finnish art - AVA Galleria

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December 2010 EUR 10,90
The
FINNI S H A RT
M A G A Z I N E
2 0 1 0
Paris
Carrousel du Louvre
Taiteen
sääntöjen mukaan
State
of the
Art
TAIDELOGISTIIKKA –
HUOLENPITOA TAITEESTA
FINE ART LOGISTICS –
CARING FOR WORKS OF ART
John Nurminen Prima Oy:n taidelogistiikka
on enemmän kuin logistiikkaa. Se on
ammattitaitoista huolenpitoa taiteesta.
Naulasta naulaan -kokonaispalvelumme
kattaa kaikki taidelogistiikan tarpeet:
Fine Art Logistics of John Nurminen Prima
Oy represents a much wider service
concept than logistics alone. The unit cares
for works of art professionally and expertly.
Our nail-to-nail comprehensive service
covers all the needs of fine art logistics:
• Taidekuljetuksen maa-, ilma- ja
meriteitse kaikkialla maailmassa
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säilytyslaatikot
• Kuljetusjärjestelyt ja -asiakirjat
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• Olosuhde- ja kuljetusvalvonnan
• Pakkaus- ja aukipakkaustyön
• Ripustuksen
• Lyhyt- ja pitkäaikaisen
taidevarastoinnin
• Kuljetus- ja näyttelyvakuuttamisen.
• Fine art transport by land, air and
sea anywhere in the world
• Individual transport and storage
crates
• Transport arrangements and
documents
• Customs clearance
• Security arrangements and courier
services
• Monitoring of ambient conditions and
transport
• Packing and unpacking
• Hanging
• Short- and long-term art storage
• Transport and exhibition insurance.
KONSERVOINTI VAALII
TAIDEPERINTÖÄ
CONSERVATION NURTURES
OUR ARTISTIC HERITAGE
Konservointipalvelumme vaalii mestareiden
kädenjälkeä aidolla otteella, sillä taideperintö
tarvitsee hyvää hoitoa. Konservoimme
maalaukset, veistokset, kehykset,
huonekalut, paperipohjaiset teokset,
seinäpinnat, tekstiilit ja esineet. Taideesineiden hoitoa tukevat:
Conservation services tends to the original
creations of past and current masters with
skill and expertise, because our artistic
heritage deserves the best treatment. Our
conservators apply their skills to paintings,
sculptures, frames, furniture, paper-based
works, wall coverings, textiles and artefacts.
The following services are offered:
•
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Kuntokartoitus
Inventointi ja arvonmääritys
Konservointi
Kehystyspalvelut
Konsultointi.
John Nurminen Prima Oy
P.O.Box 160
FI-01301 Vantaa Finland
Phone +358 10 545 044
Fax +358 10 545 3272
www.johnnurminenprima.com
[email protected]
[email protected]
Assessment of condition
Inventory and valuation
Conservation
Framing services
Consultation services.
OOO John Nurminen Prima
4th Rostovsky per. 1 / 2
RU-119121 Moscow Russia
Phone +7 495 626 5668
Fax +7 499 248 1434
www.johnnurminenprima.com
[email protected]
[email protected]
The
FINNISH ART
M A G A Z I N E
2 0 1 0
Pariisin taidemessut 23 - 24.10.2010
Carrousel du Louvre
51 taiteilijaa Suomesta, Ruotsista,
Brasiliasta ja Perusta
.
Paris Art Fair 23 - 24.10.2010
Carrousel du Louvre
51 artists from Finland, Sweden,
Brazil and Peru
.
Paris Art Fair 23 - 24.10.2010
Carrousel du Louvre
51 artistes de la Finlande, la Suède,
Brésil et le Pérou
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The
FINNISH ART
M A G A Z I N E
2 0 1 0
ETUSIVU / FRONTPAGE
Hanne Juga
TAITTO / LAYOUT
Eeva Zwijnenburg & Sami Luoto
MYYNTI / SALES
GRAAFINEN SUUNNITTELU / GRAPHIC DESIGN
Eeva Zwijnenburg
KOORDINAATTORIT / COORDINATORS
Helena Cardoso & Katja Ahovalli
MESSUKUVAT / EXHIBITION PICTURES
Katja Ahovalli
KURAATTORI / CURATOR
Edson Cardoso
AVA GALLERIA / AVA GALLERY
Helsinki Finland
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Painettu Art-Print Oy:ssä
www.artprint.fi
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Carrousel
du Louvre
Paris Art Fair 23 - 24.10.2010 51 artists from Finland, Sweden, Brazil and Peru
..............................
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Pariisin taidemessut 23 - 24.10.2010 51 taiteilijaa Suometsa, Ruotsista, Brasiliasta ja Perusta
Soho-Gallery
Enjoyable Finnish - Japanese exhibition exchange Osaka, Tokyo, Kioto, Helsinki
Antoisaa Suomi - Japani näyttelynvaihtoa Osaka, Tokio, Kioto, Helsinki
Helena
and Edson Cardoso
Gallerists expanding cultural exchange. Putting art on display and helping children through art
Galleristit kulttuurin vaihdon edistäjinä. Taiteen esilletuonti ja lasten avustaminen taiteen keinoin
AVA-Gallery
Friendly small gallery that co-operates with Arte Vida Arte Association
Ystävällinen, pieni galleria joka toimii yhteistyössä Arte Vida Arte ry:n kanssa
Arte
Vida Arte
Cultural exchange project promotes and expands the cultural exchange between Finland and Brazil
Kulttuurinvaihtoprojekti edistää ja laajentaa Suomen ja Brasilian välistä kulttuurinvaihtoa
CASA
An art school for children in the slums (favela) of Cidade de Deus - City of God, in Rio de Janeiro
Rio de Janeiron Cidade de Deus - Jumalan kaupunki - slummiin perustettu lasten kuvataidekoulu
EMMA
Espoo Museum of Modern Art
Espoon modernin taiteen museo
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r
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a
F
Art
CARROUSEL DU LOUVRE 23 - 24 OCT 2010
FINNISH
ARTISTS
* Kaarina Sepponen (Peintre)
* Helka Immonen (Peintre)
* Raija Heikkilä (Peintre)
* Tuomas Lauriala (Peintre)
* Hanne Juga (Peintre)
* Nina Nahkala (Peintre)
* Nonna-Nina Mäki (Peintre)
* Eija-Liisa Pankola (Peintre)
* Hannele Haatainen (Peintre)
* Riitta Förström (Peintre)
* Seppo Lagom (Peintre)
* Kristiina Lampinen (Photographe)
* Sirkka Laakkonen (Peintre)
* Sirkka Penttilä (Peintre)
* Maaria Märkälä (Peintre)
* Pia Kousa (Peintre)
* Kristina Elo (Peintre)
* Mika Hytti (Peintre)
* Leena Arnould (Peintre)
BRAZILIAN
ARTISTS
* Roberto Brito (Peintre)
* Glaucia Cupertino (Peintre)
PERUVIAN
ARTISTS
* César Morriss (Peintre)
r
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Art
SWEDISH
ARTISTS
* Klas Sundkvist (Peintre)
* Bo Alström (Peintre)
* Max Morten Aspegren (Peintre)
* Karin Ellerstrand-Bengtsson (Peintre)
* Anna Béve (Peintre)
* Lisbeth Cedwall (Peintre)
* Ludmila Christeseva (Peintre)
* Gisela Eliassen (Peintre)
* Dagmar Forsberg (Peintre)
* Margareta Gelles (Peintre)
* Titti Hammarling (Peintre)
* Gea Sibola Hansen (Sculpteur)
* Kaj på Höjda (Peintre)
* Monika Kiviniemi (Peintre)
* Bock Lee Woo (Peintre)
* Gunilla Lifvergren (Sculpteur)
* Boo Liifw (Sculpteur)
* Philip Luik (Peintre)
* Åsa Peck (Peintre)
* Marc Rayner (Peintre)
* Lisbeth Sandvall (Peintre)
* Lena Nyström Solberg (Peintre)
* Nils-Ingvar Svensson (Photographe)
* Ylva Storm (Sculpteur)
* Inger Thurfjell (Peintre)
* Ilkka Timonen (Photographe)
* Karin Ward (Sculpteur)
* Kerstin Ahlgren (Sculpteur)
* Ulla Ohlson (Peintre)
CARROUSEL DU LOUVRE 23 - 24 OCT 2010
Maaria Märkälä
“La Fontaine / Fountain / Springbrunnen”, oil on canvas, 120 x 170 cm, 2010
“Un matin, elle s’est réveillée avec le soleil et a peint au bord de la rivière le brouillard du matin, le lever
du soleil et les reflets ou bien une fontaine au centre-ville.”
“Eräänä aamuna hän heräsi samaan aikaan auringon kanssa, maalasi joen aamu-usvan, auringon nousun
ja heijastukset tai suihkulähteen kaupungin keskustassa.”
“One morning she woke up with the sun and painted the morning mist of the riverside, sunrise and reflections or a fountain downtown.”
I’m an open-air painter, I paint by observation and I get my inspirations from nature, from the landscape.
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Nonna-Nina Mäki
“Blue”, 2010
Nonna-Nina Mäki (born 1971 in Tampere) graduated at the Lahti Institute of Fine Art 1995.
She studied also in Hyvinkää Art school and Orivesi Institute. The first exhibition were in
Galerie Pelin (Helsinki 1993). Nonna-Nina’s works have been shown in several solo-, jointand collective exhibitions, for example France, Portugal, Bulgaria, Switzerland, Canada, Italy
and Lithuania. The inspiration is coming from nature; mountains, lakes, swamps, animals and
the atmosphere of forest. Nonna-Nina is painting personal, often fairly big works. Paintigs are
colourfull and there is always a story behind the work. She is working fast and wery impulsive, the flow of inspiration makes the movement in paintings.
Nonna-Nina Mäki is an artist, but also a mother of two teenager boys. Being alive and live
complite full live is the meaning of all her actions.
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Hannele Haatainen
“September” oil painting, 2010
It is wonderful to live in middle of the forest and lakes of the wild North. It was exciting when I heard bears
growl when I was going to work last summer. I am alot in the nature and I’m daily fascinated by it’s beauty.
My paintings - nature pictures - are the visions that I have saved in my heart.
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S i r k k a Laakkonen
For me painting is my way of living and I openly admit, that my feeling about painting is passionate. Unless I am working at my study I think of my works; the ones I am painting or the ones
I plan to paint. Painting is an overall action to perceive what I have in my life. So my paintings
reflect what I see and feel. These feelings are the base for my works. I like to emphasize opposites, perhaps with a little drama but with kindness and goodness. Thus I try to translate and add
real feelings to our world: joy, sorrow, strenth, courage and happiness. I don’t like to bring out
fear in my works. I will paint as long as I love the objects and painting. Colour - stroke, light shadow; such is my world.
www.sirkkalaakkonen.fi
“Memories From Last Summer” 2009
K r i s t i i n a Lampinen
This series of photographs portrays the desperation of human soul and our struggle with daily routines of life that
have become largely invisible to us. But still our life is defined by and consists of these unnoticed acts we perform.
I aim to bring out the absurdity of human life in these photographs. We are standing with our backs turned to the abyss.
The solution we offer is an endless molding and manipulation of oneself and the environment. We are trying desperately to control fear - only to find out that the trade off
has left us isolated and cut off from life itself. This ruthless
molding has indeed turned us into a grotesque monster consuming everything coming in our way. It is our every day
evil.
The three photographs on show at the Art Fair 2010 Carrousel du Louvre are digital prints (Lambda) that I’ve reproduced by photographing my original 8x10 inch transparency sheet films. The prints are unlimited in edition and
the original sheet film belongs to the artist’s collection. My
recent work consist of photography, but I have also made
a collection of pastel paintings under the title “The Human
Condition”.
“Murmeli - The Beast” (photograph, 2010)
That particular body of work is an attempt to
depict what lies at the root of evil and the consequences of choosing to ignore the humanity
of others.
I have a degree in Architecture (M.Sc. 1996).
From 2002 onwards I have concentrated on
visual arts.
www.painters.fi/taiteilijat/l/lampinen/index.html
www.kuvataiteilijamatrikkeli.fi/taiteilija_english.asp?id=3027
Riitta Förström
The base of my paintings is nature. The
technique is oil on canvas. Sizes vary
from small to large dependent on subjects.
My themes consist of powerful, wide scenery and all that includes in it: clean, immaculate air, light and most importantly the
unseen and hidden and how I feel and see it.
“Tunturin valo / Fell light”, oil on canvas, 66 x 100 cm, 2009.
