.
2014 Tito on Ice, Thessaloniki Documentary Festival, Greece.
2013 Tito on Ice, International Film Festival of India.
2013 Tito on Ice (Latin American premiere), São Paulo International Film Festival, Brazil.
2013 Tito on Ice, Filmfest Hamburg, Germany
2013 Tito on Ice, Ottawa International Animation Festival, Canada.
2013 Tito on Ice, European Film Festival Palic, Serbia.
2013 Tito on Ice, Annecy International Festival of Animated Film, France.
2013 Tito on Ice (Balkan premiere), Animafest Zagreb, Croatia.
2013 Tito on Ice (North American premiere), Seattle International Film Festival, USA.
2013 Tito on Ice (Asian premiere), Jeonju International Film Festival, South Korea.
2013 Tito on Ice, Holland Animation Film Festival, Utrecht, Netherlands.
2013 Tito on Ice (International premiere), ANIMAC, Lleida, Spain.
2012 Tito on Ice (World premiere), Stockholm Film Festival, Sweden
2011 One Hundred Years/Tito on Ice (work-in-progress), Animateka, Ljubljana, Slovenia
2010 Max Andersson Retrospective, ANIMATOR Festival, Poznan, Poland.
2010 Tito on Ice (work-in-progress), Novo Doba, Belgrade, Serbia
2009 Spik-Bebis och andra gränsfall, International Comics Exhibition ”tell me more...”, Riga, Latvia.
2008 Spik-Bebis och andra gränsfall, KomiksFEST, Prag, Czech Republic.
2008 Spik-Bebis och andra gränsfall, Fest Anca, Zilina, Slovakia.
2007 Ingen kommentar/One Hundred Years, Floating World Animation Festival, Portland, USA.
2006 Spik-Bebis, Open Air-Filmfest Weiterstadt, Germany.
2005 Ingen kommentar/Varför är det så mycket svart, NOMAD Festival, Belgrade, Serbia.
2004 Spik-Bebis och andra gränsfall, Nordische Botschaften, Berlin, Germany.
2004 Spik-Bebis och andra gränsfall, Anifest (International Festival of Animated Films), Trebon, Czech Republic.
2003 Spik-Bebis/Look of Love, Oslo Open, Munch-museet, Oslo, Norway.
2003 Spik-Bebis och andra gränsfall, Art Klub, Pancevo, Serbia and Montenegro.
2002 Spik-Bebis och andra gränsfall, Uppsala Konstmuseum, Uppsala, Sweden.
2002 Spik-Bebis/Look of Love, Elverket, Stockholm, Sweden.
1999 Lolita Separerar/Avant Trash, Aurora Picture Show, Houston, USA.
1999 Spik-Bebis och andra gränsfall, Renate Comic-Bibliothek, Berlin, Germany.
1999 Spik-Bebis och andra gränsfall, Slovenska Kinoteka, Ljubljana, Slovenia.
1999 Lolita Separerar/Downside Europe, Uplink Factory, Tokyo, Japan.
1997 Spik-Bebis och andra gränsfall, Östgöta Nation, Uppsala, Sweden.
1992 Lolita Separerar, Intervipfilm Special, Berlin, Germany.
1992 Spik-Bebis och andra gränsfall, Sundsvall Underground Film Festival, Sundsvall, Sweden.
1991 One Hundred Years, Festival du cinéma Nordique, Rouen, France.
1990 Varför är det så mycket svart, Tampere Film Festival, Tampere, Finland.
1990 Spik-Bebis och andra gränsfall, Open Air - Filmfest Weiterstadt, Germany.
1989 Spik-Bebis och andra gränsfall (Theatrical release), SF Filmstaden, Stockholm, Sweden.
1989 Découverte: Max Andersson, 10e Festival international du jeune cinéma, Montreál, Canada.
1989 Lolita Separerar, FilmFest Braunschweig, Germany.
1989 Lolita Separerar, Nollbudgetfilm Special, Folkets Bio, Stockholm, Sweden.
1989 Spik-Bebis, Pacific Cinematheque, Vancouver, Canada.
1988 Ingen Kommentar, Riga Film Festival, Riga, Latvia.
1987 Spik-Bebis, The Animation Festival, Bristol, UK.
1987 Ingen kommentar, Uppsala Film Festival, Uppsala, Sweden.
1985 One Hundred Years, Los Angeles International Animation Celebration, Los Angeles, USA.
1985 One Hundred Years, 35th Melbourne Film Festival, Melbourne, Australia.
