Jaakko Pallasvuo

Forty hours at sea in Cruising part two in Stockholm, Apr 7 – 14

4 April 2017

The Cruising group exhibition is on at Julia Eriksson’s apartment in Stockholm, opening April 7  to 14.

Hosted by Eriksson and Daniel Iinatti, the show brings together the work of 13 artists including Jaakko Pallasvuo + Marja-Oksa Pallasvuo, Dorota Gawęda + Eglė KulbokaitėAnna UddenbergSteven Warwick and Zoe Barcza, among others.

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.

The after party will be at Stockholm’s Morfar Ginko and will feature performances by Kablam, Blahnix and more.

See the Facebook event page for details.**

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Studio practice in progress at How to be being at Super Dakota, Feb 23 – Apr 8

22 February 2017

The How to be being film program is on at Brussels’ Super Dakota, opening February 23 and running to April 8.

Co-conceived with Alex Clarke, the event features three films by Gareth Long showing ‘Work in Progress’ (2010), Jaakko Pallasvuo‘s ‘Blue’ (2016) and Elsa-Louise Manceaux & Balthazar Berling‘s ‘Debouts, Salis, Cernés’ (2017).

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.

See the Super Dakota webiste for details**

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Polyphonic POV’s in subjectivized art at MoMAW’s Ministry of Internal Affairs. Intimacy as Text, Jan 26 – Apr 2

25 January 2017

The Ministry of Internal Affairs. Intimacy as Text group exhibition is on at Warsaw’s Museum of Modern Art (MoMAW), opening on January 26 and running to April 2.

Curated by Natalia Sielewicz — also responsible for 2014’s great Private Settings exhibition — the show features over 20 artists, all at different stages of their careers, including Hannah BlackDorota Gawęda + Eglė KulbokaitėChris KrausJaakko PallasvuoMegan RooneySteve RoggenbuckAgnieszka Polska, and Amalia Ulman among others.

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.”

See the MoMAW website for more details.**

Dorota Gaweda + Egle Kulbokakaite, ‘SHE, A SKELETON’ (2015). Install view. Courtesy SNOlab.

 

 

 

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The Adventures of You (2016) exhibition photos

16 January 2017

The Adventures of You group exhibition at Paris’ The Community opened on December 3 and ran until January 13. 

The show featured work by Jaakko Pallasvuo, Arnar Ásgeirsson, Hanne Jurmu & Anton Vartiainen and The Community’s Lance the Psychic & jasonknudsen414.

‘The Adventures of You’, (2016/17). Installation view. Courtesy the artists + The Community, Paris.

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.**

 

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Memory (2016) exhibition photos

8 November 2016

The Memory group exhibition at Stockholm’s Loyal Gallery ran from September 1 until October 8, 2016.

Curated by Daniel Iinatti, the multi-media installation of painting and sculpture featured work by Ivana Basic, Duda Bebek, Alfred Boman, Viktor Fordell, Dorota Gaweda, Tilman Hornig, Egle Kulbokaite, Jaakko Pallasvuo and Emelie Sandström.

Duda Bebek, Frida (2016). Installation view. Photo by Ari King. Courtesy the artist and LOYAL, Stockholm
Duda Bebek, Frida (2016). Installation view. Photo by Ari King. Courtesy the artist and LOYAL, Stockholm

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.”**

The Memory group exhibition was on at Stockholm’s Loyal Gallery running from September 1 until October 8, 2016.

Header image: Alfred Boman + Jaakko Pallasvuo in Memory (2016). Installation view. Photo by Ari King. Courtesy the artists + LOYAL, Stockholm.

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aqnb x Video in Common @ 3hd Festival, Oct 12

29 September 2016

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 ‘Staying Present’ program presents artists, musicians and ideas that draw on convention and tradition to comment on the contemporary condition. Artists featured in this edition include an AQNB/ViC editorial video with Klein, video and sound works from Jaakko Pallasvuo, Maxwell Sterling, Institute for New Feeling, Gary FembotEaster as well as a live Skype psychic reading from Martha Windahl.

‘Staying Present’ follows a series of events organised by the art editorial platform and video production partner ViC in London, and Los Angeles –two other key cultural centres in the AQNB network. Titled ‘The Future Is Here, It’s Just Not Evenly Distributed’, ‘At the Backend’ and ‘Accessing Economies: Engagement & Withdrawal’.

See the FB event page for details.**

Header image: Jaakko Pallasvuo, ‘Castling’ (2016). Video still. Courtesy the artist.

