When crisis came it wasn’t the one we’d been preparing for. No enemy to fight
or sci-fi asteroid strike, no call for heroes. We didn’t even notice the start – a
spate of nausea and dizziness – but it spread and worsened until billions of
people were struggling to control their newly buoyant bodies.
They gauged that gravity is weaker but couldn’t explain it, nor why it doesn’t
affect everybody. But a bad joke turned into a fact: the weight of our
depression is keeping us down. Balanced out, raised from torpor to normality,
we walk freely while they flounder like toddlers.
Depression is hyper-visible now. We’ve gone from hypochondriacs to role
models, our lives and bodies scoured for survival tips. Lately they’ve been
trying to reverse-engineer depression in themselves, copying our self-harm
cuts or paying hypnotists to plant false traumas in their minds.
We watch them try to stand in our shoes, sell them our pain, tell our stories as
if we even know ourselves.
These sessions will try to ground you. A professional breakdown of Flis’s ill-
fated solo show in 2015, a dubious personal story of sex and severed fingers,
and the transfer of scars to participants (sfx, optional).
Trigger warning: discussion of self mutilation
Eevi Rutanen’s first solo show examines the close proximity between the cute and the creepy. Drawing from roboticist Masahiro Mori’s concept of the “Uncanny Valley”, which explains the eeriness of lifelike robots, Rutanen's theory of the Uncanny Dimple portrays a parallel phenomenon in the context of cuteness. The robotic creatures inhabiting the soft depths of the dimple demonstrate the subversive power of cute, where adoration borders on aggression, delight turns into disgust, and meek dependance is a clandestine way of asserting dominance and demanding attention. Like the cyborg of Donna Haraway, these creatures defy the boundaries between natural and unnatural, subject and object, submission and domination, creating queer couplings between humans, animals and machines.
In the work of Eevi Rutanen (b.1992, Espoo), interactive installations, sculpture and software merge into uncanny hybrids of bodies and technology. Drawing on her background in bioengineering, Eevi's work is often inspired by biological processes and forms. By combining computational systems and scientific paradigms with frivolity and feminist theory, she strives to imagine alternative ways of being and knowing through empowered softness and sensuality. Eevi graduated with a BA in Graphic Design from Aalto University in 2016, and is currently finishing her MFA degree in Computational Arts at Goldsmiths College, London. She has participated in multiple group shows in Helsinki and in London, and is also a member of GRMMXI, a design collective committed to non-hierarchical collaboration and friendship.
Graphic design: Tuomas Kortteinen & Eevi Rutanen
Rosanna Lefeuvre’s artistic approach probes the entanglements between photography and textile. This association derives from the history of painting - a practice that ever since the Renaissance has been related to textiles through its underlying layer: the canvas. Lefeuvre’s photographs are about the female body, its sensuality as well as its symbolic link to fabrics, drapes or oral motifs.
An open collar deals with the representation of intimacy and the position of the viewer. It invites the spectator to enter a realm of intimacy as if to look closely at the details of a painting. Some of An open collar’ s images are jacquard woven fabrics. This materiality transforms our connection to the image into a physical relationship, reinforced by ever present silky fabrics and bare skin.
Oversized weavings subject the spectator to a double relation: one is immersed as much as one is held at a distance. Engaging in this ongoing oscillation, one has to look at the fabrics from a certain distance to understand what they depict but also to come closer to understand the particular process of manufacture. These images are also an invitation to touch - a gesture often discouraged in institutional settings, and to which digital images have made us unaccustomed.
Rosanna Lefeuvre (Paris, b. 1993) has been studying textile and color design at EnsAD in Paris from which she graduated in 2018. In 2017, she integrated the image section at Duperré. Her work probes the entanglements between photography and textile.
In 2019, she was selected at the Salon de Montrouge and was exhibited at the Bubenberg Gallery and La Villette in Paris. She will be exhibited in London in August. She also won the 3rd price of the Prix Picto de la Mode. In 2018 she was one of the laureate of the Bettencourt Foundation. An open collar is her first solo exhibition in Finland.
The exhibition Wet Knees reflects on the intimacy, force and release found within human relationships. Displaying a series of complex and intricate scenarios through photography and moving image, the works oscillate between the secretive and the voyeuristic. In these situational compositions people can be seen dissolving into and detaching from one another.
Lisa Grip is interested in the inherent complexity of these states of transference. Relationships of contradiction, that lay between intimacy and competition. Symbiotic relationships where individuals dissolve in each other, creating something threatening but wonderful, something monstrous.
