All posts filed under “Exhibitions

Nora Tapper

Ember | 26.10.–23.11.2019

Nora Tapper, Finnland

Sculpture Exhibition


Toolbox Kabinett:

Catherine Lorent, Berlin


Welcome: Vernissage / Opening: Friday / Freitag  25.10.2019, 7pm |

Finissage: Fr. 15.11.2019, 7pm

 

Gitarrung und Axt/ Guitaring and Axe
Tom Früchtl (Electric Guitar)
Catherine Lorent (Electric Guitar, Axe)

 

 

 

 

 


Open on Sunday 27 October, 2019, 2–6pm |

Ausstellungsdauer / Exhibition open: 26 October–23 November 2019 |
Öffnungszeiten / Opening hours: Wed–Sa 3–7pm |

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed


Nora Tapper

Ember

Ember is a group of huge empty black sacks sewed by hand from tarpaper and paper string. To me these sacks are enormous coal embers that glow in the dark and cold evening. The idea for sacks came from a task of making a work that would illustrate the amount of carbon dioxide produced each year by a Finnish family of four. I thought barbecue parties and the sacks full off black dusty coal. I recall the fire place where the last glow fades away.


Catherine Lorent

CALL OF THE WILD

Catherine-LLorent-bell

Catherine Lorent, Bell, 21×29,7 cm, mixed media

Catherine Lorent (* 1977 in Munich) studied painting at the Staatliche Akademie  der Bildenden Künste Karlsruhe from 1998 to 2003, as well as history and art history at the Sorbonne in Paris and at the Universities of Heidelberg and Luxembourg. In 2012 she received her doctorate in art history. In 2013, CATHERINE LORENT represented LUXEMBOURG at the Venice Biennale with the project “RELEGATION”.

The artist lives and works in Berlin in painting, drawing and installation. Furthermore she has been experimenting for several years as a multiinstrumentalist with electric guitar, bass, piano, drums, voice and pursues her music project Gran Horno.

Catherine Lorent has already exhibited in Germany, France, the Netherlands, Switzerland, the United States, Austria and Luxembourg, was nominated for the “Prix Robert Schuman” in Luxembourg in 2011, received the “Prix révélation 2011” and is considered one of the most important talents in Luxembourg.

Mein Gott im Himmel | 27.9.–19.10.2019

Ihana Havo, Finnland

Sculpture

Toolbox Kabinett:

An indifferent friend

ELO Film School Finland
School of Arts, Design and Architecture
Aalto University

Vilja Harjamäki, Mirka Sulander, Nikke Bakka, Menni Renvall, Antti Lempiäinen

Teacher: Dr. Mika Karhu

Welcome: Vernissage / Opening: Friday / Freitag  27.09.2019, 7pm |

Open on Sunday 29 September, 2019, 2–6pm |

Ausstellungsdauer / Exhibition open: 27 September – 19 October 2019 |
Öffnungszeiten / Opening hours: Wed–Sa 3–7pm |

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed


Mein Gott im Himmel, Ihana Havo

”History is a set of lies agreed upon”
Napoleon Bonaparte

No worries there mr. Bonaparte man, I’m with you, I’m mean after the 9/11, (building 7!!!), and all the false flags and crisis actors and duper’s delights the ”Official Narrative” don’t seem so official narrative anymore.
So Berlin, what a city, Germany what a history
Berlin was bombed to smithereens by allies and ruskies was closing in
and then, there is the holocaust. Well how very silly of me to think that I´d get
some answers to that one. I mean revisionism is illegal in Germany. So this
time the official narrative is enforced by the law. I guess usa is still the
romantic way of putting it. Well fuck it Wendy, let´s go bowling, I mean really
bowling.