I wander in nature and make small notes of my observations. I always paint in the workroom, not outside.
I prefer series and want to paint the same theme from different view and starting point.
Instead of exact design I try to paint directly on canvas such a scene or view in nature which affected me although seen suddenly and briefly. I paint in layers and let every painting itself lead me toward my final aim. I never know the outcome in advance.
www.hyvinkaantaiteilijaseura.fi
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Leena Arnould
“Mexico”
Personally speaking, painting is a way of escaping the day-to-day
drudgery into a world of dreams, memories, waves of emotion, and
imagination, like writing a diary with colour. Every painting has
its own unique story, a moment of my life – falling in love, feeling
down, disappointment, a chance encounter or a moment of pure, unadulterated happiness. When presented with a fresh, white canvas,
I might initially sketch a deeply personal moment of my life, and
gradually and at least partially conceal it with colour and a variety
of shapes. In this way, only I know what is actually ”in my diary”,
so to speak, and the viewer has the opportunity to decide what they
feel lies within. For me it’s more important to match the emotion
with colour than the actual shapes themselves. I mainly paint in oils
on a linen canvas. I try to apply the paint so thinly, the actual layer
becomes almost translucent, and one is able to see the exquisitely
delicate weave in the linen canvas beneath. I seldom mix the colours
on the palette. Instead I usually create the subtly different shades by
applying several thin layers.
Painting has always been a positive diversion, and something of a selfish indulgence, especially for the mother
of five of a Franco-Finnish family. I’ve been travelling forwards and back between my two home countries for
most of my life, carrying my large, heavy, old-fashioned easel, which I inherited from my grandfather and my
mother. But now I’ve chosen to settle in Finland permanently; in a cosy, little house in Lohja, where I continue
to work even though the dimly-lit parlour, which doesn’t allow in much light, is hardly the ideal place in which
to create. Nearly 70 works have found homes around the world over the years; from Finland and France to as far
afield asSouth Africa and Canada.
www.leenaarnould.net
“Emotion”
N i n a N a hkala
Nina G. Nahkala’s artistic vision is an amalgamation
of the influences of her multi-cultural upbringing; she
visually devoured her surroundings and assimilated
them into her own unique way of portraying life and the
mysterious magic of eternal beauty. Nina G. Nahkala
paints the inevitable transformation of all matter into
the abstract, through the use of figurative subject matter.
Each of her oils is a painted dream composed of light,
colours and emotions. Nahkala uses symbolism to unlock our imagination: the metaphor of the figure of
Woman as the keeper of the secret inner garden in all
of us is a recurring theme. These serene works possess
a timeless quality that takes the viewer on an inward
journey into the depths of the imagination.
Her use of colour evokes harmony and innocence; the
soft, suggestive colour groupings of misty blue-greys
or warm umbers recall mythical goddesses of ancient
frescoes. Her tranquil tones and subtle use of line are
always evolving, revealing the inner layers under the
surface of perceived reality, tempting and drawing us
into the unknown. The artist was born in the The artist
was born in Kirgizstan and grew up in the Republic of
Georgia. Now she lives and works in Finland, where
she exhibits regularly She lives and works in Finland,
where she exhibits regularly.
www.ninanahkala.com
Tuomas Lauriala
My art consist of fantasy and memory. Works are my inside world. Water colour and guassi are near
my heart. Nowadays, 1 have done lots of animals. Animals are mostly my fantasy. Invent ourselves
of animals -it is most of all funny what I know. Animals have come to symbolise to me freedom
and adventure. My subconscious is fount which give motives. Perception is not so necessary for my
working.
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Raij a Heikkilä
www.raijaheikkila.fi
“Where is the Princess” 48 x 48 cm, tempera, 2010
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“Motley Crew” 48 x 48 cm, tempera, 2010
K a a r i n a Sepponen
Colors, shapes and lines in Kaarina Sepponen’s art serve always
more or less movement. Movement finishes the work. Her art
shows, that when an expressionist is fascinated by kinetic the result is modern art which breaks routines - new painting. Kineticism
combines the production of already over 25 years into a tight unity,
in which one can recognize almost physically the wild energy and
vitality of its maker.
In Kaarina Sepponen’s production, there are plenty of works which
consist of many parts and in which kinetic idea of shape and color
are developed as a systematic series. She favors triptychs. The
Story which consists of three parts and was made in 1989 specifies
even with its name, that the movement process contained in systematic series builds in a way a visual story. Movement proceeds
and transforms according to a precisely defined plot. At the same
“Red Vision 1” 1998
time, the impression one gets from the work is that the pictured
event is like just one rhythmical period, because the movement
seems to continue in a similar way also outside the borders, left and right as well as up and down. Systematic
series are thus as fragments of something bigger, in them is included a universal scale or at least an attempt to
identify with it as well as it is humanly possible.
In general, there is a strong sense of spatiality in Kaarina Sepponen’s works. They do not care about the great
ideal of two-dimensionality which was manifested in formalism. So much more important is the drama included in kinetics, which is expressed by ambiguous space and sudden changes in the systematic. The black
color of background in paintings Dimensio (Dimension, 1991) and Visio (Vision, 1998) creates even a surreal
atmosphere to the systematic series. In the work Gate (1999) black takes one’s eyes deeper, into something,
from the whimsical movement on the surface. Black and white are core colors which characterize space and
structure and to which reds, blues, yellows, and greens are combined according to the theme.
Sepponen makes many variations, which grow into a series of works, and later in an exhibition even into an
installation. In the process of variation a theme naturally takes distance from its outside source and is transformed into new versions as it is influenced by the artist’s inner images and associations.
From the Book: Hannu Castrén and Jukka Yli-Lassila,
KAARINA SEPPONEN, An expressionist lives in a kineticist
www.kolumbus.fi/kaarina.sepponen
“Sisters”, 70 x 70 cm, oil on canvas, 2010
“Gift”, 70 x 70 cm, oil on canvas, 2010
H e l k a I mmonen
Born 1954 in Helsinki, Finland,
lives and works in Espoo, Finland.
I paint slowly, adding several thin layers of oil
colour one upon the other. I work with several
paintings at the same time, the paintings affect
one on each other.
Colours and forms in the nature - the weather, surface of water and forms of clouds are a
source of inspiration for me.
My paintings are internal landscapes and
scenes. They reflect my feelings and experiences – they are traces of memories and expressions from the subconscious.
www.kolumbus.fi/helkaimmonen
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Pia Kousa
The base for the works on display, the series ‘Still
life’, has been my interest for optical devices and
archaic technology of the history of the moving
picture.
My works often raise questions about the relationship between picture, illusion, imitating, and
reality. They consist of transparent photographs
in several layers. Together these layers can form
an image of a sudden crystallization of different
moments; an impression of an almost three-dimensional photograph.
The series ‘Still life’ follows the classical themes of
painting. The linear continuum of time is combined
with the cyclic one, the growing period of plants.
The moment portrayed in the picture features different, overlapping layers of time. The present is
made of structures of history and it becomes the
past as we move towards the future. These works
place plants and insects into a museum-like setting. They become objects of an enquiring, defining, and classifying way of looking.
The elements have been isolated from the surrounding reality and from nature, and they have become replicas
and curiosities. Meanwhile, the works reach towards the indefinable that exists between three-dimensionality
and two-dimensionality; between reality and the picture.
The pictures are both real photographs and fictive, spontaneously forming props of a rebuilt reality.
www.piakousa.com
Still life: Memento Mori, Inkjet prints on film, plexiglass. 42 x 25 x 11 cm.
K r i s t i n a Elo
Kristina Elo (1963) is an artist from Finland.
She has had exhibitions in Finland, France,
Denmark and Norway. She has also written and illustrated books for children. Kristina mainly paints traditional still lifes in oil.
Kristina’s philosophy on still life: Just as
in life, it is chance that brings objects and
people together in art. They make a harmonious whole and finally a picture, a memory;
the light, the shadows, the colours; the size
and material of the object; the abstract or
concrete space between them. Warm colours,
cold colours, different nuances. The interaction of the objects reflect on them. To pick out
the relevant from the irrelevant. The journey
of the objects from shelves and cupboards to
a new meeting-place in a different setting.
All this makes up a picture by the brush and
colours of the artist, her thoughts and emotions. A still life that evokes new memories
in the viewer.
The education offers a unique possibility to
study classical painting in an environment that
highly respects the traditions of Fine Arts.
The teachers are professors and lecturers
at the Russian Academy of Arts I.E. Repin
St.Petersburg State Academy Institute of Painting, Sculpture and Architecture, which has
educated artists for 250 years. Additionally to
the high standard in teaching, I have been glad
to notice how my studies have had an positive
influence on my perception of the beauty and
colours in my surroundings. The teachers bring
high expertise and humbleness to their profession, which they transmit to their students.”
www.kristinaelo.fi
“I have studied three years at the study
programme of Fine Arts given by the
Repin-institute (Russian Academy of
Arts I.E. Repin St.Petersburg
State Academy Institute of P
ainting,Sculpture and
Architecture) in Kotka,
Finland and will
continue on my
fourth year in
the fall 2010.
Still life, 90 x 99 cm, oil on canvas, 2010
Sirkka Penttilä
When I have an object, a face, a mask, a door, a chiaroscuro in the
room, or whatever, I attempt to draw and paint it plainly just as it
looks to me. In the autumn the storage of the daylight before the
fall of darkness is encouraging.
Seppo Lagom
Seppo Lagom´s paintings are at a turning point.
Landscapes have changed to colors and lights,
figurative and abstract kind. Knife is replaced
by a brush. Draft series of books and diaries tell
the story of change, its coming. “It’s bow to the
change process and allowed to grow and develop.
The desire to express themselves as opposed to
the traditional landscape has grown through living
phase. That’s what has own soul and feelings is
now a new, freer form. Growth process has been
long and continues; what innermost found, how it
receives the forms and character of the new, the
color of the world through.
“I am beginning to grow as the trip with my paintings.”Growing up in the fierceness, joy, rage, dreams, joy,
and new images. “Which brings me, I do not know yet.”The paintings are flown out freely as an expression of emotions: light, color, joy, love.Artist Seppo Lagom (born 1941) studied at the Free Art School in
the early 1960s. Sometimes he worked in the graphic industry before returning to free artistic expression
in the late 1980s. Lagom has had several solo exhibitions since 1989 and actively participated in collective
exhibitions. He has, inter alia, member of Painters ‘Union, Vantaa Artists Association and the Viipuri Artists’
Association.
Gunilla Lifvergren
www.konstochglas.se
Born and raised in Eskilstuna, Sweden, I always had a desire to be creative. Pottery became my first
hobby and my way of expressing myself. With the years, a need to be creative grew much stronger,
and twelve years ago I made the decision to be a full time artist. In 1998, after working with clay, and
mostly with raku pottery, I started working with glass. What an amazing material. All the colors and
the light as it hits the glass just spellbound me. I was hooked. Today, I work predominantly with sheet
glass and combine casting with fusing and slumping. I draw inspiration from life as it constantly
evolves and always try to keep an open mind for what’s next.
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“Emilia Hangs” and “Teddy to Dry”
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Marc Rayner
“ Imagination is more important than knowledge, it is the
preview of things to come” Albert Einstein.
It is with this quote in mind that I begin a lot of my works as
I believe this to be true. Knowledge has no power in a drab
and dreary world or when poorly applied. Imagination on
the other hand drifts like a falling leaf and you never know
where it may end up.
I love painting- or creating images generally- as I never
know where I’m going to end up, at least not untill an image
presents itself to me, I like it that way. For me, working like
this, gives some works a life of their own, like I had very
little to do with it.
Highly agitated surfaces tear appart once easily descerned images, pushing them forward and
backwards and -hopefully-create some sort of subconscious dreamscape. I try to challenge
myself each time, to make something from nothing, poke people a little bit or make them
laugh. The difficult part-for me- is illuminating the idea. So having the image work it’s way
into the viewers mind either immediately or over time, is the desired affect. Hopefully in this
way I can share a modocum of my knowledge and a whole lot of my imagination.
www.marcrayner.com
M a rg a r e ta Gelles
Born 1958 in the City of Trosa. I am a
full time active artist in Torshålla. I wish
to express emotions, thoughts and ideas
with my pictures. I constantly explore
new things and I never know what I
will end up with at the beginning of my
work. I do not wish to place my painting
in a specific category in order to prevent
limitation. I think that experience is the
most important way to learn. To experiment so that paint, collage, pen and all
that is possible to use follows the flow in
lust and unrestrictions. That is me.
www.gelles.se
Monika Kiviniemi
I live and work in Sweden. I am a contemporary painter.
