Main EXHIBITION SPACE
The Festival of Political Photography
February 2nd – April 30th, 2017
Food encompasses great global paradoxes. The Festival of Political Photography 2017 will highlight issues where food meets world politics, economy, environment and ethics.
Mapping the structures and effects of producing foodstuffs is a complex – and often nigh impossible – undertaking. How are the daily choices made by individuals connected to political decisions concerning the production and pricing of food, as well as official nutritional recommendations? Who is steering food consumption towards the path of environmental destruction? How does our collective consciousness allow mass production of meat or commercial fishing? The environmental effects of the global food industry, global warming, humanitarian tragedies, hunger, migration and wars are all somehow connected.
It is not possible to avoid the personal or universal effects of food. Through choices regarding ones eating habits, an individual shapes their body, identity and social and ethical standing. These choices are a link between an individual and the structures of world politics. A snack is a political act.
The festival artists and programme will be announced at a later date.
May 17th – August 13th, 2017
Sasha Huber: Somatological Agassiz Range, NZ 2015.
It is difficult today to speak of a cohesive Nordic art scene, or national scenes for that matter, even in the relatively small countries that comprise the Nordic region. But still we do every now and then.
For «Nordic Delights» the curators have discussed the concept of the Nordic region, as well as each country’s different art scenes from the 1990s onwards. What we have observed is that the art scenes, once they are represented nationally and in group exhibitions, still tend toward homogeneity.
We all have our own opinions of what Norwegian, Swedish, Danish or Finnish contemporary art is. The best example of a cohesive representation of Nordic art is probably the Nordic Pavilion in the Giardini in Venice, designed in 1962 by the Norwegian architect Sverre Fehn. The pavilion is Swedish-Finnish-Norwegian state property; each country owns one third. Every other year you can see Nordic architecture, or contemporary art as part of the Venice Biennale. But even here, we observe, Denmark and Iceland have their own pavilions next to the Nordic. How the Faroe Islands and Greenland are dealt with is unspoken. The system of pavilions in the Giardini represents colonialism and post-colonialism in the global context.
Group exhibitions, wherein artists are lumped together on the basis of domestic origin, are problematic. They often leave a bad aftertaste. While at the same time they constitute a sort of sample of what occupies a certain art scene during a certain period or time.
«Nordic Delights» can be seen as an attempt to break the homogeneity. The artists included in the exhibition all live and work in the Nordic countries yet most of them have their roots elsewhere. This time it is the so-called minorities who are in the majority rather than the reverse, which is most common.
Artists: Dejan Antonijević, Lilibeth Cuenca Rasmussen, Nermin Duraković, Michelle Eistrup, Behzad Farazollahi, Anawana Haloba, Sasha Huber, Jane Jin Kaisen, Henrik Lund Jørgensen, Bita Razavi, Bella Rune, Nita Vera, Adolfo Vera, Carla Zaccagnini
Curators: Marianne Hultman, Kristine Kern, Anna-Kaisa Rastenberger.
Nordic Delights is organized in collaboration between Oslo Kunstforening, Fotografisk Center, Copenhagen, The Finnish Museum of Photography, Helsinki and Kalmar Konstmuseum, Sweden.
Heikki Willamo: The Mythical Journey
May 17th – August 13th, 2017
Heikki Willamo has photographed Nordic landscapes and nature – its flora and fauna alike – for over three decades.
In his photographs he takes the viewer back to an imaginary and mythical time, a time before the construction of civilizations and their boundaries. Willamo places his photographs as a part of a millennia-old continuum of pictures of animals, they become inner images and visions, echoing myths and dreams where the animals take on different, almost shamanistic, meanings.
The exhibition is comprised of Willamo’s black and white photography, and contains a video of the artist made by Perttu Saksa.
The exhibition is a collaboration between the Finnish Museum of Photography and Salo Art Museum.
Charles-Henry Bédué: Virtuous Circle
November 6th, 2016 – January 8th, 2017
Photo: Charles-Henry Bédué, from the series Virtuous Circle
The exhibition Virtuous Circle aims to shed light on the profound relation between the artist and his patrons in a revitalized creative process.
The project also seeks answers to the questions: Aside from the financial aspect, what comes of selling one's images? Why exhibit them? Under which circumstances?
During the years 2010−2015, French photographer Charles-Henry Bédué made a series called The Cult of The Self. These images were carefully chosen to respond to one another and retrace an existential beckoning.
The series was an effort to seek a wide open vision of the world and to nurture self-examination. The images also led to a book dummy project. Before the project was ready, the images circulated freely online. They were shared to spark discussion and submitted to contests and festivals.
Bédué realized that capturing images, working with them, meditating on them and making a book of them are not an end in themselves. They are a means to an end: to unite. To unite with oneself, with others, and this union is channeled by the transmission of one's work.
The exhibition, Virtuous Circle, is a series of large format photographs portraying the setting that four patrons chose for their photo from The Cult of the Self. To make the relation between the artist and his patrons visible and to seal their union, the artist photographed each image within its own unique setting. The image finally fulfills its purpose within the intimate setting, chosen by its new owner. Large scale photographs depicting these intimate spaces are then exhibited alongside other images from The Cult of the Self, thus creating entirely new images and readings.
Every image that is exhibited or sold entails a new photograph in a different setting. A recursive dynamic begins to operate within each image, in which each setting has the potential to extend the mise en abyme and further the union between the artist and the partaker. Virtuous Circle aims to emulate such a dialogue and union.
