Past exhibitions


Past Exhibitions


<< Here are many, many castles >>
to Mar 23

<< Here are many, many castles >>

Research on mythological spaces in Kalevala by Bertille Gosset & Meri Wiikinkoski

Kalevala, most famous for its complex heroes, mythical creatures and virgin suicides, is a multilayered narration. Space is a character on its own, that navigates in parallel to the storyline and creates one dimension of the book. Sometimes it pops up suddenly to give information on the background of the action but it can also become the main story as an oneiric poetical development.

« Here are many, many castles » is a collaboration between two architects, Meri Wiikinkoski from Finland, and Bertille Gosset from France. The exhibition is a way to explore the cultural environment and its ubiquitous representations in our everyday life by two different minds, one being bathed in it since born and the other completely foreign to it.

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Maybe it's the weather
to Dec 8

Maybe it's the weather

Liam Colgan, Patricia Carolina, Juliane Foronda, Mark Furkel, Ýmir Grönvold

Organised by: Ana Victoria Bruno, Sophie Durand and Brontë Jones

‘Maybe it’s the weather’ is a line from the song 'Mama, you been on my mind' originally by Bob Dylan. The line reminds you that there are other reasons for feeling, and these can be external from people and experiences. It’s an excuse but also an explanation that everything is connected and certain circumstances can exacerbate emotional responses to situations. The song indulges continued care but also makes light of the situation in an active way that moves forward rather than wallowing in melancholy and keeping things on your mind.
This exhibition brings together the works of Liam Colgan (AU), Patricia Carolina (MEX), Juliane Foronda (PHL/CAN), Mark Furkel (CAN), Ýmir Grönvold (IS). The moments presented in the exhibition perseverate: repeat and prolong actions, thoughts, or utterances after the stimulus that prompted them have ceased. It’s about being in the world and how we perceive our experiences and the ways in which we can endeavour to [forge] connect[ions] and make things better through simple process and gestures. Because maybe it’s ok, maybe it’s the weather - nobody cares forever.

This is (maybe) the final step of this project. Beginning with the exhibition Maybe it’s the weather at Cool Change Contemporary in Perth, Australia in October, continuing as a book of the same title which launched con-currently in three cities on the 10th of Novembe 2018: Cool Change, Good Press in Glasgow Scotland and OPEN in Reykjavik, Iceland with readings and presentation of new works. The show in Perth is the winter, the book is the coming of change, the moment of connection and this exhibition is the spring - a spring that allows itself to move into summer (despite it being winter).

The book features the works of Ana Victoria Bruno (Argentinian Italian, based Iceland), Shannon Calcott (Australia), Liam Colgan (Australia) Sophie Durand (Australian, based Iceland) Ýmir Grönvold (Iceland) Juliane Foronda (Canada), Mark Ferkul (Canada), Bronte Jones (Australian based in Scotland), Natasha Lall (UK), Patricia Carolina (Mexico, based Iceland), Holly White (UK) and Lieselotte Vloeberghs (Belgium) as a small curated conversation.


Ana Victoria Bruno is an Argentinian - Italian arts writer based in Reykjavik, Iceland. She writes regularly for the Icelandic online magazine Artzine.

Sophie Durand’s practice extends from the intersection of sculpture and performance art and draws from anecdotal histories and archives for subject matter. Sophie is from Perth, Australia currently based in Reykjavik, Iceland.

Brontë Jones is an Australian artist based in Glasgow, Scotland. Their practice explores intimate and precarious relationships and the connection to personal technology and homewares.


Liam Colgan (b. 1993) is a multi-disciplinary artist and curator based in Perth who broadly investigates the fields of sexuality and queer theory in relation to art practice. Their investigations are predominantly take the form of performance and installation. Through these media, Colgan considers how art making might allow individuals to challenge social power structures and navigate the complexities of identity.

Patricia Carolina (Durango, Mexico; 1993) studied BA in visual arts in the National School of Painting, Sculpture and Engraving "La Esmeralda" in Mexico City from 2014-2017. Currently, Patricia is in the final year of the Fine Arts program at Listaháskóli Íslands (Iceland Academy of Arts). Patricia lives and works in Reykjavik, Iceland.