Abstract painting. Technique: acrylic on linen canvas.
Solo exhibitions (1993 - 2006) in Sweden and in Finland.
Selected group exhibitions (1991 - 2010) in Sweden,
Poland, France and in Japan.
Peintre
J`habite et travaille a Suède. Je suis une artiste peintre
contemporain. Peinture abstraite. Technique: acrylique sur
toile de lin.
“My yellowish painting”, 145 x 130 cm
“White lines“ 30 x 30 cm
www.kiviniemi.se
Kaj på Höjda
www.kajpahojda.se
I paint with acrylic colours on canvas - earlier with oilcolours. I changed because acrylic colours
are more healthy. Also they suit me very much. I like to paint quickly, sketchy -with layer on
layer with sweeping movements in different rhytms in trying to catch an impression or an expression. That puts me into a very special mood, so that I can create the essence of a special mood or
feeling, both in landscape and figure - in different situations. When I paint I let the spontaneity
guide me until the painting gets its own life.
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A n n a Béve
Born in 1953. She lives and works in Söderköping, about 170 km south of Stockholm.
I’m mainly self taught and started as a textile artist in the 80´s where I wove large images for more
than 15 years. The desire for a faster and more spontaneous expression made me start painting.
Primarily I paint in oils and acrylics, but I also work with collage and different mixed
techniques. Maybe I am looking for the same energies in my painting as the ones I find
in the nature. At least I recognize the “language”. I borrow it to move on, find something new – creating something else. But still staying in the place where I feel at home.
www.annabeve.se
Née en 1953. Elle vit et travaille à Söderköping, environ 170 km au sud de Stockholm.
Je suis principalement autodidacte et jái commencé comme une artiste de textile dans les
années 80 ou jái construit des images en vélin pendant plus de 15 ans. Le désir d’une expression plus rapide et plus spontanée a fait que jái changé et jái commencé à peindre. Je peins principalement dans les huiles et acryliques, mais je travaille également avec
des collages et différentes techniques mélangées. Peut-être que je suis à la recherche des
mêmes énergies dans la peinture que les energies que je trouve dans la nature. En tout cas
je reconnaît le «langage». Je lémprunte pour me déplacer, pour trouver quelque chose
de nouveau – former autre chose. Mais encore rester dans la place ou je me sens à láise.
B oo Liifw
I have lived and worked as a sculptor for as long as I can remember. I work and
explore different materials, such as stenger, clay, concrete, forging and bronze.
I do free standing and wall sculptures. I also do ceramics. I have lately moved
into working with the material papier-maché. A very light, re-usable material,
an interesting contrast to work with, compare to the other hard and heavy ones.
Papiér-Mache has a completely different expression to it, where I have to create
the form as I go. This makes it more alive, interesting and becomes a greater
challenge. I create the papiér-mache sculptures by first cutting up and mixing
old newspapers with water. At the same time I start creating a form in chicken
wire. After finished applying layers of paper mixture, getting the right form
and drying them, I color them by either adding a kollage of magazine cut outs
or painting them with acrylic. All my work is inspired by the human love.
www.booliifw.com
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D a g m a r Forsberg
Dagmar Forsberg’s professional artistry
emerged about three years ago following a solid
professional career in graphic design and book
illustration. These three years granted her a solo
exhibition in Stockholm (2008) noticed by DN,
the Swedish largest daily magazine honouring
her with a picture of her work Permafrost Attack from the exhibition theme “Endangered
Habitat”. Last year (2009) her work Temporal
Connection, was selected out of over thousand
paintings at the public “Artists Fair” in Stockholm, to illustrate the cover of the DN magazine. Dagmar brings her unique artistry to the
public scenery with expressionistic styles in the
outland between abstract and figurative appearance. The aesthetics in the softly forms of her
moving objects brings the mind to comparison
with early futuristic painters and one could call
her style post futuristic. Dagmars artistry is
unique but also global since our human brains
take in the aesthetics for contemplation regardless of geographical place.
www.dagmardesign.se
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My past, a childhood in Germany as a warchild and later as an immigrant in Scandinavia, has influenced my work and my technique, a technique that mixes the textile collage with acrylic paint.
My themes are about movements and events in my life and impressions of nature in my new countrie. My art education took place between 1952 - 1957 in art college in Germany and in Norway.
I received several awards and cultural work grants. I participated in many juried exhibitions and
have made several solo exhibitions in Sweden, Germany and Norway. My works are acquired by
cultural associations, churches, municipal and departmental committees and by the National Assembly of Sweden.
G i s e l a Eliassen
. . . . . . . . . . . . . . ............................... ............................................................. . . . . .
Mon passé, avec une enfance en Allemagne pendent la guerre et plus tard comme immigrant en
Scandinavie, a influencé mon travail et ma technique, une technique qui mélange le collage textile
avec la peinture acrylique. Mes thèmes sont autour des mouvements et événements au cours de
ma vie ainsi que des impressions de la nature dans mon nouveau pays. Des caractères d’écriture
en combinaison avec des textes littéraires aimés fait également partie de mon travail. Mon éducation artistique à eu lieu entre 1952 – 1957 dans des écoles supérieure des arts en Allemagne ainsi
qu’en Norvège et j’ai reçu plusieurs bourses de travail et des subventions culturels. J’ai participé à
des nombreuses expositions-concours et j’ai fait plusieurs expositions individuelles en Suède, en
Allemagne et en Norvège. Mes oeuvres sont acquises par des associations culturelles, des églises,
des comités municipaux et départementaux ainsi que par l’Assemblé National de la Suède.
“Reflectance“
www.giselaeliassen.se
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Wo o - B o ck Lee
Woo-Bock Lee makes collages and images of 200 years
old Korean vintage school books with leaves from mulberry trees. The material is essential, and she revisit South
Korea annually for inspiration and to find the Korean paper
hanji. She transforms these sheets with both its written and
unwritten history by adding new stories. By giving each
ancient fiber a brand new identity, she becomes sort of a
link between the cultures of East and West and between
Then and Now. Woo-Bock has lived and worked in Stockholm, Sweden for over 35 years and has had a number of
group and separate exhibitions both nationally and internationally.
Woo-Bock Lee fait des collages, travaillant avec des images
d’anciens livres scolaires et des feuilles des mûriers. Le materiaux étant essentiel à son travail, elle revient chaque année
en Corée pour trouver l’inspiration mais aussi pour trouver
du bon hanji, papier traditionnel coréen. Elle transforme ces
feuilles avec son histoire tant écrite que non écrite en ajoutant de nouvelles histories. En donnant à chaque fibre ancienne une toute nouvelle identité, elle devient une sorte de
liaison entre les cultures occidental et oriental, ainsi qu’entre
le Passé et le Présent. Habitant et travaillant en Stockholm
pour plus de 35 ans, Woo-Bock a été l’invitée aux plusieurs
expositions, seule et en groupe, aux niveaux national et international.
www.woobocklee.com
G e a Sibola Hansen
www.geasibola.se
I work with my sculptures both naturalistic, realistic and abstract. My shapes talk about
inner feelings and existential questions about the life. This power triggers the creative
processes and my work and meeting with the materials. “It`s about experience, concentration and inner peace, struggle, passion, joy, expectation, change and liberation,
and not at least a glowing inner force. When my sculptures are finished and have got
their shapes, and if they provide ideas and inspiration to the viewers, they have fullfilled their task.”
35
The moulds are then used as blueprints to then further
elaborate its surface and structure. The firing process is mainly done by burning in large wood fired
kilns. The clay is subjected to dramatic changes in
vastly differing temperatures. This fairly inconvenient method suits me as I am fascinated by the fire’s
ability to create a unique product. The end result is
almost always unpredictable.
........................................................................
“Änglakropp”
Y l v a S t orm
I am a resident of Värmland, Sweden since 1973.
In 1983 I moved from Sunne in Fryksdalen
to Årjäng where I am based today with my family. I create my sculptures by hand building
or in a moulding process involving live models
or moulds developed in clay or other material.
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Ylva Storm, céramiste et sculpteur qui a trouvé son
propre créneau passionnante. Demandée dans des
contextes de plus en plus méritoires en Europe. Elle
expose actuellement au Carrousel du Louvre à Paris
et son agenda est déjà complet pour quelques années
encore. ”Créer sa propre forme d’expression capte
l’intérêt des gens.”
Je crée mes sculptures à la main ou au moule, soit à
partir des models vivants-soit à partir de moules que
j’ai fabriqué moi-même en argile ou autres atières.
Après la cuisson je travaille la surface et la structure à la main. J’aime voir la présence du travail à
la main sur les objets. Je fais cuire la plupart de ma
céramique dehors dans des fours à bois, où elle subie
des grands changements de températures. Je trouve
cela très fascinant de voir les traces laissés par le feu
en fin de cuisson. C’est imprévisible, et donc une surprise à chaque fois!”
www.svenskakonstnarer.se/start/plus_artist.php?chr=&aid=2588
K a r i n Ward
Karin Ward is a Swedish artist. Educated at Konstfack
University College of Arts, Crafts and Design. Many solo
exhibitions in Sweden and Egypt. Several public artworks
in Sweden. Art biennals in Cairo 1992 and 2009. Art fair in
Carrousel du Louvre, Paris 2010. Member of the Swedish
Sculptors’ Association.
Sculpture has more than one dimension. Apart from what
it phrases, you can feel it and watch it from different angles. That’s why I find sculpture more exciting than painting to work with. My way of working has changed with
time. A lot of things happen in life that influence what I
want to express.
I’ve worked with many exciting materials throughout the
years. I resided and worked with sculpture in Egypt for
six years. As I walked through the desert I found a rusty
metal, blasted by the everlasting desert wind. So close to
returning to the nature it ones came from. I composed the
metal in my own way by putting leaf gold on some parts.
I felt it described the great contrasts of this country. The
waste and the wealth. The total decay in the slum versus
the rich cultural inheritance this country holds. I had many
exhibitions with these metal/gold-sculptures. They were
highly appreciated.
“Sisterhood“
Wood feels like such a swedish material to work with. There are so many beautiful kinds of it here. In the 80’s,
wood was my material of choice. We developed a collaboration. The wood puts its history into the sculpture
and enriches it in that way. When I look back at that time now, I realise how very Swedish the images are. Iron
is the perfect material for sculptures made for the outdoors. Rust has its own beauty and adds something to the
figure. Many of my public artworks has been made out of iron, including ”Dansen” (Konst på Hög, Kumla)
and ”Monument över poeten Harald Forss” (Örebro). When the steeple-jacks replace the old copper roofs with
new ones in Stockholm, I buy them because of the gorgeously verdigris copper plates. It’s been laying there
for approximently 200 years when I get my hands on them. They too, add something of their history and lives
to my sculptures. Especially the colours inspire me. Most recently I’ve found that glass is exciting to work
with. It’s got such a beautiful luster in its colours. I make the glass images from my home. My home nowadays
is Österlen and that effects my pictures. It’s all there: the ocean, the flat country and the sky.
Since 1961 my beings have followed me. They constantly return to my pictures. Usually as tiny cut-out copper
figures with human bodies attached to animal heads. They represent people, dreams and events that I wish, or
indeed have, experienced. I give my beings a verse that I hope the audience can see and feel.
Sisterhood / Community
A sculpture group made for an art fair in Carrousel du Louvre, Paris 2010. I’ve worked with a material that is
well-known to women everywhere. We carry our femininity as a cloak throughout the fertile part of our lives.
In Sisterhood / Community I want to expose the beauty in this.
www.kward.nu
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Ludmila Christeseva
“Dress Code”, acryl on canvas, 70 x 100 cm, 2010
My works, if viewed from distance, appear almost as if they are realistic-you can see
a stripe of sky or full moon while at the same time they are abstract. When you look
more closely, one sees just strips of newspapers on canvas highlighted by either bright
colours or hardened strokes of acrylic paint. Because I´m continually inspired from
nature, I seek to send a clear message and my intention with my art is to inspire others
to recycle whenever possible and promote sustainable living. Working in acrylics on
canvas I use waste in the form of using discarded newspapers.
This means that I am reflecting the problems of contemporary life, by showing how
they can be examined through an artist´s practices and promoting alternatives to landfill and incineration. In this regard I have definitely found a key to a personal style
and vision. One can easily distinguish my works by their bright colour, multilayered
texture and cheerful mood. Using a wide color scale in my works I would like to show
everybody how through the use of color it is possible to adjust the rightenergy to your
style of living and thereby surround yourself with harmony and balance!
www.christeseva.com
38
Ulla Ohlson
www.ohlson-art.se
Designer and artist living in Gothenburg, Sweden. Working primarily in glass and watercolor, but also gouache, acrylics and graphics. I`ve had about 50 solo exhibitions, mainly
in Sweden, but also in Belgium, Italy, England and Iceland, and public commissions for
among others the Opera House of Gothenburg, Night clubs, International cruise ships etc.