1985 One Hundred Years, 35. Internationale Filmfestspiele Berlin, Germany.
1984 One Hundred Years, 20th Chicago International Film Festival, Chicago, USA.
STAGE ADAPTIONS OF 'PIXY'
2009 Ježek a Zižek, Prague, Czech Republic.
2008 Teatteri Lumottu Prinsessa, Åbo, Finland.
1998 Teater Lyset, Karlskoga, Sweden.
AWARDS
2014 Best Feature Film, BeThere! Corfu Animation Festival
2013 Grand Prize Feature Film, Ottawa International Animation Festival
2009 Muriel Honorary Award, KomiksFEST!
2005 Svensk Bokkonst, Kungliga Biblioteket
2005 Independent-Comic-Preis, ICOM
2003 Svensk Bokkonst, Kungliga Biblioteket
1995 Adamson, Svenska Serieakademin
1994 Urhunden, Seriefrämjandet
1985 Los Angeles Animation Celebration, 2nd Prize
1985 Melbourne International Film Festival, 1st Prize, Animation
1985 Internationale Filmfestspiele Berlin, UNICEF Special Award
SELECTED BIOGRAPHY
2016 We Told You So - Comics As Art, Tom Spurgeon with Michael Dean, Fantagraphics Books, Seattle, USA.
2013 Svensk illustration - en visuell historia 1900-2000, Red. Andreas Berg/Sara Teleman, Arena, Stockholm, Sweden.
2011 Max Andersson (Svenska illustratörer och konstnärer), med text av Tommie Jönsson, Orosdi-Back, Stockholm, Sweden.
2006 Desperate Times and Distorted Measures, John Tamarri, review, dailytargum.com, Dec 13
2006 Max Andersson, Thomas Olsson, interview, Rocky #3/06
2005 En container fylld av guld, Johan Wirdelöv, review, dagensbok.com, Oct 27
2005 Max Andersson, Fredrik Brändström, interview, Clear Skies #4/05
2005 You Could Give a Shit About Comics, Tim Kreider, article, Baltimore City Paper, Sep 28
2005 L’Age des glaces, Éric Loret, review, Libération, Aug 18
2005 Bosnian Flat Dog, Martin Reiterer, review, Springerin #1/05
2005 Eis aus Granathülsen und andere Kriegslüste, Thomas Meister, review, Tages-Anzeiger, Jan 4
2004 Swedish Comic Strips and Cartoon Culture, Adam Marko-Nord, Nov 19
2004 Dagarna med Titos mumie – historien bakom Bosnian Flat Dog, Jerry Lasota, article, Bild & Bubbla #1/04 Read interview
2004 Surrealistisk krigssaga, Bo Madestrand, review, DN, Feb 25
2004 Krigsrapport i serieform, Paulina Bylén, article, SvD, Feb 5
2003 Tito hjälper svenska tecknare med serie om Bosnien, Thomas Hall, article, DN, Dec 29
2003 Intervista a Max Andersson, Claudio Parentela, interview, Nov 19
2003 Max värld inte bara svart och vit, Göran Widerberg, interview, Dagens Arbete #9/03
2003 Max svärta träffar mitt i smärtan, Lena Andersson, review, SvD, March 24
2002 Max Andersson – El conductor de Car-Boy, Oscar Gual, article, Guía del Comic #3, Saló Internacional del Comic de Barcelona, May 9
2002 Max Andersson – Moderna sagor för en komplicerad samtid, Isabella Nilsson, essay/catalogue, Uppsala Konstmuseum, April13 Read essay
2001 Comics von Max Andersson, Lena Andersson, article, Tecknaren #6-7/01
2001 Hundstage, Christian Schröder, article, Der Tagesspiegel, Sep 6
2001 Max Andersson, David Jang, article, Tokion Magazine #23
2000 Beyond the valley of death with Max Andersson, Aleksandar Zograf, interview
2000 Max Andersson, Fanny Georges, article, Elegy #10
1999 Death and Candy: Max Andersson’s Sweetly Grotesque World, Charles Austin, interview, dolomite.net, Oct 18
1999 Mit 39 Grad dem Fleisch sehr nah, Cristina Nord, article, die tageszeitung, March 11
1999 Macabres féeries, Thierry Groensteen, review, 9e Art #4
1998 Les vilains contes d’Andersson, Pierre-Pol Renders, review, Le Journal du Médecin, Belgium, #1126
1997 3 tecknare spränger ramarna. Nisse Larsson, article, DN, April 4