When Hillary Clinton, we-came-we-saw-and-he-died on Muammar
Gaddafi´s ass back in 2011, not only she destroyed Libya, but also she
started the European migrant crisis. Last thing Muammar said from his drain
pipe was, ”pump the breaks, if you’ll kill me now, the Europe will go black”.
Killary didn’t listen, so here we are. In most of the European countries the
fertility rates are falling and we are facing a ”baby bust”, which means there
are insufficient amount of children to maintain the country`s population size.
How many years till the ethnic Germans and its culture dies out.
How fast can European countries disappear? Is it important anymore to have
your culture, identify yourself with a certain nationality? I don’t know. Let’s
just fast forward to the future where everybody’s living in a mega cities,
because sure its convenient and its illegal to go past city limits, because the
rest of the country is wildlife preserve area to save us from the climate
change.

Tho AOC thinks we´re dead in 12.

Simo Ripatti

Drying Room | 30.8.–21.9.2019

Simo Ripatti

Installation

Toolbox Kabinett: Pablo Hermann

Welcome: Vernissage / Opening: Friday / Freitag  30.08.2019, 7pm |

Open on Sunday 1 September, 2019, 2–6pm |

Ausstellungsdauer / Exhibition open: 31 August – 21 September 2019 |
Öffnungszeiten / Opening hours: Wed–Sa 3–7pm |

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Artwork: Simo Ripatti


Drying Room is a rendition of the classification that we use to perceive the world and to create various groupings and structures. It does not aim to define the concept of classification or even its necessity. Rather, it serves as a basis for examing questions of this nature. Drying Room reveals the notability of space, artwork, perception and the moment of it as the parts of the knowledge.

Simo Ripatti (b. 1975) is a Finnish visual artist. Studied at the sculpture department of the Finnish Academy of fine arts, Helsinki and Institute of fine Arts, Lahti, Finland.

www.simoripatti.com

Pilvi Ojala

Pilvi Ojala | 27.7.–24.8.2019

Pilvi Ojala, paintings

Toolbox Kabinett: Uwe Sennert (Sennf), Berlin

Welcome: Vernissage / Opening: Friday / Freitag  26.07.2019, 7pm |

Open on Sunday 29 July, 2019, 2–6pm |

Ausstellungsdauer / Exhibition open: 28 July – 24 August 2019 |
Öffnungszeiten / Opening hours: Wed–Sa 3–7pm |

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Artwork: Pilvi Ojala


Pilvi Ojala, paintings

Pilvi Ojala (b. 1973) observes inner drama in a calm, almost restrained way. In her recent works she depicts her dreams and feelings, making use of a long tradition of religious and mythological imagery.The strong connection to art history paired with an almost ruthless introspection gives these self portraits a strange, ambigious quality. Life is tragic, angst a daily companion, sorrow so ordinary it needs a body of it´s own. But when Ojala puts her figures in the limeligth of her small stages, it triggers laughter. There is great relief in seeing that what bugs us most, also make us laugh.

Ojala studied printmaking in Kuvataideakatemia, in Helsinki. She says that se slipped into painting almost accidentally. This might be why it is so easy to look at her paintings. The material itself is not a problem, rather, it is the most precise way to tell us about life seen through her eyes.

Text: Pauliina Turakka-Purhonen, visual artist (Finland)

 


Uwe Sennert (Sennf), sculpture

With and for and against Uwe Sennert

  • Born in the Sennestadt 1964
  • 1983-1984 College of Fine Arts, Frankfurt
  • 1984-1990 College of Fine Arts, Hamburg
  • 1988 Studienstiftung des Deutschen Volkes
  • 1990 art prize, art students are from Bonn
  • 1990 Hamburg, scholarship
  • 1992 DAAD scholarship, Vienna
  • 1993 scholarship in Bad Frankenhausen
  • 1996 invention of the “Senncakes”
  • 1998 conquest of the Sennestadt
  • 2011 Senna Tuntschi
  • 2014 Sennwald

Exhibition of Senn products within Germany since 1988.