Elis Hoffman: Fading
January 13th — March 12th, 2017
The images in Fading were all created in small rural towns around Sweden – places Elis had never traveled to before. By staying close to home, yet taking unfamiliar paths, he opens the door to chance. Equally, the subjects he photographs are people he has never met prior to this moment: strangers, yet they also make up vital elements of a very personal journey – a soul searching walkabout.
By paying witness to events with a direct and honest gaze, Elis leaves the viewer with a sense of understanding, but without knowledge of the full story behind these vignettes that illustrate life and what is left behind.
At its base, Fading explores simple facts. Seasons change; leaves fall from the trees and die, winter moves in - everything is constantly fading. Spring arrives, restoring life and as quickly as new seedlings emerge, fading begins again. This is what Elis Hoffman pays silent witness to in his images - the exploration of the transitory nature of all things.
Elis Hoffman (b. 1979) lives and works in Stockholm, Sweden. He has worked as a freelance photographer since graduating from the Nordic School of photography in 2007. He combines freelance work with exhibitions and book projects. Elis was the winner of TT´s Grand Award 2014 with his project Fading.
Marta Zgierska: Post
March 17th — May 21st, 2017
In 2013, I survived a serious car accident. I was close to death, and reality – one that I had been adapting to with difficulty – slipped through my fingers. This misfortune brought about another: surgeries, months of physical limitations, a breakup, and the return and aggravation of anxiety neurosis.
Not long before the accident, I had found in my family home a teacher's descriptive feedback from the time I was a seven-year-old, exemplary student. I am still one in my adult life. However, despite the opinion of others, my limitations, shame and anxiety are still teeming inside me. I started taking the first photographs as a way of incantation of fear in an aesthetic image.
The accident brought my work to a halt. My mind was filling up with fragmentary memories, and sharp, detached details. My own physicality and pain became a source of images that felt more and more substantial and bodily as time passed.
Post is a project about trauma, frozen in dead greyness, silence and tension. Everyone can find their own punctures here – exhausting dreams, fears, obsessions. An individual way of discovering a twin traumatic memory in another person, Post is an attempt at intimate contact which closes the past non-experience in the present.
Marta Zgierska (b. 1987) is a Warsaw based Polish photographer. She is a MFA in Photography, MA in Theatrology and MA in Journalism. Her series Post has been selected for the Circulations Festival in Paris presenting the most interesting young photographers from Europe. In 2016 she won one of the most prestigious photography awards - Prix HSBC pour la Photographie.
Tanja Konstenius: Confirmation
June 2nd – August 20th, 2017
Confirmation (lat. confirmare) means to strengthen, reinforce, consolidate. For many Finnish youths, confirmation also means the ending ritual to confirmation classes.
Tanja Konstenius’ video installation, comprised of portraits in motion, is a representation of the Christian confirmation, and explores the phenomenon as a rite of passage. She examines how transition and change happen in front of the camera – how portraiture becomes a manifesto for change.
Tanja Konstenius (b. 1982) is an Amsterdam based photographer, who mainly works with photography and video portraiture. Her works often explore themes related to human identity.
Lorenzo Servi: Art Is Everywhere: Helsinki
August 24th – October 29th, 2017
There are wonders and beauty all around us, but do we really see it?
The exhibition Art Is Everywhere: Helsinki by Lorenzo Servi (alias SerraGlia) is a photo-series of objects, colours, shapes, and parts of the urban landscape that normally go unnoticed. Each image carries a story, revealing the unexpected in everyday life in Helsinki.
Truly blurring the boundary between what is framed and what is not, the exhibition invites the viewers to explore the city with new eyes, to visit and observe the city from an alternative, more curious point of view.
Part of the series has been recently published in the book, Art Is Everywhere: How to Really Look at Things.
Lorenzo Servi (b.1979) is an Italian-born architect, visual artist and designer domiciled in Finland. He is constantly researching and analysing issues in everyday life and built environments. Servi has been a part of several group exhibitions in Finland and abroad, among others in the Finnish Museum of Architecture.
Sofia Okkonen: Rose
November 3rd, 2017 – January 2018
”The woman does not speak, she is spoken of. The woman knows herself only through what is said of her. The woman only exists in relation to being desired by her audience. The woman does not dream of anything, but the perception her audience has of her.”
Rose by Sofia Okkonen is a photographic foreplay and profile of a woman. It presents a woman isolated in a studio, posing for a camera. The model is like an amateur actor, who gets the script just as she arrives in front of the casting directors.
The photographs are loaded with a tension, born from the discrepancy between the physical presence and the emotional absence of the model. The woman is simultaneously inviting and rejecting the gaze.
The works pose sensitive questions about how the need to be seen correlates with the need to hide, how lust correlates with fear, the natural with the artificial or the banal with the sublime. How does a woman perform femininity, and to what consequences?
Sofia Okkonen (b.1987) is a fine art photographer based in Helsinki, Finland. Okkonen is currently completing her MA studies in fine art photography in Aalto University, School of Arts, Design and Architecture. In her works she explores the masquerade of beauty and femininity. Along with her art practices she is specialized in fashion photography. On one hand the ideals of beauty ever-present in fashion photography provoke her, on the other hand she is inspired by the roleplay, masks and fantasies they provide.
The Finnish Museum of Photography
The Cable Factory
Address: Tallberginkatu 1 C 85, 00180 Helsinki
Exhibition information: +35896866 3621
Office Tue-Fri 9-15, +35896866 360
Opening hours: Tue-Sun 11-18, Wed 11-20, Mon closed.
Admission fees: 8 / 5 €,
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