2006 I designed and produced the medals for the European Championships in Athletics in
Sweden 2006.
My Art work is very much based on, what kind of light and mood you could read in the actual motive at the actual moment. The starting point for my paintings is mainly the nature.
Sometimes figurations representing a torso, a flower or a cliff emerges, or I just work with
the water colour until I reach a more abstract version of the nature. The different motifs are
constantly in a challenging game with the colours and lights and although usually sketches
are the basis for the images they grow up, each according to what is actually happening on
the paper. It is a matter of mood, temperament and condition.
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Lena Nyström Solberg
“Seen from my inside and out”
You see a view, in the front one can catch a glimpseof curtains or wallpapers.
The painting can also represents me, from my inside and out.
Through my images I communicate my inner thoughts. My works are parallel with the transitions between
lighter and darker parts of life. The natural meet the abstract, the evil meet the good. Areas of light trickle
through a curtain of darkness. The inner meet the external, obstacles meet possibilities.
This is how I have chosen to work with my paintings. The technique is mostly oil, but I also use watercolor and drawing. I work with layers of paint in order to create various shades of lightness and darkness to
communicate a certain feeling to the observer.
www.lenanystromsolberg.se
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Bo Alström
Bo Alström is a history painter, a uniquely modern representative
of an age-old tradition. At the same time, he is a philosophical and
profoundly intuitive modern artist. He empathizes with the experiences of people in distant times and places while maintaining
a highly-calibrated sensitivity to color, form, and composition.
Alström’s curiosity about human character and motivation, about
past events, and about the world in which he lives finds expression in exhilerating images where abstraction and representation
and description and imagination collide, interact, and harmonize.
In this sense, Alström is a revolutionary history painter.
Alström combines master draftsmanship with coloristic expression. With their elegaic moods, dynamic symphonies of color,
and references to the past, Alström’s paintings invite the viewer
to reflect on what has been and what is to come.
Jaktscene
Just as the burst of pigment in Alström’s paintings consititute the raw material of things as yet unformed,
so the world we live in is filled with embryonic possibilities. Alström’s paintings are powerful and poignant
reminders of the capacity of the individual imagination and will to create the world in which (s)he lives and
a humbling reminder that our actions can have unintended consequences.
(Dr. Michelle Facos, Associate Professor, History of Art, Indiana University, Bloomington)
www.boalstrom.se
Åsa Peck
My work as an artist gives me
both joy and excitement. I am
fascinated by experimenting with
techniques and making my own
landscapes inspired by my childhood memories from Bergslagen,
in the woods of Sweden.
The medias I work with are painting, collage, textile, drawing and
mixed. My inspiration comes
from music and nature, both of
which have been part of my life
long interest.
Älgspåret
I have been exploring the use of triptychs which are viewed as windows to feelings which arise from the
painted collages with a meeting place between structure and nature.
www.asapeck.se
Bergslagsbilder
Mossgruvan
Titti Hammarling
www.tittihammarling.com
“The Decision“
I paint in oil. The choices of motif are simple shapes
in a diffuse reality, where tranquility and tension meet.
The bold beauty of ugliness attracts me. I can find it
in people, landscapes, horses, houses and diverse objects. I often explore the human condition and what
happens in our identities and relationships. With the
brush I capture the nuances of our existence. No life is
purely simple or purely complicated. No relationship
is the solution to our searching. That is why I keep on
painting.
Very seldom I know exactly what it is that inspires
me and I don’t feel that I have to be conscious of it
either. It can be something that comes along when
I least expect it and something totally spontaneous:
a dog, a dream, colors I see when I close my eyes,
a barren landscape, people, a day in New York, art,
music, emptiness, something that someone says or
something I read... Life. I also get inspired by what I
paint. A painting can open a door to something new.
The studio in Stockholm, Sweden is my base.
Lisbeth Sandv a l l
Lisbeth Sandvall lives and works in
Växjö, Sweden. The oil is her primary means of expression in paintings characterized by color sensitivity. The paintings are often abstract
landscapes and figures. She has had a
series of solo exhibitions in Sweden,
Madrid and St Julien le Montagnier
in France. She also participated in the
Stockholm Art Fair, as well as many
group exhibitions in Sweden but also
Norway, France and Italy. She has
been invited to participate in the Florence Biennale 2009.
“Oil is my primary means of expression, but I work also with graphics, gouache and watercolor. My
creativity is based on my presence in the process. A line, a silhouette or a color can be the starting
point for my creativity. It is the construction of the image itself that is so exciting -- to find a response
in the painting, find balance and the language of color. Colors are very important to me. Often the
painting is trying to capture something that leads to landscapes or figures or half abstract. Images often
lead to reflections about life and on interplay between people”
Lisbeth Sandvall vit et travaille à Växjö, en Suède. L’ huile est le principal moyen d’expression dans
une peinture caractérisée par une grande sensibilité aux couleurs. L’approche est souvent abstraite, les
paysages et les figures ne sont souvent que suggérés. Elle a eu une série d’expositions individuelles
en Suède, à Madrid et à St Julien le Montagnier en France. Elle a également participé à la Foire d’Art
de Stockholm, et à de nombreuses expositions collectives en Suède mais aussi en Norvège, en France
et en Italie. En 2009, elle a été invitée à participer à la Biennale de Florence.
“L’huile est mon principal moyen d’expression, mais je travaille aussi avec des graphiques, guache et
aquarelle. Ma création est basée sur ma présence dans le processus. Une ligne, une silhouette ou une
couleur peut être le point de départ de ma créativité. Et c’est la construction de l’image même qui est
si excitant afin de trouver une réponse en elle, trouver l’équilibre et le langage de la couleur - les couleurs sont si importantes pour moi. Souvent, il s’agit d’essayer de capturer quelque chose qui aboutit
à des paysages ou figures à demi ou totalement abstraits. Les images comme souvent donnent lieu à
des réflexions sur la vie et sur des rencontres faites avec diverses personnes“
www.lisbethsandvall.se
Lisbeth Cedwall
www.lisbethcedwall.se
Oil, eggtempera acrylic on canvas or board and some graphic work. Exhibits regularly, 2008 at Cité internationale des arts in Paris. Get inspirations from travelling. During 7 years I lived in USA where I studied art
therapy at New York University. This has been a constant influence in my artwork.
Usually its an idea, subject or even a colour that starts the creative process. By using many layers of paint
the underlying colours shines through. This makes a deeper colour range and adds a touch of mystic to the
finished painting.
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Kerstin Cecilia Ahlgren
www.kerstinahlgren.com
I look for an original force, an original shape. In my sculpting I want to find a way to
unite the primitive and the heavenly, to visualize an emotion or a movement that has not
yet abated under my eyelids (in my innervision).Shapes evoked by intuition revealing an
aspect of life. I want to contribute to the impulse to touch my sculptures. It´s a part of the
communication I want to create. I´m convinced that the patina created by many hands adds
to the beauty. The meaning of my images are most of the time, revealed to me in retrospect.
Longing, Lust, Love and Shame. Anything can, uninvited, appear and tell its story. Mine
or yours. I want this journey to go on for ever.
Dans les scultures, je veux unir le primitif et le divin. Je cherche une forme primaire, une
synthese reconnaissable. Je veux faire apparaitre un mouvement, un rythme, une balance
et une force agrandissante. Límpulsion de toucher est une partie de la communication que
je veux attaindre. Voir avec les paumes de la main. On a aussi la droit de toucher mes scultures et la patines dápres des nombreuses mains je le ressent comme une embellssement.
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Stockholm 2010
M o r t e n Aspegren
Since the creation processes taking place in
what we call nature, it is in this all-encompassing “studio” that the art originated. Which
works of art created by human hands can compare with nature’s ethereal beauty, the eternal
symphony of varied shape and color, I do not
even try to compete with nature. To express
themselves with art is a different kind of nature
that has come with the man mysterious urge
to express themselves. For this art fair in Paris
2010, I have made a number of small paintings
depicting a memory and a reduced absurd poetic
“Bagatelle” 20 x 20 cm
sense. I am a fairly traditional image-maker who
uses traditional materials, yet is my surface pressure in a constant state of change. Art as a meeting
place and a means of expression is a human construction. We can create a breeding ground for art and
try to entice it to take root. The art of nature come to us when we most need it. Art as a being is free and
it’s just us and our contemporaries who sets limits and building traditions. I myself is strongly linked
to a western art language, for better or worse, and in this context, I am just a dialect.
www.aspegrenart.com
“Bagatelle” 20 x 20 cm
Klas Sundkivst
http://klassundkvist.se
“Two“ 133 x 95 cm
Thinking. Analyzing, finding the colors, hidden views,
hidden perspective. Catch the moment of the unspoken
thoughts.
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Nils-Ingvar Svensson
Objects in our enviroment that we perhaps come across
daily can be developed into new forms when they are manipuladet with an ax, hammer, blow torch and paint. Beer
cans, pieces of wood paper boxes and oysters shells are
the foundation for many of the pictures in the exhibition.
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Inger Thurfjell
Creativity resembles a communication process which leads life
in and out of different inner rooms. The journey is a way to
create meaning, to understand the terms of our existence, on all
it’s levels.
ITh 2008 1958, at the maternity ward in the small mining town
Gällivare, Inger made her first apperance. Her ancestors are of
samish origin, fishermen and boatbuilders. Inger grew up with
her parents in Pitea, a town in Norrbotten, Sweden. Her adult
life has been shared with her husband of 30 years in Lulea, a
coastal town just north of Pitea. The family consists of Inger,
her husband, two grown-up children and three king poodles.
Inger prefers to paint with oil and the motives often has an narrative and symbolic direction. She also works with enamel,
graphic art, screen prints and collage. Art has been a big part of
Ingers life since intermediate school. But not in the sense that
she thought she would study and work with art.
As a child her dream was to become either an veterinarian or an
architect. As the years has gone by Inger has realized that art is
something she can’t live without and that she probably will end
her days with a paintbrush in her hand.
www.inger.thurfjell.se
Karin Ellerstrand Bengtsson
I am standing in front of a plain surface. Not a single line is drawn not a single dot of paint is
there. I am beginning from scratch and let my thoughts and feelings flow. It is most exciting
and also a bit scaring – what will come out of it? Creating has been a great part of my life.
Du-ring my last 15 years have I had a several exhibitions yearly both domestic and international.
www.kellerstrand.se
De moi / je veux
- développer des impressions et des autres expressions par ma peinture
- créer d’un façon libre conçernant forme, couleur et matériau
- rencontrer des gens qui prennent plaisir à mes créations
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Cesar Morriss
César Morriss, né à Lima en 1979, est un jeune et
talentueux artiste plasticien. Son œuvre se distingue
principalement par une remarquable maîtrise de
la couleur et par l’utilisation de ressources nouvelles, comme la fusion de différentes techniques,
l’exploration de textures, de détails décoratifs, des
éléments qui ne se laissent pas complètement voir,
et l’emploi de formats et de compositions qui ne respectent pas les conventions.
Durant l’année 2006, il a effectué sa première exposition individuelle appelée « Impression de Couleur
» dans l’Association d’Eleveurs et Propriétaires de
Chevaux de Pas « la Liberté » dans la ville de Trujillo. Cette même année, il exposa des « Rêves et
Muses » dans la Galerie « Sérvulo Gutierrez » du
Centre Culturel Jesus María à Lima.
Durant l’année 2007, il a exposé en Finlande « Monde de Silhouettes », dans la Galerie AVA d’Helsinki.
Puis en 2008, il a présenté à Lima « Déesses de la Pleine Lune » dans la Galerie du Club Social Miraflores et en 2009 au Brésil « Silhouettes de Copacabana », dans le Musée d’Histoire « do Exército e Forte
» de Copacabana à Rio de Janeiro. Certaines de ses œuvres font maintenant partie de collections privées
en France, en Suisse, au Chili et aux Etats-Unis. C’est au Canada, cette année, dans la galerie Montcalm
de Québec qu’il a réalisé sa dernière collaboration, dans le cadre d’une exposition collective d’artistes
Péruviens.
“Harlequin Stroking the Hair of a Lady”
“Goddesses of the Green Moon”
G l a u c i a Cupertino
Carioca, Glaucia étudié l’art contemporain au Parque Lage (Rio de Janeiro), où son style a commencé à définir
l’expressionnisme abstrait. Dans la même
année ont participé au marathon «90 heures de Peinture Contemporaine” au Musée
National des Beaux-Arts en 1994 où
son talent commence à être reconnu. En
tout état de route Glaucia été de maintenir une grande cohérence, dès le départ.