1997 Achterbahnfahrt durch die Schrecken des Alltags, Christian Gasser, article, Bund, Switzerland, Feb 8
1996 Jeder Kurve folgt neuer Wahnsinn, Roli Fischbacher, review, Strapazin #1/96
1995 Comics in a new way, Gary Groth, interview, The Comics Journal #174
1994 Svart satir och stor konst, Karl G Jönsson, review, Sydsvenska Dagbladet, Dec 15
1994 Swedish Import, article, The Rocket, Seattle, April 27
1992 Svarta solskenshistorier, Erik Nilsson, interview, Bild & Bubbla #6/92
1992 Hallå, det är från Dödsriket, Per Wirtén, review, Expressen, Aug 24
1991 Max Andersson, Lotta Svedberg, interview, Arbetaren, Aug 29
1990 Arga unga filmare – finns dom?, Göran Linderoth, interview, Filmhäftet #69-70
1990 Anorexian som världsbild, Åsa Sjöström, article, Chaplin #226
1990 Flödande filmfantasier, Maaret Koskinen, review, DN, Jan 5
1989 Spik-Bebis och andra gränsfall, Martin Andersson, review, Sydsvenska Dagbladet, Dec 28
1987 I huvudet på en filmare, Ann Helena Rudberg, interview, DN, Nov 3
Max Andersson
(b. 1962, Sweden)
Middagsdags (Galago #1, 1995)
Max Andersson is a Swedish comic artist with a strong underground reputation - thanks to his dense, junk-culture comic, 'Pixy'. Andersson studied graphics in Stockholm between 1982 and 1984, and later cinema at the University of New York. After having worked in the animation field, he started making comics in the Swedish alternative magazine Galago in 1987. Shortly, his work also appeared in Dagens Nyheter and Aftonbladet. His first album, 'Pixy' was published by Tago Förlag in 1992.
The comic was also published in the USA by Fantagraphics, which makes Andersson the first modern Swedish artist to have an album published in the USA. Tago Förlag has also collected some of his short stories in 'Vakuumneger' in 1994. Three years later, Andersson self-published 'Pistolen Johnny'. In 2001, 'En Skissbok av Max Andersson' was published by Seriefrämjandet, followed two years later by 'Döden', published by Galago Ordfront.
Pixy
Besides his comic book 'Pixy' at Fantagraphics, more of Andersson's gained attention in the USA, with his contributions to the anthology Zero Zero and the comic book 'Death & Candy'. His dark comics are also published in most European countries.
www.MaxAndersson.com
Artwork © 2017 Max Andersson
Website © 1994-2017 Lambiek
Last updated: 2007-10-19
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Excavation
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Biography
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Bibliography
Container
Reprodukt
Berlin, 2012
Bosnian Flat Dog
Reprodukt
Berlin, 2004
Film
Jochen Enterprises
Berlin, 1998
born in Karesuando (Sweden) in 1962, Andersson has been a filmmaker and comic artist based in Berlin since 1997. After two years of training at the Art Academy in Stockholm he studied Film Production in New York from 1985 on. His first longer comic »Pixy« was published in 1992; its B&W illustrations are marked by a very expressionistic style. The comic »Bosnian Flat Dog«, a coproduction with Lars Sjunnesson, was awarded the ICOM in 2005.
[http://www.maxandersson.com]
Bosnian Flat Dog
Ray Olson
103.5 (Nov. 1, 2006): p37.
Copyright: COPYRIGHT 2006 American Library Association
http://www.ala.org/ala/aboutala/offices/publishing/booklist_publications/booklist/booklist.cfm
Andersson, Max and Sjunnesson, Lars. Bosnian Flat Dog. Tr. by Max Andersson. Nov. 2006.212p. illus. Fantagraphics, paper, $13.95 (1-56097-740-X). 741.5.