Sennf-office in the capital

Web: http://www.sennf.de

Paavo Paunu

Gesundheit – Terveydeksi
29.06–20.07.2019

Paavo Paunu, Finnland

paintings

Toolbox Kabinett: Karen Koltermann, Berlin

Welcome: Vernissage / Opening: Friday / Freitag  28.06.2019, 7pm |

Open on Sunday 30 June, 2019, 2–6pm |

Ausstellungsdauer / Exhibition open: 29 June – 20 July 2019 |
Öffnungszeiten / Opening hours: Wed–Sa 3–7pm |

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Artwork: Paavo paunu


GESUNDHEIT – TERVEYDEKSI

Paavo Paunun (s. 1965) maalaukset välittävät tarinaa ihmisestä ja
ihmisenä olemisesta. Olennaista on rajojen tunnistaminen ja
yhteyden hakeminen. Se on tila, jolla ei ole selkeää muotoa. Se on
tunteiden, toiveiden ja uskomuksien kohtaamispaikka.

BLESS YOU

In his paintings Paavo Paunu (b. 1965) mediates the story of being human. It is essential to identify the limits and create platforms for confronting. There is space without clear form, based on emotions, hopes, beliefs and truth.

Paavo Paunu (b. 1965) graduated from The Painting Department at the Finnish Academy of Fine Arts in 1990. He is working in the fields of painting, sculpture and installations . He has appointed several exhibitions abroad and in Finland.

How can we give form to the formless: to mental impressions, to fleeting thoughts, to riddles that have no answer? Paavo Paunu’s production induces a sense of the entire inexplicability of reality. It raises questions about who I am, what I experience, and what is important in life.
Paunu is a painter of space: he situates his paintings in exhibition spaces, the result being integrated wholes that resemble installations. He is also known for his sculptural paintings and painted sculptures. Right from the start of his artistic career, he made large-scale works, which soon began to acquire greater depth. Stages thus begin to emerge out of the paintings, extending in front of and behind the ground canvas.

Paunu’s production is not limited by the conventional tools of sculpture or painting, nor by any obvious role models, genres or references to theoretical sources. The sound of his works resonates from further away, from out of his own world, which is, nevertheless, human reality. His art is marked by psychological surrealism and expressive symbolism. The aim is to seek out the timeless core stratum of human beings, what motivates their actions, their feelings; ranging from goodness, trust and triumph to shame and unbelief. Paunu’s pictures reflect the uniqueness of experiences and the relationship of the finite human being with the unknown: with nature, with the depths of the mind, and fantasies.
Martta Heikkilä


Karen Koltermann

The Shelter

In September 2018 Karen Koltermann had the opportunity to take part in a guided tour to the Gorham Cave Complex while she was an artist in residence in Gibraltar.
In a long gone time, which we call the Middle Palaeolithic, the Gorham Cave was inhabited by Neanderthals who, as has come to light in 2014, also made art. One 39,000 years old cross hatching is still visible and is deemed evidence of the inhabitants’ faculties of abstract thinking and their impressive ability to express themselves.

In the current exhibition in Toolbox, Koltermann shows new pictures on caves and crepuscular caves that are used as shelters. The works are based on the photos that Koltermann took while she visited the caves.

Between the walls of these habitations made by nature, time seems to stand still, when you consider for a moment the many fateful, beautiful, horrible, sad or just funny things the inhabitants may have experienced in the course of millenia – and which stories the already discovered and the yet to be discovered art works can tell us.

We should hope for another at least 39,000 years for this right to spontaneous artistic expression.

Hans Kantereit, 12 June, 2019


Karen Koltermann

Der Unterschlupf

Im September 2018 hat Karen Koltermann im Rahmen eines Artist-in-Residence-Programms in Gibraltar an einer Führung zur Gorham-Höhle teilgenommen.
Die Höhle wurde in einer längst vergangenen Zeit namens Mittelpaläolithikum von Neandertalern bewohnt, die sich dort, wie seit 2014 bekannt ist, auch künstlerisch betätigten.
Eine 39 000 Jahre alte Kreuzschraffur ist erhalten und gilt als Beleg für abstraktes Denken und ein beeindruckendes Ausdrucksvermögen.