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The Art of Living @ Beijing / New York / Berlin, Aug 13

11 August 2016

The Art of Living is a one-night screening taking place across three venues located in Beijing, Berlin, and New York on August 13.

Venues include SCREEN and I: project space in Beijing, Artnet in New York, and at Loris in Berlin, and features videos by Michael Smith, Joshua White, Kenya Robinson, Tuo Wang, Tzuhuan Lin, Musquiqui Chihying, Jaakko Pallasvuo, Manuela Johanna Covini, Brita Thie, Lin Ke, Tan Tian, Katy Roseland, and more. 

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.

See the FB event page for more details.**

The Art of Living @ Beijing / New York / Berlin, Aug 13

Tzuhuan Lin, ‘Rubber Duck’ (2016). Video Still. Courtesy the artist.

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MSL + Jaakko Pallasvuo @ CCA Derry, Jun 4 – Jul 23

3 June 2016

Performance collective MSL (Antti Jussila and Jari Kallio) and artist Jaakko Pallasvuo are presenting joint exhibition Bridge Over Troubled Water at Londonderry’s CCA Derry, opening June 4 and running to July 23.

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.

See the CCA Derry website for details.**

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Jaakko Pallasvuo, Kuin puuton ranta… (2015) exhibition photos

27 May 2016

A solo exhibition by Jaakko PallasvuoKuin 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.

– Mirkka Rekola

Exhibition photos, top right.

Jaakko Pallasvuo’s Kuin puuton ranta, jolle istahdit was on at Helsinki’s Sorbus-galleria, running November 19 to 29, 2015.

Header image: Jaakko Pallasvuo, ‘Picasso Hopeful’ (2015) Install view. Courtesy Sorbus-galleria, Helsinki.

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‘A Night With Jupiter Woods’ @ Shanaynay, Feb 5

3 February 2016

‘A Night With Jupiter Woods’ is at Paris’ Shanaynayas a part of their A Night With series running throughout the month, on February 5.

“Eighteen months at sea, we are now beginning to trace the contours of what constitutes this ambiguous being, Jupiter Woods”, sighs the accompanying letter for the upcoming event, sent to Shanaynay.

Jupiter Woods will “bring forth actants” Sanna Helena Berger, Eloïse BonneviotKaren KramerJaakko Pallasvuo and Sam Smith –each of whom have worked closely in the past year with the South East London project space –by showing films by the artists, before discussing how they will continue to exist as this “ambiguous being”.

“What are the conditions in which we operate?” ask Jupiter Woods co-founders Carolina Ongaro and Hanna Laura Kaljo in their letter. It seems a timely conversation to be having in relation to preservation, integrity, risk and “unlearning” within the presentation and curatorial sides of the art world.

See the FB Event page for more details and to read the letter in full.**

Ted, Karen Kramar (2012). Courtesy the artist.
Karen Kramer, ‘Ted’ (2012). Courtesy the artist.

 

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Status Effect Episode #01 now streaming

26 November 2015

Episode #01 of quarterly podcast Status Effect is now streaming on Soundcloud, as part of a programme commissioning new long form audio pieces by artists, curators, arts writers and arts workers, running from November, 2015 to January, 2016.

Focussing on social structures within the contemporary art world, the podcast aims to explore how these collective environments are composed and navigated, and as such is interested in topics surrounding subjectivity, reprioritising, diplomacy, protocol, social anxiety, the possibility for care and empathy, social mobility and labour.

Produced by Andrew Varano, the first episode features contributions from Francis Russell, Jaakko Pallasvuo, Dan Bourke & Gemma Weston and George Egerton-Warburton, as well as music from Perth, Australia-based band Erasers.

See the Status Effect website for details. **

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Jaakko Pallasvuo @ American Medium, Oct 23 – Nov 29

20 October 2015

Jaakko Pallasvuo opens his first New York solo exhibition at Brooklyn’s American Medium with Pumpkin Spice, running from October 23 to November 29.

After recent spate of activity in London, including a solo show at Jupiter Woods and a book launch with Arcadia Missa, this most recent exhibition is introduced with a page-long third-person narrative of the banalities of Pallasvuo’s day: The coffee is pretty bad, and he didn’t get the student discount. Along with the artist’s signature sharing of his fears and insecurities—Jaakko is worried about flying, and worried about being among people there. Will they be mean? He feels slow and vague and NYC seems so vertical and sharp-edged.