L’harmonie de la composition abstraite et
la couleur, la langue est un propia alchimie
personnelle. Glaucia Aujourd’hui il a fait
de nombreuses expositions individuelles,
parmi lesquelles se détachent dans les
expositions d’art exposition NMFA sur
l’avenue.
Roberto Britto
The Boi de Axixá and its jokers. The bumba-meu-boi is the largest
popular folk festival in Brazil after the ”Carnival”.
It’s a kind of pantomime performed by a group of costumed dancers, jokers, which represent the most expressive and popular cultural event in Brazil. The origin of bumba-meu-boi comes from
the 18th century. Its history reveals the unbalanced relationship between the slaves and the local native people and their social roles
in relation to the landowner.
There are several versions of bumba-meu-boi, but the basic version tells the story of a farmhand killing an ox to satisfy his wife’s
craving to eat the ox’s tongue. The farmer, owner of the ox, gets
help from an indigenous shaman, who brings the ox back to life.
The farmhand is forgiven and everyone celebrates. Among the
jokers of the pantomime we can find Caboclo de Fitas and Catirina
– herewith displayed - and many others characters.
The colourful and elaborate crafted bullox costume is made on a wooden or wicker frame covered with velvet
and embroidered with broken glasspieces of glass beads. The ox dances down the street leading the parade followed by the dancing and singing jokers. These entertainers are surrounded by the audience who join in. The
death of the ox causes them to cry but when the ox is brought back to life everyone erupts with celebration, applausing and cheering.
How beautiful is the bumba-meu-boi festival!
The painter Roberto Brito, named “Robritto”, is a self-taught painter. He was born on September 22nd 1952,
in São Luis, Maranhão, Brazil. He was still a teenager when he started drawing and painting in his homeland
for his mates. The painter Robritto uses oil on canvas to present his painted archetypes sorrounded by light and
dark shadess inspired from Brazilian folk and cultural diversity. Today Robritto works in his studio in Paris in
a sequency of forty three paintings about the old fashion Carnival entitled “Touloulous & Tololos “O Entrudo”.
The painter Robritto expects to expose his 43 paintings alongside an institutional event.
“CABOCLO DE FITAS”
- of the serie “Bumba-Meu Boi” (Robritto)
“CATIRINA”
“BOI DE AXIXÁ”
ANTOISAA SUOMI – JAPANI NÄYTTELYVAIHTOA
Helsinkiläinen AVA-Galleria ja Japanin Osakassa sijaitseva SoHo-galleria järjestivät mielenkiintoiset vaihtonäyttelyt. AVAn CREATIVE
MOMENTS-näyttelyssä Osakassa oli 25.5 –
13.6.2010 esillä 15 suomalaisen kuvataiteilijan
töitä. Raija Heikkilä, Gunilla Helve, Minna Herrala, Hanne Juga, Jari Järnström, Karita Kivikoski-Veijalainen, Anja Luolajan-Mikkola, Eeva
Muli, Leena Mäki-Patola, Päivyt Niemeläinen,
Krista Partti, Anne Rossi ja Marko Viljakka
lähettivät näyttelyyn maalauksiaan, Irja Ciekca
Schmidtin työt olivat shamaanihenkisiä puupiirroksia, Tarja Tellan paperille tehtyjä ristipistotöitä. Jokainen oli valmistanut myös viiden
minuutin videon teemalla Luovuuteni hetkiä.
- Näyttelymme avajaisissa oli paljon ihmisiä. Heitä kiinnostivat kaikki työt, mutta erityisesti videot, Japanin
matkaan osallistunut Jari Järnström kertoo.
- Japanissa kävivät myös Hanne Juga, Tarja Tella, Iria Ciekca Schmidt ja Marko Viljakka, mukana oli myös
perheenjäseniä. Moni japanilainen taiteilija tuli avajaisiimme portfolio mukanaan ja etsimään uusia kontakteja. Oli mielenkiintoista tavata kasvotusten.
55
OSAKA, TOKIO, KIOTO, HELSINKI
Japanissa suomalaiset tutustuivat Osakan ohella
Tokioon ja Kiotoon. Osakassa he olivat mukana SoHo-gallerian edellisen suuren näyttelyn
päättäjäisissä, joita juhlistivat bändi ja performanssi. Osa näistä taiteilijoista toi töitään AVAn
ARS JAPONICA-näyttelyyn Helsingissä 2.9.19.9.2010: Youshihisa Sano, Shinji Hori, Masato Sunami, Ryohei Obata, Hirotaka Ichikawa,
Haruaki Toku, Kunihiko Nakano, Kotaro Hachinohe, Atsihiro Kanzaki ja Taiji Matsuda.
Japanilaisia taiteilijoita tuli myös Helsinkiin
tutustumaan meidän taidemaailmaamme. MuuJari Järnström ja hänen Osakan näyttelynsä maalaukset,
tamassa päivässä he ehtivät mm. Habitaren Goottilainen nainen ja Ikaros, akryyli ja öljy kankaalle,
nykytaidenäyttelyyn, Kiasmaan ja Helsingin 50 x 50 cm sekä video. Kuva: Taimi Järnström
Taiteilijaseuran Taidelainaamoon, joka herätti
suurta kiinnostusta ja ihmetystä.
Suomalaiset kokivat puolestaan Japanissa hienoja elämyksiä. - Kävimme Osakan ja Tokion
Nykytaiteen museoissa, Kioton Japanilaisessa puutarhassa ja Kultaisen Temppelin puutarhassa, Goshoon Keisarillisessa Palatsissa, kulttuurikeskuksissa, gallerioissa, tutustumassa katuvilinään, ravintoloihin ja kauppoihin.. Ajelimme metrolla, luotijunilla ja takseilla, Jari Järnström kertoo.
- Suur-Tokiossa on 35 miljoonaa ihmistä ja vilske oli sanoinkuvaamaton. Sain matkalta paljon
uutta intoa ja virikkeitä työhöni. Japanilainen askeettisuus ja pelkistetty estetiikka
tekivät suuren vaikutuksen. Myös parittomuus on japanilaisessa taiteessa olennainen asia.
Teksti: Tuula De Rita 56
Kuvat: Vuokko Viljakka
Japanin matkalla olleet taiteilijat: edessä: Iria Ciekca Schmidt, Jari Järnström ja Hanne Juga,
takana Tarja Tella ja Marko Viljakka.
ENJOYABLE FINNISH - JAPANESE EXHIBITION EXCHANGE
Helsinki based AVA-Gallery and Japanese
Soho- Gallery in Osaka organized interesting exhibition exchange . There were works
of art from 15 finnish artists on display at
AVA-Gallerys CREATIVE MOMENTSexhibition in Osaka. Raija Heikkilä, Gunilla Helve, Minna Herrala, Hanne Juga, Jari
Järnström, Karita Kivikoski-Veia-lainen,
Anja Luolajan-Mikkola, Eeva Muli, Leena
Mäki-Patola, Päivyt Niemeläinen, Krista
Partti, Anne Rossi and Marko Viljakka
sent paintings to the exhibition, Irja Ciekca
Schmid made shamaanspirit woodcraft, Tarja Tella made cross stitch on paper. All artist
made a five minutes video by the theme “
my moments of creativity” aswell.
- “There were alot of people at our opening. , interested in all art work, most of all of
the videos” Tells Jari Järnström, one of the
artists who participated on our trip to Japan.
- Hanne Juga, Tarja Tella, Iria CiekcaSchmidt and Marko Viljakka were also
in Japan, and alot of our familymembers.
Many japanese artist brought their portfolio
to our opening to seek new contacts. It was
very interesting to meet face to face.
OSAKA, TOKYO, KIOTO, HELSINKI
While being in Japan, finnish artists visited
also Tokyo and Kioto. In Osaka they participated in the ending party of Soho-Gallerys
previous big exhibition, there was a band
and performances.
Youshihisa Sano, Shinji Hori, Masato Sunami, Ryohei Obata,
Hirotaka Ichikawa, Haruaki Toku, Kunihiko Nakano, Kotaro
Hachinohe, Atsihiro Kanzaki ja Taiji Matsuda displayed their
works which were at the AVA ARS JAPONICA-exhibition in
Helsinki 2.9.-19.9.2010.
Japanese artists came to Helsinki to get to know our artworld.
They visited the Habitare contemporary-art exhibition, Kiasma
and Helsinki Artists’ Associations artotheque, which awoke
great intrest and wonder. In turn finnish artists enjoyed and experienced the Japanese culture.
-We went to Osakas and Tokios Modern Art museum, to Kiotos japanese garden, The garden of the golden temple, The Goshoo’s Imperial Palace and to community centres and gallerys.
We explored restaurants, shops and the busy streets. We traveled
with the subway, bullet trains and cabs.
- Tokyo is huge. There’s 35 million people and the hustle is undiscribable. I got a new boost from the journey and inspiration
for my art. Japanese austerity and minimalistic aesthetics made
a big impression on me.
Text: Tuula De Rita
Hirotaka Ichikawan lyijykynäpiirros AVAn Helsingin näyttelyssä.
57
Raijwww.raijaheikkila.fi
a Heikkilä
An empty canvas in front of me. No line, no color, no light. I spread
the color. A space opens and begins to tell a story. I add color, helping
the image to become visible. Sometimes I feel like being in a labyrinth. Choosing a path that leads nowhere. Along the way one has to
learn to accept disappointmets. One has to believe that there is something. Valuable in the end of the path. Everyone’s treasure is particular. I cannot step into a new room. Without leaving this one behind.
“Kala vai lintu” 2009
“Vanha nahka, palava mieli” 2009
I wish my painting would find enigmatic, timeless and touching. Inside
it there is a whole story. I aim at an equivocal atmosphere - who is
one looking at, what one desires for, fears or tries to hide... A painting
reveals my experience of life. The things I have done today, I could
not have done yesterday. I wish my paintings would awaken thoughts
and offer the delight of finding collective emotional experiences.
Une toile vide en face de moi. Pas de ligne, ni couleur, ni lumière. J’ai
étendu la couleur. Un espace s’ouvre et commence à raconter une histoire. J’ajoute de la couleur, aidant l’image à devenir visible. Parfois je
me sens comme étant dans un labyrinthe. Choisissant un chemin qui ne
mène nulle part. En chemin, on doit apprendre à accepter les déceptions.
On doit croire qu’il ya quelque chose. De valeur à la fin du chemin. Le
trésor de chacun est particulier. Je ne peux mettre le pied dans un nouvel
espace. sans quitter le précédent. Je voudrais que ma peinture soit énigmatique, intemporelle et touchante. A l’intérieur il ya toute une histoire.
Je vise une atmosphère équivoque - qui est celui que l’on recherche,
qu’est-ce qu’on ce qu’on désire, craint la vie. Les choses que j’ai faites
aujourd’hui, je n’aurais pas pu les faire hier. Je souhaite que ma peinture
éveille des pensées et offre le plaisir de trouver des expériences émotionnelles collectives.
“Mies kohtaa naisen” 2007
“Suurelle sohvalle mahtuu enemmän” 2009
58
“Joka kodin hymypatsaat” 2009
“Nainen matkalla hevosensa kanssa” 2008
Anne Rossi
Sorto 1
There are no motives or themes that I am aware of in my art. I am more impressed
by the form and the shape and size of the canvas. In my paintings I had the feeling of different contrasts and details. Colours and shades are important as well.
I usually paint the canvas over and over again. The result is always a surprise.
59
Jari Jarnström
“Goottilainen nainen”
I paint in layers combining acrylic and oil colours. The most central topics for my paintings
have for long time been people, particularly
man. My work is featured by opposite ideas and
themes, as overlapping pictures and layered surfaces. I often start my work by first painting the
abstract background with acrylic colours. Then
I go on painting in oil colours layer by layer.
The transparent layers of paint lead the spectator
deeper into the layered themes and into deeper
thoughts over the topic at an abstract level. Impulses for my paintings come from various directions, like from Renaissance art or Pop Art.
60
I have recently used both pictures of people in
advertisements in magazines as well as Renaissance portraits as models for my paintings. I
have combined, in the very same painting, abstract backgrounds, letters, various signs and imprints with bodies and faces. By all this I want
to reflect our time: the superimposition of narrative. My metaphorical language is complex
in style as is our collective consciousness. My
pictures bring together the scattered consciousness of human being - my paintings are also
mysteries to myself. If one likes to regard my
paintings as stories, they are like little stories:
dreams, memories, scattered experiences of the
life I have lived.