The title refers not to a Sarajevo apartment-dweller's pet but to the new breed that has evolved there in response to the dangers of being run over, crushed by falling debris, and otherwise vertically reduced. They're not necessarily dead, and one may rue making any such assumption. On the other hand, they're far from the most dangerous or outrageous phenomenon Andersson and Sjunnesson encounter in their search for a Bosnian friend at the time of the NATO bombing of Serbia. Instead, that would perhaps be the veiled Srebrenica women, or the zombies who were abducted American soldiers, or whoever's really running the underground ice-cream plant in Pale. It almost certainly isn't the corpse, missing one leg, of Tito, which pops up with alarming frequency. Although this mind-boggling black-comic mini-odyssey is about, rather than by, Balkan artists (Andersson and Sjunnesson are Swedes with considerable Balkan experience), it is of a piece with, though tonally poised between, the chilling novels of Albanian Ismail Kadare and the confounding stories of Serbian Zoran Zivkovic. Collaboratively drawn in a blocky, woodcuttish style full of brutal, pop-eyed figures, it looks exactly right for the fun house-morgue aura of the story.
Olson, Ray
Source Citation (MLA 8th Edition)
Olson, Ray. "Bosnian Flat Dog." Booklist, 1 Nov. 2006, p. 37. General OneFile, go.galegroup.com/ps/i.do?p=ITOF&sw=w&u=schlager&v=2.1&id=GALE%7CA154690572&it=r&asid=0af21cfcf1b01750a1edee7ac6c73481. Accessed 22 Sept. 2017.
Gale Document Number: GALE|A154690572
Review: Max Andersson unpacks a family nightmare in ‘The Excavation’
03/28/2017 5:00 pm by John Seven
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Underneath the surreal nightmare presented by Swedish cartoonist Max Andersson and despite the dream logic to so much of the action in The Excavation, there’s a truthful core that many of us can take to heart. This is essentially the story of a guy bringing his girlfriend to meet his estranged family for an uncomfortable visit that puts ugly truths about the family dynamic on display. Guy flees, but this has rekindled the familial connection and that means family oversteps boundaries and enters guy’s world unexpectedly, putting guy in an awkward situation with his father, and leaving his girlfriend to deal with the tattered detritus of the other aspects of the relationship.
Typical dysfunctional family story, really, but Andersson presents it in such a way that psychological terror anyone in the middle of it feels — the stuff that’s harder to express, the stuff that sometimes makes you look a bit unreasonable, even selfish, to people who can quite understand the situation — becomes the very atmosphere that the story takes place in.
As the story careens out of control, the guy has to deal with rediscovering his family home, filled with hidden rooms he had forgotten, some impossible to access thanks to the lack of doorways, while there are doorways to other places that are inconvenient, awkward, and never used. This is the guy traversing not only his own family dynamics, but his perception of them as well. If you’ve ever had a dream about discovering an unknown section of your house, or an unknown part of your town, or even visiting a new city that you never knew existed before, then you get the general tone of this storyline. It’s a dreamlike depiction of discovery that part blind, part familiar, and filled with spontaneity that challenges your decisions.
Meanwhile girlfriend is plunged into her own version of a similar world — distress in the streets of her home and hidden corners of danger that the guy’s family force her to plunge into, going so far as to be stripped of her own persona and forced to put on another woman’s wig and dress as she traverses the strangeness.
If you’ve ever married into a dysfunctional family, this part will make you nod your head as you read. Even coming from your own version doesn’t help — each family’s dysfunction is a personal language that does not translate to the situation of others, and you can find yourself in a situation that’s not unlike being an English-speaker dropped in the middle of China and being told to just figure it out.
Once the couple is reunited, they are faced with coming to terms with the bile dredged up by their adventure, as they relate to each other with altered appearances brought on by the trauma of dealing with the family. But by then, calamity has entered their lives like an atmosphere to exist in and the ultimate solution of escape is probably a universal one that many of us have sought out on our own terms.
Andersson’s art work has a Gary Panter-like feel, but as if the Eraserhead baby dreamt in Panter’s style. This of course puts the surrealism on turbo, but also the ugliness. It’s not a grim world that Andersson presents, but it is a decrepit, dark one that accesses the more prurient parts of the soul, where reality is Times Square of old, and any water you use to wash it off is filled with muck and shit and germs. And yet it’s a funny one too — as despairing as it gets, Andersson always injects slapstick and cleverly amusing dialogue that reveals it as far more than just an exercise in negativity.