Before the splattering of Pallasvuo’s thoughts is this poem by Ted Hughes. Nothing comes after.

“Nobody wanted your dance,

Nobody wanted your strange glitter, your floundering

Drowning life and your effort to save yourself,

Treading water, dancing the dark turmoil,

Looking for something to give.” 

See the exhibition page for details. **

Image courtesy Jaakko Pallasvuo.
Jaakko Pallasvuo, Scorched Earth (2015). Published by Arcadia Missa. Image courtesy the arist.
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Jaakko Pallasvuo’s Scorched Earth reviewed

28 September 2015

“How long will it take for you to recognise my brilliance?” asks Jaakko Pallasvuo, on a list numbered fifteen, under a title reading “Works”, in a book called Scorched Earth. Most of these ‘works’ are speculative, conceptual art in the form of performative text that reads in sentences like, “I listen to her talk about her work. I nod. That’s nice, I say”. Some of the immaterial pieces exist merely as a blank space on paper, next to a number that’s the sum of a section, that makes up a novel, published in a limited run of a hundred by Arcadia Missa in August.

The book of sorts –an object –consists of a collection of contemplations, fragments, online posts, chat boxes, that are cobbled together from the Finnish artist’s dawsonscreek.info Tumblr account with a quote on the cover by the blog’s namesake, Dawson Leery (“We can analyze this to death later”). Off-topic and out of context, it’s a pull quote made by a fictional character from a turn-of-the-millennium US teen drama, about an artist he doesn’t know. Because how could he? Dawson Leery doesn’t exist. But he also does. He’s an influence on Scorched Earth, along with other pop cultural constructions, Rihanna, Kanye West, Chloë Sevigny, Eddie Vedder. They all compose a highly allusive maybe-autobiographical text that’s based in the circulated image.

Image courtesy Jaakko Pallasvuo.
Image courtesy Jaakko Pallasvuo.

“The text is not the work”, insists one of Scorched Earth’s fifteen “Works”. Neither is the artwork the life that’s led; one made up of fragments filtered through a body that is odd looking, neurotic, fat, fictionalised (“either a man or a woman or then not”). Here, the online and the offline are indistinguishable, the internet is the IRL, the image, the reality. Nominating himself a kind of Saviour come to reclaim poor Post-Internet (“I want what no one else wants”) Pallasvuo disavows any idea of authenticity: “isn’t it more authentic to be inauthentic than authentic if you’re inauthentic at heart?”

Purporting to a rejection of authenticity while finding it by the very act of that rejection is as far as the irony goes, though. There’s no distance in Scorched Earth. It recognises the absurdity of its own position as a book about the art world by a persona who doesn’t feel a part of it, but also actually is. Pallasvuo might not make it into Wolfgang Tilman’s Frieze celebrity after-party, but still the open and anonymous Quaker meeting he’s been to isn’t as desirable. “The usual case is that the Wolfgangs of the world don’t want us to come in but don’t want us to leave either”. It also works the other way. As much as the artist doesn’t want to be a part of the art institution, he also kind of does.

Image courtesy Jaakko Pallasvuo.
Image courtesy Jaakko Pallasvuo.

“’Scorched earth’ is a military tactic of utter devastation and a video game, and now it’s a book”, John Beeson opens in an adulatory Afterword at the back of the book. The book in turn is a deeply personal account of the art of war in the war of art –a game that can transform a crippling self-reflexivity into a creative strength. “You take everything you’ve got, your failures and insecurities. You repurpose, repackage, relaunch and repeat until they are categorized as successes.” In the case of Scorched Earth, you write bitter fan fiction about an online troll, fantasise about the “marble and vapour” of a New York City art scene, and lambast an opinion piece on the artistic significance of a Berlin-based “friend group”.

“Competitive social spheres appeal to me”, Jaakko Pallasvuo writes, quoting an imagined art figure called ‘Brad’ who’s blowing a guy called ‘Boris’ while attesting to choosing his field for its cut-throat competition under the guise of thwarted idealism. It could be Simon Denny, Timur Si Qin, Daniel Keller, Tobias Madison, or any number of artists and people Pallasvuo names (he does so selectively) in Scorched Earth. It could even be the artist himself. (“Brad swallows”). **

Jaakko Pallasvuo’s Scorched Earth was published by Arcadia Missa Publishing in August, 2015.

Header image: Image courtesy Jaakko Pallasvuo. 

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