Im Toolbox-Studio zeigt Koltermann nun neue Bilder, die sich mit Höhlen und Halbhöhlen als Schutzraum auseinandersetzen. Grundlage dieser Arbeiten sind Fotos, die sie während ihres Aufenthaltes von den Höhlen gemacht hat.

Zwischen den Wänden dieser von der Natur geschaffenen Behausungen scheint der Zeitenlauf still zu stehen, wenn man überlegt, wie viel Schicksalhaftes, Schönes, Grausiges, Trauriges oder einfach Komisches ihren Bewohnerinnen und Bewohnern im Laufe der Jahrtausende widerfahren sein mag – und welche der bisher erkannten und noch zu entdeckenden Kunstwerke uns welche Geschichten erzählen werden.
Wir sollten uns jedenfalls wünschen, dass dieses Recht auf freie und spontane künstlerische Äußerung mindestens weitere 39 000 Jahre gegeben sein wird.
Wobei wir natürlich nicht wissen, ob die Kollegin damals nach Fertigstellung ihres Werkes nicht vom Hausmeister hinter der Höhle zusammengeschrien und nach allen Regeln der Kunst verprügelt wurde …

Hans Kantereit, 12.06.2019

Ekkehard Vree, portraits

Sometimes I think I could paint | 01.–22.06.2019

Ekkehard Vree, Viernheim
Andreas Wolf, Berlin

paintings

Welcome: Vernissage / Opening: Friday / Freitag  31.05.2019, 7pm |

Performance: Harri Sjöström, sopran saxophone

Open on Sunday 2 June, 2019, 2–6pm

Ausstellungsdauer / Exhibition open: 1 June – 22 June 2019 |
Öffnungszeiten / Opening hours: Wed–Sa 3–7pm |

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Die deutsche Version steht weiter unten
Photo: Ekkehard Vree, untitled, watercolor on paper


Two painters at the Toolbox
Ekkehard Vree creates, through boldly applied paint and through splodges that leak into amorphous forms, which in turn are drawn over, watercolour portraits with a lyrical appeal. Vree fascinates us with his spirited choice of unrealistic colour and his hesitant lines, achieving a truly intimate encounter with the portrayed people. Moving, poetic, elegant.
Vree lives and works in Viernheim, southern Hesse.

https://ekkehard-vree.de

Andreas Wolf is an abstract painter, who, in contrast to Vree, works on his paintings slowly and for a long time. In his work, he strives to reach a tremendous compositional complexity. Every single element in a picture is supposed to enter into a dialogue with every other element; visual foci are set – and thwarted at the same. Tensions are hold in balance. The finished painting eludes easy intelligibility, but with close attention, paths through the picture become apparent. Wolf’s paintings are like wonderfully rich landscapes, inviting us to explore at leisure.
Wolf lives and works in Berlin.

https://andreaswolf.net


Manchmal denke ich, ich könnte malen

Zwei Maler sind zu Gast in der Toolbox.
Ekkehard Vree schafft, durch schmissig gesetze Farben und verzeichnete, zu freier Form verlaufenden Klecksen, lyrisch anmutende Tuscheporträts. Dem im südhessischen Viernheim lebenden und arbeitenden Maler und Zeichner gelingt es mit mutig realitätsferner Farbgebung und zögerlicher Linienführung das erstaunliche Faszinosum einer wahrhaftig intimen Begegnung mit den porträtierten Menschen. Anrührend, poetisch, elegant.

