The installation was accompanied by a press release drawing on the lyrics from the song ‘Human Fly’ by 70s band The Cramps, including “garbage brain /That’s drivin’ me insane,” as well as the show’s stylised webspeak reference to Rappaccini’s Daughter. In the 19th century short story — written by American novelist and dark romantic Nathaniel Hawthorne —the beautiful daughter of a reclusive scientist becomes resistant to the poisonous plants of her father’s making only to become poisonous herself. The purple and millennial pink junkspace of works strewn across the exhibition creates its own garden of contemporary hazards one can’t live without.**
Designed as a hotel room, the screening brought together an international range of artists under the curatorial premise “governed by both post-truth politics and sharing economy, the new urgencies of migration and resettlement as well as the changing concepts of citizenship and nationality and related to it new forms of anxieties restructuring our lives.”
The first part of the exhibition took place on board the M/S Mariella cruise ship in March of this year, travelling from Stockholm to Helsinki. The forty-hour journey gave artists the time and space to explore “the feeling of being at sea, being on board, being trapped or being free” and the work is now being shown with Eriksson’s private collection in her apartment.
How to be being is part of larger series of shows of the same name on studio practice, which opened January 12 and is also running until April 8. In addition, Clarke is also exhibiting solo show This Happened To Me, which also opens on February 23 and runs to April 8.
The exhibition promises to showcase “a polyphony of voices in poetry and visual arts whose common mode of expression is a first-person narrative and a confessional character of statements, while self-representation in language becomes a discursive practice of reflection and questioning and struggle for the artist’s subjectivity.”
Curated by Paris-based collective The Community, the exhibition is a mix of sculpture, print, drawing clothes and audio exploring the individual’s ability to make and is structured through Ovid’s “Metamorphoses”. The epic poem starts from a paradise lost and through different metamorphoses ends up in an era in which despair and darkness reign with never-ending speculations about the future. The artworks in the exhibition address at the same time symbols of security and continuous threat, and get intertwined in the layout of the space, while mythologies join the contemporary discourse in its scenario.**
The show was centred around a text in the press release that looked at Memory through the body of a retired old man, finding peace among chaos:
“His loved ones have passed away and he spends his days organizing his belongings over and over, recreating the memories of his younger hippie days. Main interests include medievalism, skin care, jewelry, listening to trance compilations, meditation, botanics.”**
As part of this year’s 3hd Festival programme, AQNB and Video in Common (ViC) are presenting screening, performance and discussion event, ‘Staying Present’ at Berlin’s Vierte Welt on October 12.
In referring to the title of this year’s festival topic ‘There is nothing left but the future?’ AQNB focuses on the question mark, interrogating what we actually mean by ‘the future’ and whether the past has a role in determining it: What do we gain from thinking about the future in terms of the past? And is the very notion of the future itself little more than an ideological and conceptual fallacy?
The event is inspired by Marta Minujin, Allan Kaprow and Wolf Vostell’s 1966 staged international project “Three Countries Happening”, which took place in New York, Berlin, and Buenos Aires where some of the happenings occurred concurrently and were aired on channel 13 in Buenos Aires. The press release states, “To celebrate this post-digital condition that has changed the way art is practiced, we will stage simultaneous screenings in New York, Beijing, and Berlin, bringing together artists living in the these art metropolises”.
The event is meant to also address how the internet has changed and expanded studio practice into the realm of social media.
Showing their work for the first time in Ireland and Northern Ireland, the Finnish artists explore ideas of “queerness, nonlinear time, and climate change anxiety” with a show named after the Simon & Garfunkel album and song of the same name. That’s except that the trio reimagine the 60s singer-songwriters as time-travelling protagonists who “navigate past, present, and future post-human landscapes”.
On display will be a sculptural installation featuring painting, costumes, and props, as well as new material filmed in Finland and its northernmost, underpopulated Lapland region at the border of Sweden, Norway, Russia and the Baltic Sea.
A solo exhibition by Jaakko Pallasvuo, Kuin puuton ranta, jolle istahdit (‘Like the treeless shore that you sat upon’) ran from November 19 to 29, 2015, at Helsinki’s Sorbus-Galleria, combining painting, objects and text. The room embraces the chaos of a studio, where one idea threads into the next, each building on top of what was made previously.
Bright orange, pink and blue paint covers the walls in abstract shapes and brush strokes. Drawings and other immediate pieces are placed on top. ‘Wistful Watson’ (2015) is a sharpie pen drawing of a muscular man, using an A4 sheet of paper. The homemade jewellery ‘Divining Rod’ (2015) and ‘Mockingjay Pendant’ (2015) hang down from the ceiling. ‘High School Painting 2’ (2015) looks like it has been plucked from a doodle made in a school notebook and the two bits of clothing hung on the wall are titled ‘Dropout Sweater’ (2015). The one finished-looking work in the show is titled ‘Picasso Hopeful’ (2015), and has a humorous presence in the context of the rest.
Rooting itself in a consciously masculine approach to art making alongside references to fandom and popular culture, Kuin puuton ranta, jolle istahdit suspends itself between irony and sincerity. There is no press release revealing further information, except the trailer (above) featuring footage from the installation and soundtracked by ‘Nord Amor‘ from French DnB-heavy metal band VLN (Very Long Nightmare) featuring epic EDM drops and bagpipes. There is also an accompanying text taken from a Finnish poem, also referenced in the exhibition title, with its English translation that reads:
Soi korvissani runot. Kaikki, kaikki. Alue, valtatie ja etäisyys ei enää ole raja askelille. Tie luokse pois
ei johda. Läheisyys on sama tosi: uni molemmille. Rakastit vettä – vesi laulaa nyt. Suluton, vapaa, ääriänsä vailla. Kuin puuton ranta, jolle istahdit kestävät aallot tänään kiven lailla.
– Mirkka Rekola
Poems sound in your ears. Each one, each one. Region, highway and distance can limit the footsteps no longer. The road to you doesn’t
lead away. Closeness is the same truth: a dream for both. You loved the water – now the water’s singing. Without dams, free, without limits. Like the treeless shore that you sat upon the waves endure today like stone.