Krista Partti
I obtain new inspirations when looking around. Music has a great
influence to my paintings, classical for portraits, Mozart’s Requiem in particular, I like also Fado songs from Portugal and songs by
Orthodox Chorus singers. Since my childhood, I see all the words
and numbers in colours. For example number six is dark red. When
I see some one’s name, I see she/he in colours, too. Also different
weekdays have colours, Tuesday is black, Friday golden yellow
and Sunday complete white. I live also moments in colours. I paint
in my own atelier, in harmony with my mood. Ideas may be borne
in walking tours, in nature, or even in the middle of training. There
were periods I painted animals but portraits have always been important in my life.
61
Eeva Muli
www.eevamuli.com
“DREAM” 2006
“TRAVEL” 2006
“SILENCE” 2006
“BEYOND THE
UNDERSTANDING” 2008
Colours in Eeva Muli’s works radiate and enchant. She is a colorist in front of whose art the viewer
is especially impressed by the way she uses colours. It is the strong contrasts of colours that brighten up her paintings. The combinations are bold and sure. They confirm the theory that the complementary colours emphasize each other’s brilliance. The fluency and vivacity in the painter’s hold
are as sure in Eeva Muli’s works as her use of colours. She has the control of both the secrets of
composition and the skill of a story teller. Her works are even in their pure abstractness implying
forms and scenic features. The surfaces of colours can be seen as landscapes where everything is
possible. They include movements, fleeting moments, but also stagnancies.
Talent is the basis for one’s growing into an artist. Eeva Muli has been working hard to develop
her own talent. Skills and artistic capabilities require a lot of work and mental exertion. Practically
speaking, she was studying art until the past few years Free Art School, University of Art and Design
UIAH Open university and Alfa Art Institute are the latest seats of learning in her CV. An impressing and skilfully made painting needs to be planned and sketched carefully. Good works cannot be
painted in a slipshod way and they were not born by chance. Their construction must be studied
and thought over with patience. The colour comparisions can only be made with trained eye and the
familiarity with one’s own tools. To make the colours glow as they do in Eeva’s works is a matter
of advanced skill. Eeva Muli is not only a talented but a most diligent artist. Some of her works are
quite big and to paint them must be even physically demanding. Her works have been seen in open,
group and solo exhibitions. Many of them have been exhibited in Helsinki and even abroad. Internationality is a bearing theme in her work and activities. She has participated in the arrangements of
exhibitions for foreign artists in her home district Ylä-Savo. Further she has introduced different
exhibitions for international guests in Art Anna Iisalmi and Lapinlahti Art Museum. This requires
energy, persistence and interest in advancing cultural work.
I find the moments of stopping in Eeva Muli’s works as the anchor for what she calls the inner construction in her art. She regards the topic security connected with the painting process as meaningful. Today, the importance of security is touching us. We cannot help experiencing unsecurity in privacy and as Finns. As a teacher I interpret some of Eeva’s works at their darkest through the anxiety
we feel when the threat of violence is part of our daily lives. In Eeva Muli’s CV the first recording of
the participation in the exhibitions dates back to the year 1969, in other words, to the time 40 years
ago. This year 2009 she is celebrating her 40th anniversary as an artist!
Riitta-Liisa Komulainen, Chairman of Art Association of Iisalmi and Surrounding Area
L e ena Mäki-Patola
have worked as a ceramic artist since the year 1983 when I graduated from UIAH
(University of Industrial Arts Helsinki). At this moment the central themes of my
working are earth, air, blood and water. Blood signifies battle and combat, earth, air
and water endangered conditions of existence. In my works I have social messages.
I get influences from the daily news, which tell about storms, floods, drought and
violent battles. I think art is one way of participating in the societal discussion and
decision making.
In my earlier theme Findings from the Ruins I dealt with fragility and strength. Connected with the subject I developed a special technique of using metal net in a fired
piece. The forms and impressions of these sculptures refer to shells. I gave these
sculptures names after butterflies, the most harmless creatures I can imagine. For me
they represent innocent victims found in ancient and modern ruins.
63
Hanne Juga
Hanne Juga (b. 1961) lives and works in Helsinki. At
the moment she is finnishing complimentary studies at
the Institute of Fine Arts in Lahti University of Applied
Sciences. She received a higher vocational qualification
in visual arts 2000. Juga has worked as a scenic painter
mainly for television since 1985 and has thereafter
started her work as a visual artist.
Love for the sea can be strongly sensed in Hanne Juga’s
paintings. She uses materials like wood, metal and plastic, variously as a base of the paintings, then continuing
working with oil colours, lacks and pigments.
Sometimes she paints strict graphic contrasts and sometimes almost invisible, only as a shadow in strong light
appearing stealths, inviting the viewer to get enchanted by the glitter and reflection of the water, or maybe by
the underwater mikrolife.
Hanne Juga’s solo exhibitions include Jetty Barracks Gallery (2010), Gallery Rikhard and Malmitalo-Gallery
(2009), Gallery Johan S (2006, 2008) and Tm·gallery(2005) in Helsinki; Gallery Napa(2010)Rovaniemi; Gallery Seriola (2005, 2008), Tampere; Gallery Panimo, Lahti (2008) and Gallery Uusikuva, Kotka, (2004).
Additionally her work has recently been seen in group exhibitions such as Helsinki Artists Association’s exhibitions and artists exchange projects. In 2010 Juga’s solo exhibitions will take place in Hanasaari Culture
Centre, Espoo and Vicarart, Brussels. Hanne Juga has been working in several international residencies and
symposiums and is also known as a ”nordist”, especially as a West-nordic countries enthusiast. Jugas works
are in the Finnish State art-collections and in Budapest Galery -collections.
Tarja Tella
Painting or drawing is a form of expression, in my opinion a
very direct flash of my self onto canvas or paper. My attitude
to photograph is very similar. I want my photographs looking
like paintings. Sometimes I mix up photograph and painting.
Currently I have done my drawings with needle and thread
on paper or by engraving on metal plate. Oil colour is best
painting liquid. I think I shall ever change it. Recently I have
painted on metal plate and on acrylic glass. Painting is a very
physical activity, but being in the same room as painting is an
experience, too. A painting can be a part in interaction. At its
best a painting is not an object, it is a subject.
I like travelling, change landscape, city and country. I like
reading, especially magazines and newspapers handling global news, nature, anthropology and sciences. Often effects
from all these can be found in my art. Music helps me in resting and it also energizes me. Nature, forests, trees and birds
and other northern animals are near my heart. The contrast
between country and city as the other opposites in life, too get
art be born, arise.
65
Marko Viljakka
I work in a impulsive way. The themes I use change constantly and often
something from the old theme remains and moves to new painting. This
enriches the painting process. The stages feed each other and produce contradictions that form often a whole that had been difficult to predict. I like
it. I always aim at strong impression. The painting process is not a thinking
process but a condition.
66
Gunilla Helve
My works are grounded on three basic elements: time, colour pigments
and beeswax. I use a palette knife to process wax, adding it on a surface
in alternate translucent layers and pigmented patterned layers. I usually
work on an aluminium surface, however, I also do smaller works on a
traditional canvas with wide wedge frames. The latter technique enables
the patterns to run over the edges, thus, emphasising the physical essence
of my work. The aluminium enables thicker wax surfaces, therefore also
adding to the three-dimensionality of the larger works. I’ve become attached to strong and clean colours and to counterbalance these, I also
use black and white. In entirety, my method requires plenty of patience,
already due to the fact that the adding of layers, as well as the handling
of the material presupposes repetition. This adds to the meditativeness
of my work. Moreover, it highlights positively the arbitrary nature of the
result; I like this method precisely for the reason that with every piece I
am met by the same challenges between the intention and the materialised result. These two, the vision and the real, might not ever even meet.
67
Anja Luolajan-Mikkola
68
Karita Kivikoski-Veijalainen
69
Liisa Pankola
www.pankola.com
“la Familia“
70
Iria Ciekca Schmidt
Specifically: The starting point for my art is in a natural experiences, search for my own identity, not
in everything though. Myths, rockpaintings and indigenous mythologies fascinate me. My Graphic
books (large ones) are based on the Sturgeon-mythology at this moment. My paintings focus more to
the natural experiences, human’s destiny, joy and of course, to the visual tricks. I am very interested
of the materails as a way to express myself, for example: Wax, paper, gold, etc. Installations and
sculptures are included in this serie. Photography is very important thing.
71
P ä ivyt Niemeläinen
Nature is the focus in my art. Since I was born in the countryside, the lights,
colours, smells, forms and details of nature are vivid in my mind. The majority of
my works, such as portraits, are oil paintings. I also paint aquarelles. Recently I
have developed a special method, painted reliefs. In these I try to strike a balance
between plastic form and painting. The movements of water, frost, fragile thin ice,
a frozen river, glittering water, shadows, dawn, thunder, the aurora borealis, silence,
echo, fragments of memories, have been motifs in my reliefs. The rhythm of form,
the rhythm of movement and the rhythm of colour are the main elements in my
expression.
In Finland my reliefs had their first solo exhibition in Helsinki in 2007, since then
they have featured in many exhibitions in Finland as well as in Sweden, France and
Portugal. It is a great pleasure to send my reliefs now to Japan, to the country of
pure forms and restrained culture.
72
“Verdandi II”, 80 x 40 cm, acryl, 2010
M i n n a Herrala
” H e r r a l a a lways works on one piece at time, from beginning to the end. T h e
w o r k p r o c e eds fast and even a large painting may be finished within two wee k s .
T h e d r a w i ng stage takes, depending upon the size of the piece, from a cou p l e
o f h o u r s t o a day; and the rest is just painting. Her pictures do not come ab o u t
t h r o u g h s k etching; but through reflection and thought. The drawing stage i s
v e r y i m p o rtant, something which Herrala strongly focuses on by shutting o u t
e v e r y t h i n g around her. Her work is divided into three stages: The work proce e d s
f r o m t h e r eflection stage via ”hating” the piece into completely understand i n g
it.
I n h e r w o r k Herrala depicts how people treat each other and what is man`s pl a c e
i n t h i s w o r ld as part of the nature. She does not portray things directly or i n a
h i g h l i g h t n i ng manner, but rather through small clues and details. When th e r e
i s a l r e a d y enough evil and horro r in the world, Herrala does not want to add t o
i t w i t h h e r images. Instead, her pictures are art that protects and mends hum a n
mind.”
- K i r s i - M a ria Tuomisto, Educational Curator Lapua Art Museum
“Verdandi I”, 80 x 40 cm, acryl, 2010
Helena and Edson Cardoso
The Finnish-Brazilian couple, Helena and Edson Cardoso, have created several different projects together
in order to bring art on display, expand cultural exchange and help children through art. Gallerist Edson
Cardoso, who was born in Rio, has been working as
a curator for 26 years. He’s been living in Finland for
7 years now. Helena Cardoso is an engineer, but has
been working among the arts for more then six years.
AVA Gallery, founded and owned by the Cardoso’s is
located on Pohjoinen Rautatiekatu, Helsinki.
AVA Gallery
AVA Gallery is located in the
centrum of Helsinki, behind
Tennispalatsi. Among with
exhibiting the work of Finnish
artists, it brings exhibitions
of foreign artists to Finland.
In addition the Cardoso’s take
Finnish art abroad. In the past
six years the Cardoso’s have
taken Finnish art to Brazil,
Italy, France, Spain, Portugal,
Sweden and Japan. The latest
being the art fair in Carrousel
du Louvre, Paris. AVA Gallery
works in co-operation with
Arte Vida Arte Association to
support the art school CASA
in Rio de Janeiro.
Arte Vida Arte
Arte Vida Arte is a cultural exchange project, which started in 2003. It has lived, sought its form and
evolved until the present day. Arte Vida Arte Association, consisting of Finnish artists, aims to initiate,
promote and expand the cultural exchange between Brazil and Finland, and also to introduce artists
from two very different cultures and to be the initiator for larger-scale cultural events in both Brazil
and Finland. The association also aims to keep supporting the Brazilian children living in poverty
through art (Art school CASA).
Helena ja Edson Cardoso
Suomalaisriolainen aviopari Helena ja
Edson Cardoso ovat yhdessä luoneet
lukuisia projekteja taiteen esilletuomiseksi, kulttuurinvaihdon laajentamiseksi sekä lasten avustamiseksi
taiteen avulla. Riolaissyntyinen galleristi Edson Cardoso on toiminut kuraattorina 26 vuotta. Suomessa hän on
asunut 7 vuotta. Helena Cardoso on
puolestaan koulutukseltaan insinööri,
mutta toiminut taiteen parissa nyt reilut kuusi vuotta. Pariskunnan yhteinen
AVA Galleria toimii Helsingissä Pohjoisella Rautatiekadulla.