https://ekkehard-vree.de

Andreas Wolf ist abstrakter Maler, der, im Gegensatz zu Vree, extrem lange an seinen Bildern arbeitet. Wolf beschäftigt sich mit der Entwicklung komplexer Bild-Strukturen. Alle Elemente des Bildes sollen möglichst mit allen anderen Elementen des Bildes interagieren, visuelle Schwerpunkte dabei gesetzt – und gleichzeitig in der Schwebe gehalten werden. Dadurch entzieht sich das fertige Bild einer unmittelbaren Erfassung, es zeigen sich aber bei intensiverer Betrachtung dann doch Pfade durch das Bild. Wolfs Gemälde sind wie wunderbare vielfältige Landschaften, in denen man stundenlang spaziergehen kann.

https://andreaswolf.net

Heli-Ryhänen

Hexenbesen – Whitches´ Broom
30.03.-20.4.2019

Heli Ryhänen

Welcome: Vernissage / Opening: Friday / Freitag 29.03.2019, 7pm |

Open on Sunday 31.03.2019 from 2-6pm

Ausstellungsdauer / Exhibition open: 30 March – 20 April 2019 |
Öffnungszeiten/ Opening hours: Wed-Sa 3-7pm |

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed


I am interested in putting into visual form subjects involving humanity: various situations in life, problem solving abilities or inabilities, attitudes to oneself, towards other people and other species. Not to mention body language, non-verbal communication and the subconscious. Emotions, joys and sorrows alike, come across from the body in many ways. Perhaps this is the reason why I have chosen human shape as a basis of my works.

In the exhibition the humanity is both present and absent in my works. Plants, mice and parts of human body interlock. The works are linked into the ephemeral qualities of life and the cycles of nature. Decaying body feeds another living creature, which in turn fades and gives birth to something new.

In the airborne work ”Witches´ Broom” a mother mouse is climbing a chain. Weather beaten plants are bare with only few leaves. Mice and other rodents are survivors. They endure also the ultimate hardships, even beyond the human existence.

Juha Sääski

Juha Sääski, Poul R. Weile
23.02.–23.03.2019

  • Juha Sääski, mixed media on paper
  • Poul R. Weile, sculpture, video, drawings, photographs

Welcome: Vernissage / Opening: Friday / Freitag 22.02.2019, 7pm |

Open on Sunday 24.02.2019 from 2-6pm

Ausstellungsdauer / Exhibition open: 23 February – 23 March 2019 |
Öffnungszeiten/ Opening hours: Wed-Sa 3-7pm |

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed


The works of Juha Sääski are dealing with the feeling of being safe and the feeling of
vulnerability as well as contrasting the experience of the imminently threatening with that of
positive everyday matters.

In the world of dejecting and horrific incidents life must go on. Through the news-flood we are
mentally living in the middle of catastrophies, even though we are, for the time being,
physically safe. For expressing the paradoxal nature of human life Sääski is juxtaposing
comical and naive elements to serious content. According to Charlie Chaplin, ‘life is a tragedy
in close-up, but a comedy in long-shot’.

Juha Sääski is a Finnish artist who has arranged several solo shows and participated in a
number of group shows in Germany, for instance in Berlin, Nuremberg, Ulm, Munich,
Mannheim, Viernheim (Kunsthaus & Kunstverein Viernheim), Koblenz (Museum Ludwig).

More information: www.juha-saaski.fi


Deutsch

Juha Sääskis Arbeiten beschäftigen sich mit Gefühlen von Sicherheit einerseits und
Verletzbarkeit andererseits, er kontrastiert Erfahrungen unmittelbar drohender Gefahr mit
positivem Alltagsgeschehen.

Das Leben geht weiter in einer Welt, die voll ist von entmutigenden und furchtbaren
Ereignissen. Durch die Medienflut wähnen wir uns ständig inmitten von Katastrophen,
obwohl wir, im Moment noch, physisch nicht bedroht sind. Um die paradoxe Natur
menschlichen Lebens auszudrücken, stellt Sääski komische und naïve Elemente neben ernste
Inhalte. In einem berühmten Diktum Charlie Chaplins ist das Leben von Nahem betrachtet
eine Tragödie, von weiter weg aber eine Komödie (‘life is a tragedy in close-up, but a comedy
in long-shot’).