Lisa Grip (Stockholm, Sweden, 1988) works with analog photography, lumen prints, moving image and living installations. She graduated with a BA in Fine Art Photography at Valand Academy in Gothenburg 2015 and in June 2019 she will finish her studies in the MA Fine Art program at Konstfack in Stockholm. During the last couple of years she has spent a lot of time in the darkroom where she developed her own photographic mixed technique - where she paints certain parts in the picture with black and white chemistry and lets the rest remain lumen prints, which means that they continue to be exposed outside the darkroom.
The exhibition is supported by Nordic Culture Point.
Four years ago, Heikki Lotvonen started researching ASCII art, also known as text art since it refers to the process of creating images using typographic symbols such as letters and numbers. Outdated emoticons such as :-) are a primitive form of modern ASCII art, but text art has a long and varied history spanning hundreds of years, from arabic calligraphy and images in medieval manuscripts to typewriter art in the 20th century. The current format of ASCII art was popularised in the 1980’s on computer bulletin boards that predate the Internet.
As Lotvonen gradually grew more invested in ASCII, he noticed a lack of programs or editors for text art on modern computers. Motivated by the shortage, he created GlyphDrawing.Club, a free online editor for text art and modular design. The editor is based on an adjustable grid into which users can “draw” with a set of geometric patterns or with any typographic symbol from any font. Despite Lotvonen initially being inspired by the limitations of old school ASCII art editors, GlyphDrawing.Club has evolved to include innovations such as rotation and shape inversion. The additions enable versatile use, and GlyphDrawing.Club can be used to create anything from concrete poetry to illustrations.
The exhibition Glyph Drawing Club Gathering celebrates the one year anniversary of the editor and the release of it’s second version. During its first year, the site has gained users from around the world, and the exhibition looks to highlight this, presenting prints created from works by various artists and designers using Lotvonen’s editor. The exhibition is accompanied by the publication Glyph Drawing Club User Guide v.2.0.0., which showcases further art created on GlyphDrawing.Club and features works by 75 artists from 30 different countries. It also includes a manual, inviting readers to create their own ASCII art.
The joy of discovery and experimentation has always been at the heart of Lotvonen’s editor, with inclusivity and accessibility also playing key roles in the project. GlyphDrawing.Club is about sharing and discovering the joy of text art, and this Gathering is about the people who have made the editor their own and redefined text art in the 21st century. It is also an invitation for the viewer to take an active role and to join the growing community of a new generation of text artists.
THIS IS YOUR WORLD
YOU’RE THE CREATOR
FIND FREEDOM ON THIS CANVAS
BELIEVE, THAT YOU CAN DO IT,
‘CUZ YOU CAN DO IT.
YOU CAN DO IT.
— BOB ROSS
Dylan Ray Arnold
Magnetic dust rustles, an ancient tree grows in spirals, underwater planets undulate and a large shell trembles slightly as a new creation myth emerges in Hatching, the inaugural exhibition of the art space Kosminen.
Since the beginning of human history, nature and spirituality have played a central role in all art created. Hatching pays homage to this tradition, but approaches both themes as enigmas to be explored rather than motifs to be depicted. The included works by eight artists are all tied together by a pervasive sense of curiosity; a need to penetrate the surface.
With works ranging from installation and sculpture to photography and painting, and with distinctly modern methods like silicone molding and electricity meeting classical painting and drawing, Hatching is a celebration of the polyphonic nature of contemporary art. The artists taking part in the exhibition were invited to contribute as a result of an open call in which we asked people to submit the names of their artist friends rather than their own. This is in accordance with Kosminen's mission, which is to promote friendship and community.
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.
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.
‘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.
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.
Riikka Sormunen: A hot place for a mole
Confessional/ surrealist/ decorative watercolour paintings, misery and bliss, nightmares and sex dreams, therapeutic porcelain and a silky printed tapestry by Riikka Sormunen.
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.
VALTER TORNBERG (2017) presented works from Tornberg’s graduate fashion collection from Aalto University alongside related sculptural and textile based explorations.
The works brought together fashion historical elements (such as revised versions of a Victorian era men’s jacket and a renaissance shirt) with both historical and recent art and design references, welded together into an investigative fashion presentation.
Elaborately handcrafted garments were rendered into useless objects through sculptural and painterly transformations, resulting in hybrids of various cultural disciplines. Ceramic-like objects were fabricated entirely from synthetic materials, with organic appearing textures and utilitarian shapes. The same fabrics used to construct the garments were treated with acrylic inks and hung from the walls with tactical parachute cords.
Through blatant means of appropriation and sampling, the works questioned originality as a force of cultural development, infusing physical matter with zeitgeist. The cycle of western fashion works in repetitive loops, with things once deemed old doomed to always come back in a Frankenstein version of its former self. We have never been modern.
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.