The Excavation
Max Andersson. Fantagraphics, $29.99 (376p) ISBN 978-1-60699-984-4
More By and About This Author
An unnamed man takes his girlfriend to meet the parents, only to find he’s been away so long the house has become a spooky archeological site. Delving deeper, the two get lost in a fragmented, Freudian world where everything—houses, people, memory—is in the process of being chopped up and stitched back together. Told in a series of rough, woodcut-style full-page illustrations framed by jittery border art, the story follows a claustrophobic dream logic of disjointed time, detachable penises, and shadowy authority figures. As one character puts it, “When you get to a certain point, suddenly everything turns around, like it’s inside out or something.” An alternative cartoonist from Sweden, Andersson is old-school underground, drawing trauma-eyed blockheads engrossed in disturbing, surreal activities. This jaunt through the seedy back streets of the unconscious isn’t for everyone, but lovers of Eraserhead-style hypnagogia will be in their comfort zone. (Jan.)
DETAILS
Reviewed on: 01/16/2017
Release date: 02/01/2017
Bosnian Flat Dog
Max Andersson, Author, Lars Sjunnesson, Author, Max Andersson, Illustrator . Fantagraphics $13.95 (108p) ISBN 978-1-56097-740-7
More By and About This Author
Swedish cartoonists Anderson and Sjunnesson straddle the line between reality and surreality with this tale of their trip to an alternative comics convention in the Balkans. The journey leads to one strange occurrence after another, starting with a pelting by ice cream grenades. From there the corpse of Josip Tito (stored in a freezer), a super-soldier program and the eponymous canine creatures all figure in a story that trades in strange and loaded images to express life during constant conflict. The story is supposedly based on some true events, but it's all told through a dreamy haze. The cartoonists combine their art styles to create cloudy black and white images, continuing the feeling that these events are happening inside the mind as much as in reality. An interlude drawn in a much simpler style attempts to explain the story, but as far as this book is concerned, processing the world through imagination is far richer and more interesting. Anderson and Sjunnesson manage to keep the odd story going with their tight and fluid plotting, which says that in Bosnia the absurd is what is real. (Nov.)
DETAILS
Reviewed on: 11/06/2006
Release date: 10/01/2006
At first glance I thought the 382 pages of The Excavation by Max Andersson would take me a full day to read, but when I opened the book, and discovered that each page is only a single panel, the reading experience became as frenetic as the art itself, and I finished in less than an hour. Part of the speed at which this book was consumed was also a desire to escape Andersson’s world as quickly as possible, not because of any weakness in the story, but because of its authentically frightening and uncomfortable atmosphere. This is due to the fact that the book is based on the author’s dreams, creating a wind-in-your-hair wild ride reminiscent of the stream of consciousness grotesquery of William Burroughs’ Naked Lunch.
The story begins with a nameless couple attempting to visit the man’s family only to discover that his childhood home has sunken underground. After entering an archaeological excavation and paying admission to the man’s own subterranean abode, the couple finds his father stitching together his brother, and his mother transformed into a conjoined twin. The couple quickly departs, but the trouble with reopening the past is its desire to follow you afterwards. The man and his girlfriend return home, but a ring of the doorbell reveals, his putty-faced father, his rapidly aging mother, his newly put together axe-wielding brother, and a corpse with a shattered face. If you thought no one had a more dysfunctional family than you, look no further.
The Excavation is a book always on the go with a relentless momentum. The slashing ink lines are used to reinforce the violence and explosive energy of the work, and it looks as if Andersson put pen to paper as quickly as possible in order to capture the essence of pure manic anxiety. In fact, I would say the book seems more focused with creating an immersive emotional experience than with telling a structured narrative. If you prefer more linear storytelling then this book probably won’t be for you, but I believe taking part in the story’s raw expressive energy is reason enough to read The Excavation at least once. If you enjoy work inspired by dreams, but want a more cohesive story, then I strongly recommend Andersson’s first book, Pixy, which better curates his visceral imagination into a more streamlined sequence of events. Matthew Laiosa