Die Werke des finnischen Künstlers Juha Sääski sind schon in einigen Einzel- und
Gruppenausstellungen in Deutschland zu sehen gewesen, zum Beispiel in Berlin, Nürnberg,
Ulm, München, Mannheim, Viernheim (Kunsthaus & Kunstverein Viernheim), Koblenz
(Museum Ludwig).

Mehr Informationen unter www.juha-saaski.fi

 

 

Alexander Horn-The Black Hunter

The Black Hunter
25.01.–16.02.2019

Alexander Horn (Drawings, Video),
Frank Rossi
(Sound-Installation and Tonal Pattern Generator)

Welcome: Vernissage / Opening: Friday / Freitag 25.01.2019, 7pm |

Performance on Saturday 26.01. at 8pm

Open on Sunday 27.01.2019 from 2-6pm

Ausstellungsdauer / Exhibition open: 26. 01–19.02. 2019 |
Öffnungszeiten/ Opening hours: Fr-Sa 3-7pm |

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed


scroll down for German translation

The Black Hunter

The work of Alexander Horn is known for its drifting along at the limits of what seems to be speakable, or, as one of the titles says: ‘Administrations and measures at the border of unlikeliness’.
Horn’s pictures, mostly begun as drawings and structured through limited imagery, are completed by diverse mixed media.
These drawings combine concise composition, overpainting and collagelike elements into a peculiar pictorial language which, despite its archaic impression of rigidity, hints at something detached and moving.

Dr. Harry Gelb


Die Arbeiten Alexander Horns zeichnen sich oft, im Wortsinne, dadurch aus, dass sie an den
Grenzen des Sagbaren entlanggleiten, oder „Anwendungen und Maßnahmen an der Schnittstelle zur Unwahrscheinlichkeit“ sind – wie einer der Titel lautet.
In den motivisch sehr eng gefassten und meist als Zeichnungen angelegten, dann in verschiedenen Mischtechniken fortgeführten Grafiken vermengen sich strenge Formgebung, Übermalungen sowie collagehafte Elemente zu einer eigentümlichen Bildsprache, welche trotz ihrer archaisch anmutenden Statik etwas Losgelöstes und Bewegendes in sich birgt.

Dr. Harry Gelb


 So viele Farben Schwarz

frank-rossi_so-viele-farben-schwarz

Frank Rossi | So viele Farben Schwarz

So viele Farben Schwarz is a Sound-Installation and Tonal Pattern Generator. In it, the twin strands of confrontation with automatons that are able to play music independently of humans and the idea of automated composition, of endlessly self-generating music, are combined to form an autopoietic, that is to say, both self-playing and self-composing music machine.
check full text on http://telesma.com/

Lost Luggage

Lost Luggage
30.11.–20.12.2018

Group Show

  • Jesse Avdeikov
  • Christine Candolin
  • Alisa Javits
  • Ritva Larsson
  • Maija Närhinen
  • Katriina Rosavaara
  • Jocke Sederholm
  • Anniina Vainionpää

Welcome: Vernissage / Opening: Friday / Freitag 30.11.2018, 7pm |

Open on Sunday 02.12.2018 from 2-6pm

Ausstellungsdauer / Exhibition open: 30.11. –20.12. 2018 |
Öffnungszeiten/ Opening hours: Wed-Sa 3-7pm |

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed


Jesse Avdeikov

works with painting, animation and installation. He seeks for unpleasant, pleasant, absurd and noteworthy aspects of life. Hoping to find the meaning of life by accident while having fun.

Christine Candolin

I have been working with installations since early 1980s.
 Evolution of the human mind, especially the interconnectedness of matter and mind and the emergent properties connected to this, are the important constituents of my studies, and can be seen as allegorical reflections in my work.
The postmodern research on cognition and perceiving and our actions in the world has a relevant part in the ideas behind my working.