Juliane Foronda is a Filipina-Canadian artist and organizer, originally from Toronto and currently based in Reykjavík. She works predominantly in sculpture, object, intervention and text. Juliane has exhibited in Canada, the USA, Greece, Mexico, Iceland and Norway and Scotland. She graduated with a BA Honours in Studio Art from the University of Guelph, Canada in 2013 and has recently graduated from the MA in Fine Arts programme at the Iceland University of the Arts.

Mark Ferkul is a Canadian artist working with mail and other correspondence as a means to explore interpersonal relationship through dialogue, text and appropriation.

Ýmir Grönvold is born in Iceland in 1994 and lives and works in Reykjavík. He graduated from the Iceland Academy of the Arts in 2017.

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Paul Kalemba: Notes for the Weltgeist
to Nov 17

Paul Kalemba: Notes for the Weltgeist

‘Notes for the Weltgeist’, is a collection of found objects assemblages, from Finland, Iceland and Australia presented as sculpture, photography and video. It focuses on the subject position of the non-human and the abject positioning of nature by conceptually removing the nature/culture binary and inviting a dialogue with chance and phenomena. As an ongoing body of practice-led research, this exhibition continues to invite a questioning of the prevailing anthropocentric worldview while telling contemporary stories of ecology and place.

Paul Kalemba is Visual Artist based in Melbourne, Australia. His work explores the notions of nature and ecology in the Anthropocene though found object still-life compositions. It takes inspiration from the natural sciences and contemporary ecological philosophy, as well as object-based narratives, phenomena and the absurd. ‘Notes for the Weltgeist’, is his first Finnish solo exhibition.

Tidal River. (Test for Working in Australian National Parks) 2018 Single Channel HD Video. Still from 00:00:09:00 Loop.

Tidal River. (Test for Working in Australian National Parks) 2018
Single Channel HD Video.
Still from 00:00:09:00 Loop.

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Seam: Liminal Material Culture
to Nov 3

Seam: Liminal Material Culture

Seam: Liminal Material Culture

𝗦𝗲𝗮𝗺 is a new spatial practice that aims to tackle architectural discourse and the built environment through writing and design.

𝗟𝗶𝗺𝗶𝗻𝗮𝗹 𝗠𝗮𝘁𝗲𝗿𝗶𝗮𝗹 𝗖𝘂𝗹𝘁𝘂𝗿𝗲 is a documenting project examining the changing landscape of the former harbor areas of Sörnäinen while they await being turned into fresh new housing and office buildings. Forgotten and seemingly empty areas within urban landscapes are often referred to as wastelands, implying a waste of space. From a modernist function-driven or real estate point of view there is nothing there, but these kinds of areas can host a diverse range of both human and non-human activity.

At Kosminen, Liminal Material Culture is a collection of photographs and pseudo-archaeological objects with an accompanying essay.

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Sanna Lehto: Morphologies
to Jul 13

Sanna Lehto: Morphologies

Morphologies is Sanna Lehto's ongoing photography project where she is fascinated by colour combinations and living things: human bodies and plants. Their different and changing forms are something she explores.

Lehto is keen to stage photos and build props by using flowers and different materials. The project started in 2015. During the summers Lehto took long walks in nature gathering flowers that interested her for their form and colour. It did not matter if the flower was already dead or just beginning to grow. Some of them she used right away in portraits and in still life arrangements, and some she let dry for over a year and used them after that.

Both beauty and rejection of it are something that she is interested in.

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Kastehelmi Korpijaakko: Kertakäyttöniitty / Throwawaymeadow
to Jul 14

Kastehelmi Korpijaakko: Kertakäyttöniitty / Throwawaymeadow


Peli on vihelletty poikki,
ruoholla lepää kuollut tuli.
Folion välistä kasvavat tulppaanit.

A whistle – run no more,
dead fire on the grass.
Through foil grows the tulip of new beginnings.

Kertakäyttöniitty on tapahtumien kollaasi, asetelma ja kartta harmittomiin tekoihin. Se on muoviruohon ikuisuus sekä sormeen hierottu ruohonkorren tuoksu – uudelleenmäärittelyn mahdollisuus, pinnan alaisuus, katkaistu maalinauha ja piilotettu horisontti.

Throwawaymeadow is a collage of events, still life and a map of harmless acts. It is the eternity of plastic lawn and the scent of a single grass rubbed in the fingers – the possibility to redefine, the underneath, the torn down wire and a hidden horizon.

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