AVA Galleria
AVA Galleria sijaitsee keskeisellä
paikalla Helsingissä. Tennispalatsin
takana oleva Galleria tuo Suomalaistaiteilijoiden näyttelyjen pidon
lisäksi ulkomaisten taiteilijoiden
näyttelyitä Suomeen. Lisäksi Cardosot vievät suomalaista taidetta
ulkomaille. Kuuden toimintavuoden aikana Cardosot ovat vieneet
suomalaista taidetta Brasiliaan,
Italiaan, Ranskaan, Espanjaan,
Portugaliin, Ruotsiin sekä Japaniin. Viimeisimpänä taidemessut
Pariisin Carrousel Du Louvressa.
AVA Galleria toimii yhteistyössä
Arte Vida Arte ry:n kanssa ja tukee
toiminnallaan Rio de Janeirossa olevaa taidekoulu Casaa.
Arte Vida Arte
Arte Vida Arte on kulttuurinvaihtoprojekti, joka käynnistyi vuonna 2003. Se on elänyt, etsinyt
muotoaan ja kehittynyt tähän päivään saakka. Arte Vida Arte ry koostuu suomalaisista taiteilijoista.
Ry:n tavoitteena on käynnistää, edistää ja laajentaa Brasilian ja Suomen välistä kulttuurinvaihtoa,
tutustuttaa kahdesta hyvin erilaisesta kulttuurista lähtöisin olevia taiteilijoita, olla lähtölaukauksena
suurempimuotoisille kulttuuritapahtumille niin Brasiliassa, kuin Suomessakin sekä pitää käynnissä
brasilialaisten, köyhistä oloista lähtöisin olevien lasten avustaminen taiteen avulla (Taidekoulu
CASA).
Taidekoulu CASA (Centro de Assistencia Social e Artistica) aloitti toimintansa Rio de
Janeirossa Cidade de Deus nimisellä köyhälistöalueella elokuussa 2005. Koulun tavoitteena on luoda uskoa ja auttaa lapsia toteuttamaan unelmansa paremmasta tulevaisuudesta
taiteen voimalla ja auttaa hyvin erilaisten ongelmien kanssa kamppailevia lapsia taideterapian avulla.
Helena ja Edson Cardoso perustivat vuonna 2005 lasten kuvataidekoulun, CASAn, Rio
de Janeiron Cidade de Deus - Jumalan kaupunki - slummiin, brasilialaisittain favelaan.
Taidekoulu antaa toivoa ja elämänuskoa muutamille kymmenille köyhyydessä ja
kurjuudessa eläville lapsille, sekä heidän perheilleen. Vaikka se on kuin pisara meressä,
se on tärkeä pisara. Se pyrkii antamaan lapsille hyvän harrastuksen ja uuden suunnan
elämässä. Taidekoulua vetää riolainen taideterapeutti Glória Chan vapaaehtoistyöntekijänä, apunaan kaksi paikallista taiteilijaa. Koulussa on tällä hetkellä 15 lasta, iältään 4 -15
vuotiaita. Halukkaita olisi paljon enemmän.
Taidekoulu CASA:n lasten perheet tulevat saamaan kuukausittaisen elintarvikepaketin ja
tulemme laajentamaan toimintaamme tukemaan myös lasten vanhempia heidän vaikeuksissaan. Toivomme, että työllämme pystymme ennaltaehkäisemään lapsien joutumisen
kadulle. Suomalainen yhdistys Arte Vida Arte ry tukee taidekoulun toimintaan. Yhdistykseen kuuluu suomalaisia taiteilijoita, jotka ovat jo kolmena peräkkäisenä vuonna
vierailleet Cidade de Deus´ssa ja työskennelleet lasten parissa. Sinäkin voit osallistua taidekoulun toiminnan tukemiseen ja siten mahdollistaa lapsille paremman tulevaisuuden.
Art school CASA (Centro de Assistencia Social e Artistica) was founded in August 2005 in
Cidade de Deus, Rio de Janeiro. School’s aim is to create trust, help children with their dreams
of a better future with the power of art and help children in a wide range of problems through
art therapy.
In 2005 Helena ja Edson Cardoso funded CASA - an art school for children in the slums (favela) of Cidade de Deus - City of God, in Rio de Janeiro. The art school gives twenty children
and their families hope and security for the future. Although it’s like a drop in the ocean, it’s
an important drop. The school gives children a hobby and a direction in their life.
The director of CASA is a psychologist, art- therapist and artist Glória Chan. She runs the
school with the help of two local artists. At the moment there is 15 children in the school, by
the age 4-15 but alot more would like to participate.
The families of the children recieve monthly food suplies and in the future CASA wants to
support the parents with their problems as well. We hope that with our work we can save these
children from ending up on the streets.
The Finnish organisation Arte Vida Arte ry funds The Art School CASA. The Finnish artits
from our organisation have visited Cidade de Deus and worked with the children for last three
years.
You can also be a part or this valuable project and this way give the kids a better future.
EMMAn syksy 2010
EMMA- Espoon modernin taiteen museon vaihtuvien näyttelyiden puoli täyttyy syykaudeksi 29.9.2010 9.1.2011 kolmesta erilaisesta näyttelystä sekä yhdestä installaatiosta. Saastamoisen säätiön taidekokoelman
puolella jatkavat teemaripustukset Punainen sekä Koiran ja suden välissä.
100% SILK - Kiinalaisen silkin tarina
Enemmän kuin mikään muu kangas maailmassa, silkki kantaa säikeissään vuosituhansia vanhaa kulttuurihistoriaa. Silkki on kietoutunut niin taiteeseen, kieleen ja kirjallisuuteen kuin hovikulttuuriin, sisustukseen ja
pukeutumiseen. Silkinviljely oli muinaisen Kiinan tärkeimpiä aikaansaannoksia ja se on edelleen syvällinen
osa kiinalaista kulttuuria. EMMAn näyttely tutustuttaa silkin historiaan varhaisista löydöistä nykyaikaan
unohtamatta itse silkkitoukkaa.
Silkkiäistoukkaa pidettiin Kiinassa jumalaisena hyönteisenä, joka kykeni yhdistämään taivaan ja maan.
Yli 5000 vuotta sitten ihmiset ryhtyivät suojelemaan ja kasvattamaan silkkiäistoukkia ja valmistamaan
niiden tuottamasta silkistä erilaisia tuotteita. Siitä saakka kun silkki on tunnettu, siihen on yhdistynyt
täydellinen tekniikan ja taiteen harmonia sekä äärimmäisen hieno käsityötaito ja myyttinen ornamentiikka.
Silkinvalmistus säilyi Kiinassa tuhansia vuosia tarkoin vartioituna valtiosalaisuutena ja keisarillisen hovin
yksinoikeutena ennen kuin sen merkitys maallistui, ja siitä tuli elinkeino, ylellisyys- ja vientituote sekä
diplomatian ja politiikan väline. Eurooppaan silkinviljely levisi vasta 500-luvulla.
Näyttelyssä on esillä yli sata tekstiiliä, jotka kertovat koko kiinalaisen silkin tarinan. Mukana on neoliittiselta ajalta peräisin olevaa silkkikangasta, Jangtsen keskijuoksulta taistelevien läänitysvaltioiden ajalta peräisin olevaa Jin-silkkiä lohikäärmeineen ja Fenix-lintuineen, erityylisiä Han- ja Tang-dynastioiden aikaisia
silkkitekstiileitä silkkitien varrelta ja Jangtsen alajuoksulla sijainneiden keisarillisten kutomoiden Ming- ja
Qing-dynastioiden aikana tuottamia uskomattoman taidokkaita töitä samoin kuin upeita moderneja silkkiasuja.
Silkkinäyttelyn aineisto tulee Kiinan kansallisesta Silkkimuseosta Hangzhousta. Näyttely on myös osa
Zhejiangin Kulttuurifestivaalia 2010.
EMMAn yläaulassa on esillä Linnan itsenäisyysjuhlien silkki-iltapukuja useilta eri vuosikymmeniltä.
Villisilkin kokoamassa näyttelyssä nähdään lahjakkaiden suomalaisten suunnittelijoiden ja ompelijoiden
mm. tasavallan presidentille Tarja Haloselle tekemiä luomuksia.
Yhdessä mediatiloista on esillä kiinalaissyntyisen naisohjaajan Yue-Qing Yangin dokumentti Footbinding The Search for the Three Inch Golden Lotus. Dokumentti taustoittaa Tang-dynastian aikana alkanutta jalkojen sitomisperinnettä.
Kiinan hallitus kielsi jalkojen sitomisen vuonna 1911, mutta käytäntö jatkui jossain määrin vielä 1930luvulle asti. Jopa neljä miljardia kiinalaista tyttöä joutui kohtaamaan tämän kivuliaan toimenpiteen, heihin
lukeutuvat myös ohjaajan oma äiti ja täti. Dokumentin kesto on 46 minuuttia ja se on englanninkielinen.
EMMA - Espoon kaupungin modernin taiteen museo
Näyttelykeskus WeeGee, Ahertajantie 5, Tapiola
Avoinna:
ti, pe, la ja su kello 11 - 18
ke ja to
kello 11 - 20.
Jorma Puranen
Valokuvataiteilija Jorma Purasen ( s. 1951) näyttely on osittain retrospektiivinen näyttely, joka esittelee
Jorma Purasen teoksia vuosilta 1992-2010. Näyttelyssä on esillä runsaat 50 teosta, kromogeenisiä
värivedoksia ja mustavalkokuvia useista kuvasarjoista.
Kuvitteellinen kotiinpaluu on usean vuoden projekti ja monien sattumien ja työvaiheiden tulos.
Teossarjan aiheena ovat saamelaisista lasinegatiiville kuvatut muotokuvat, jotka Puranen löysi Pariisin
Musée de l`Hommen arkistosta. Hän päätti suorittaa muotokuvien kuvitteellisen kotiinpaluun ja palauttaa
kuvat alkuperäiseen maisemaansa. Hän kuvasi kuvat uudelleen, vedosti ne filmille, pohjusti läpikuultavat
muotokuvat akryylilevylle ja teki niistä kuvainstallaation tunturimaisemaan.
Saamelaiskuvien tavoin moniosaisen Where Compasses All Go Mad lähtökohta on arktisessa kuvastossa.
Tässä teoksessa Puranen siirtyi yleisempään, tutkimusmatkojen ja valloittamisen historiaan. Puranen käyttää
historiaa monialaisesti, saamelaiskuvien ohella teoksen kuvamaailma koostuu Pohjoisnavalle suuntautuneiden 1900-luvun alun arktisten retkikuntien kuvastosta. Puranen halusi luoda kuvitteellisen tilan, joka on
avoin erilaisille tulkinnoille.
Shadows, Reflections –sarjassa Puranen on kuvannut vanhoja porvarismuotokuvamaalauksia
pyrkimyksenään herättää eloon kuvien henkilöiden menneisyys. Kuvista tuli tavallaan kulttuurisen
merkityksen omaavia visuaalisia merkkejä. Nyt EMMAssa esillä olevat teokset on kuvattu museoiden
kokoelmiin kuuluvista muotokuvista Suomessa, Ruotsissa ja Hollannissa.
Sarja Sixteen Steps to Paradise syntyi ajatuksesta, mitä voisi kuvata kotipihalla lähtemättä jälleen pitkälle
kuvausmatkalle. Kukkia, puita, varjoja ja heijastuksia sisältävät teokset Puranen kuvasi mustaksi maalattujen
kiiltävien puulevyjen kautta, jotka hän vei puutarhaan 16 askeleen päähän kotiovelta.
Icy Prospects on viimeinen pohjoista maisemaa kuvaavasta sarjasta. Ne ovat kuvia arktisesta maisemasta,
joissa maisema kohtaa maiseman heijastuksen. Teokset tuovat mieleen 1800-luvun historiallisen
romanttisen maalauksen. Sarjan nimi on peräisin arktisiin tutkimusmatkoihin liittyvistä tarinoista sekä
Nordkapiin matkustavista turisteista, jotka ihmettelevät eteensä aukeavaa maisemaa.
Juba Tuomola: Viivi ja Wagner
Jussi ”Juba” Tuomolan (s. 1965) Viivi ja Wagner on suosituin suomalainen sarjakuva. Sitä lukee aamuisin
sanomalehdistään kunnioitettavan suuri määrä kaikenikäisiä ihmisiä ja albumeita on myyty yli miljoona.