I´m wondering how we effect our world by perceiving it, experiencing it and living it. This is what I mean with the expression “matter and mind“. For where does the mind end and the “world” begin?
For me the world is not a given place outside us, my approach is phenomenological; the world unfolds in correlation with our own cultural and mental development, with our broadening cognition and knowledge. This is an interdependent and ongoing process.

My installations are allegorical reflections on this exploration.
My art is space-specific. I’m often assembling my installations to fill several rooms, so that the subject matter can be sensed through the connotations of the combined materials, form, and thought. Some of the materials I use have a transient character, like water, breeze, light, grease, and pigment powders. But also stones, steel, glass and other reflecting materials are often parts of the installations. I prefer to create installations in which beauty combines with austerity, meaning and thought.
My installation at the Toolbox is called My Mental Hadron-Collider.
It is a small videoinstallation. The work is an ecological statement of the ongoing human fall on this planet. It consists of a text, videoprojection into the material installation. The text can be read in the introduction of the installation.
www.ccandolin.fi

Alisa Javits

“I found a suitcase. It belonged to Someone before me. A slightly naive artifact, with thoughts and dreams encapsulated in a case.”
Alisa Javits works in Helsinki with video and installation. She mixes photographic and filmic working methods. The main theme of the work is the contradiction between the inner and the outer in people.

Ritva Larsson

I ́m graduated from the University of Applied Sciences, Institute of Fine Arts Lahti. I also hold a masters degree in social sciences. With this combination as a background it ́s somewhat natural to explore “the social” by the means of arts. The theme ”street” is one cornerstone of my artwork. The artworks have been painted based on classical traditions. The combination creates an interesting tension between the traditional techniques and the modern themes, where “the social“ meets “the realism“. When these marginalized people are brought into the gallery, we are forced to face something we would prefer rather not to see or to think about. It is fascinating, how art can make a powerful statement about social issues. Yet the process itself is crucially slow. The situations evolve rather slowly on a canvas or on a piece of paper and an true, deeper dialogue among the painting and the world is not possible. In the end the piece remains as the artist ́s statement towards a certain issue but reproduces itself due the perception of the viewer.

Maija Närhinen

I make three-dimensional works and installations, which are composed of numerous parts. In my works I also combine different ways of depicting: two- and three-dimensional parts can form a single piece of work. In my artistic practice I am interested in for instance how to use one material to make an illusion of another material.

lost-luggage

Maija Närhinen

In the Lost Luggage exhibition there will be my work called Luggage. It consists of easily movable stones: the stones packed in a suitcase have been made of water colour paintings on paper. Some of them are in a form of a paper roll and some of them have been formed to resemble real stones.
http://www.maijanarhinen.fi

 

Katriina Rosavaara

Katriina Rosavaara (b. 1975, Finland) is Helsinki based visual artist. Lost Landscape – Revisited (2018) is a short film essay on family history, transgenerational war trauma, refugee and queer. Rosavaaras grandparents were forced to leave their home during the second world war. In the film Rosavaara travels back to her former family home town Sortavala (Russia) three times, in three different decades, reflecting changes on her own memories and on Sortavala city area.

Jocke Sederholm

“I’m a sculptor. I work mostly with wood. Much of my work deals with feelings and relations between people, I’m inspired by humans and humanity.”

https://www.joakimsederholm.fi

Anniina Vainionpää

The subject of my recent work has been memory and personal history combined with how our individual experiences resemble one another and unify us despite our different backgrounds.

In my work I often depict aspects of humanity such as feeling of disparity and alienation. According to my personal experiences concepts of safe and familiar can transform (for example due to illness) into something strange and unrecognisable even terrifying.

The works represented at Lost Luggage exhibition are from “Oblivion” series. They are combinations of woodcut and monotype on paper.