Sadasta stripistä ja muutamista Tuomolan öljyvärimaalauksista koostuva EMMAn näyttely valottaa myös
sarjakuvanteon prosessia. Kriitikko Heikki Jokisen kokoamassa näyttelyssä lähestytään Viiviä ja Wagneria
viiden eri teeman kautta.
Sika on iso lapsi: Wagnerin tavaramerkki ovat hassut päähänpistot ja oudot ideat. Joutilaisuus on paheiden
äiti, sanotaan, mutta Wagnerin kohdalla se johtaa mitä erikoisimpiin oivalluksiin.
Parisuhteen parissa: Millainen voi olla sian ja naisen suhde? Yllättävän monimuotoinen ja toimiva ainakin
Viivin ja Wagnerin arkikokemuksen perusteella. Syy on yksinkertainen: hahmojen erilaisuudesta huolimatta
pohjalla on syvä välittäminen toisesta.
Todellisuuden kumu: Yhteiskunnan todellisuus tunkeutuu toisinaan Viiviin ja Wagneriin: junavuorot on
lopetettu, uusliberaali noukkii rusinat pullasta tai Wagner ryhtyy presidentiksi. Tämä on osa sarjan
moniulotteista viehätystä, se ei elä umpiossa tai tuijota vain omaan napaansa.
EMMA - Espoo Museum of Modern Art
WeeGee, Ahertajantie 5, Tapiola
Opening hours:
Tuesday, Friday-Sunday 11 am - 6 pm
Wednesday-Thursday 11 am - 8 pm
Alitajunnan alkemiaa: Todellisuus on olemassa siinä muodossa kuin me sen hyväksymme.
Viivissä ja Wagnerissa on oma arvaamaton todellisuutensa, ja senkin rajat on tehty rikottaviksi.
Wagner muuttuu lihaliemikuutioksi, hänen sisällään kasvaa puu ja kotoa löytyy ovi alitajuntaan.
Arjen filosofiaa: On oikeastaan kummallista, että arvomaailmaltaan kaksi niin erilaista olentoa kuin Viivi ja
Wagner voivat asua ja elää yhdessä. Viivin näkemykset kasvissyönnistä, ekologiasta ja naisen asemasta eivät
Wagneria suuresti hetkauta. Silti he tulevat toimeen keskenään.
Näyttelyn liittyy Arktisen Banaanin kustantama kirja Sika ja muusa. Se pohjautuu samaan teemoitteluun
kuin näyttely, mutta kirjassa julkaistavat stripit eivät ole aivan samoja kuin näyttelyssä nähtävät. Lisäksi
kirjassa julkaistaan kirjan toimittaneen Heikki Jokisen artikkeli Viivi & Wagner-sarjakuvan olemuksesta.
Oheisohjelmisto
Katja Tukiaisen Good Heavens! valtaa ajatuksia sekä tunteita syksyn oheisohjelmistossa. Tukiaisen maalausinstallaatio käsittelee taiteilijan alter egoa Mademoiselle Good Heavensiä eli Neiti Hyviä
Hyssyköitä. Hahmo yrittää mahtua matalaan valkoiseen tilaan, jättäen pohtimaan, milloin olemme kasvaneet
liian suuriksi nauttimaan taiteesta. Tukiaisen teema leviää opastus-, työpaja- ja kutsuohjelmistoon sekä SOSlapsikylän nuorten Matkalla-projektiin. Nuoret saavat Tukiaisen avustuksella leikkiä ajatusleikkejä ja tutkia
minuuttaan.
Oheisohjelmisto tarjoaa näyttelyiden rinnalle kaiken ikäisille taiteilijatapaamisia, opastuksia sekä näköaloja
silkistä sarjakuvaan. Lapsille syksyn hitti on Korkeasaaren eläintarhalehtorin vierailu ja tutustuminen silkkitoukkien elämään. EMMAn Oikotiet laajenevat Saastamoisen säätiön taidekokoelmassa. Reiteillä omia teosvalintojaan ovat tehneet vuoden 2010 Pakolaisnainen Nasima Razmyar, kirjailija Sinikka Nopolan Eila ja
Rampe sekä Rap-artisti Signmark. Loppuvuosi huipentuu nuorille suunnattuun EMMA rokkaa -tapahtumaan 13.11, jonka pääesiintyjä on Haloo Helsinki! Mukana tapahtumassa ovat Suomen mielenterveysseura
ja Rock Lada Tour 2010.
EMMA autumn 2010
EMMA – Espoo Museum of Modern Art’s changing exhibitions for the autumn season, 29.9.10-9.1.11, consist of three different exhibitions and an installation. The thematic hangings Red and Entre chien et loupcontinue in the Saastamoinen Foundation Art Collection.
100% SILK – The Story of Chinese Silk
More than any other fabric in the world, silk carries millennia of cultural history within its filaments. Silk is
interwoven into art, language and literature, as well as into court culture, interior furnishing and modes of
dress. The cultivation of silk was one of ancient China’s most important achievements, and it continues to
play a profound role in Chinese culture. The exhibition at EMMA introduces visitors to the history of silk,
from early finds to the present day, not forgetting the silkworm itself.
In China the silkworm was considered a sacred insect capable of uniting heaven and earth. Over 5000 years
ago, people began to protect and breed silkworms, and to make a variety of products out of the silk that they
produce. For as long as silk has been known, it has represented art and technology in perfect harmony, along
with exquisite craftsmanship and mythical ornamentation.
For thousands of years, silk manufacture was preserved in China as a closely guarded state secret and the
prerogative of the Imperial court, before being secularized and becoming a source of livelihood, a luxury
and export product, and a tool of diplomacy and politics. ‘Sericulture’ only reached Europe in the 6th century.
The exhibition includes more than 100 textiles, spanning the entire story of Chinese silk. On display are: silk
fabric from the Neolithic Era; Jin silk with dragons and phoenixes from the Period of the Warring States,
who fought for the control of the Yangtze River; different styles of Han and Tang-dynasty silk textiles from
various places along the Silk Road; and unbelievably intricate works produced during the Ming and Qing
dynasties by the Imperial textile factories on the lower Yangtze; plus some magnificent modern silk garments.
The exhibits come from the China National Silk Museum in Hangzhou. The exhibition is also part of the
Zhejiang Cultural Festival 2010.
On display in EMMA’s upper entrance hall are silk evening dresses from several decades of Finnish
Independence Day Celebrations. There are wild-silk creations by gifted Finnish designers and dressmakers,
including for the President of the Republic Tarja Halonen.
The Chinese-born director Yue-Qing Yang’s documentary Footbinding – The Search for the Three Inch
Golden Lotus is being shown alongside the exhibition. In it she explores the background to the footbinding
tradition that began in the Tang dynasty.
The Chinese government banned footbinding in 1911, but the practice continued to some extent into the
1930s. As many as four billion Chinese girls, including the director’s own mother and aunt, were forced to
undergo this painful process. The documentary lasts 46 minutes and is in English.
Jorma Puranen
The photographic artist Jorma Puranen’s (b. 1951) exhibition is partly a retrospective of his works from
1992–2010. It includes more than 50 works from various series of pictures, chromogenic colour prints and
black-and-white photographs.
The Imaginary Homecoming project lasted several years, and was a result of many coincidences and working phases. The subject of this series of works is photographic portraits of Sámi taken on glass negatives,
which Puranen found in the archive at the Musée de l`Homme in Paris. He decided to enact an imaginary
homecoming for the portraits, and return the pictures to their original landscape. He re-photographed them,
printed them on film, mounted the transparent portraits on acrylic sheeting, and made a pictorial installation
out of them in the fell landscape.
As with the Sámi pictures, the starting point for the multi-part Where Compasses All Go Mad is a set of
arctic photographs. Here Puranen went over to a more generalized history of expeditions and conquest.
He uses history in a multidisciplinary way, alongside the Sámi pictures, the work’s visual aspect consists of
images from Arctic expeditions to the North Pole at the beginning of the 20th century. Puranen wanted to
create an imaginary space open to a variety of interpretations.
In the Shadows, Reflections series Puranen has photographed old bourgeois portrait paintings so as to
awaken to life the past of the people in the pictures. The pictures became visual signs with their own cultural
significance. The works now being shown at EMMA have been shot from portraits in museum collections in
Finland, Sweden and The Netherlands.
The Sixteen Steps to Paradise series came from thinking about what he could photograph in his own garden without having to make long photographing trips. Puranen shot these works with their flowers, trees,
shadows and reflections via shiny, black-painted acrylic sheets, which he took into his garden, 16 paces from
his door.
Icy Prospects is the last of the series depicting the northern landscape. The images are of the arctic landscape, and in them landscape and reflection of the landscape meet. The works are reminiscent of 19th-century historical romantic painting. The title of the series comes from stories about arctic expeditions and from
tourists travelling to the North Cape, who marvel at the landscape opening out before them.
Juba Tuomola: Viivi and Wagner
Jussi “Juba” Tuomola’s (b. 1965) Viivi and Wagner is Finland’s most popular comic strip. A sizeable readership of all ages sees it in their newspaper in the morning, and more than a million albums of strips have
been sold. The EMMA exhibition of a hundred strips (in Finnish) and some of Tuomola’s oil paintings also
sheds light on the process of making the comic strip. Compiled by the critic Heikki Jokinen, it approaches
Viivi and Wagner via five different themes.
The Pig as a Big Child: Wagner’s trademark is zany whims and odd ideas. They say the Devil makes work
for idle hands, but in Wagner’s case idle trotters lead to unique insights.
In a Relationship: What kind of relationship can a woman and a pig have? Surprisingly varied and workable, at least judging by Viivi’s and Wagner’s everyday experience. The reason is simple: despite their differences, underneath it all, the two characters care deeply for one another.
The Roar of Reality: Occasionally, social reality intrudes into Viivi and Wagner: trains are cancelled; a neoliberal picks the raisins out of a bun; or Wagner runs for President. This is part of the strip’s multi-dimensional charm, it does not exist in a vacuum or simply stare at its own navel.
Unconscious Alchemy: Reality exists in the form in which we accept it. Viivi and Wagner have their own
unpredictable reality, and its limits are made to be broken. Wagner turns into a meat-stock cube, a tree grows
inside him, and a door at home leads into his subconscious.
Philosophy of the Everyday: It is actually odd that two creatures with such different values as Viivi and
Wagner have are able to ‘live’ together, in both senses of the word. Viivi’s views on vegetarianism, ecology
and the status of women have little impact on Wagner. Still, they get along.
The exhibition is accompanied by a book (in Finnish) Sika ja muusa (pig meets muse), published by Arktinen Banaani. This is based on the same themes as the exhibition, but not all the strips are the same. There is
also an article on the nature of the Viivi&Wagner comic strip by the editor of the book, Heikki Jokinen.
Accompanying Programme
Katja Tukiainen’s Good Heavens! will be winning over thoughts and emotions in this autumn’s accompanying programme. Tukiainen’s painting installation is about the artist’s alter-ego figure Mademoiselle Good
Heavens, who tries to fit into a shallow, white space, leaving us wondering when we got too big to enjoy art.
Tukiainen’s theme extends to the guided-tour, workshop and Art Fairy Workshop Parties and Art Cocktails
programme, and to the Matkalla (On the way) project by the young people of the SOS Children’s Village’s.
Aided by Tukiainen, the youngsters get to play a thought game and explore their sense of self.
The programme accompanying the exhibitions has meet-the-artist events, guided tours, and things to see
ranging from silk to comic strips, for people of all ages. For children the hit of the autumn is the visit by the
Korkeasaari Zoo Educator and a chance to observe the life of the silkworm. EMMA’s Shortcuts spread out
to the Saastamoinen Foundation Art Collection. Refugee Woman of the Year 2010 Nasima Razmyar, author
Sinikka Nopola’s Eila and Rampe, and Rap artist Signmark have made their personal artwork choices for
the Shortcut routes. The year’s end culminates in an event for young people, EMMA rokkaa (EMMA rocks)
13.11, the main act being Haloo Helsinki, with the Finnish Association for Mental Health and the Rocklada
tour 2010 also taking part.
EMMA - Espoo Museum of Modern Art
WeeGee, Ahertajantie 5, Tapiola
Opening hours:
Tuesday, Friday-Sunday 11 am - 6 pm
Wednesday-Thursday 11 am - 8 pm
85
Pohjoinen Rautatienkatu 17 B 8
FI-00100 Helsinki
Finland
Tel: +358 400 765 576
[email protected]
www.avagalleria.com

finnish art - AVA Galleria

Transcription

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