CLOSER – Linda Reif & Andreas Waldén

April 1st, 2014 by Oksasenkatu

5.4. – 20.4.2014

Galleria Oksasenkatu 11
00100 Helsinki Finland

Opening: 4.4.2014, 19:00
Visiting hours: fri – sun 12:00 – 17:00

closer_invitation-1

“schmerz in my herz
schmerz when i wake up
schmerz when i go to bed
and schmerz in between
my herz is in schmerz
because it is a schmerzherz
and a herzschmerz”

Linda Reif is an Austrian artist born 1980, living in Vienna. She graduated from the Akademie der Bildenden Künste in Vienna, department of photography, in 2010. Her art is strongly linked to an interest in the photographic medium and her working methods are reflected in the disrespectful and unsentimental way she approaches photography. Screen dumps, mobile phone, camera or homemade devices are all equally valid. With this simple strategy Reif manages to shift the focus of photography from only being a process of technical perfection to an artistic practice with human presence.

Andreas Waldén is a Swedish artist born 1979 currently living in Vienna. He graduated from Kuvataideakatemia Helsinki, painting department, in 2008. He works in a geometric-abstract tradition, even though his working process couldn’t be described as a very traditional one. His paintings, made up out of grids applied with ruler and ink, can be seen as non navigable, architectural spaces or cartographic non-sites. Mistakes such as ink stains, splashes and wrongly drawn lines are all allowed to be a part of the final work. In a tender way Waldén exposes the cracks in the abstract of the modernistic absolute.

Organized by Arvid Hedin

http://oksasenkatu11.fi/blog/
www.lindareif.com
www.andreaswalden.com

Tuukka Haapakorpi ja Sanna Korteniemi: Vedenalaiset joet/ Underwater Rivers

March 3rd, 2014 by Oksasenkatu

Näyttely on auki 7.-27.3.
Aukioloajat ti-pe 12-18
la-su 11-18

Tervetuloa!

underwaterrivers

Kesällä 1968 vedenpinta Sompiossa alkoi nousta. Lokan tekojärven alle jäivät Euroopan suurimmat aapasuot ja joet, jotka yhdistivät Sompion kyliä Lokkaa, Riestoa, Korvasta, Muteniaa ja Pillirantaa.

Haastattelimme ihmisiä, jotka vielä muistavat tekoallasta edeltäneen ajan. Näkökulma tässä näyttelyssä on nimissä ja paikoissa, jotka ovat jääneet veden alle, sekä siinä mitä kartat voivat kertoa – tai jättää kertomatta. Idea nimistön keräämisestä sai alkunsa tietoisuudesta, että Lappi on hyvinkin tarkoin nimettyä aluetta. Paikalliset ovat antaneet nimen jokaiselle joenmutkalle ja niityn kaistaleelle. Tämä nimeämisen tarkkuus asettuu vastakohdaksi sille ylimalkaisuudelle, millä etelästä tulleet kartoittajat ovat Lappia kuvanneet. Maan merkityksen mitätöinti- maan näkeminen ensisijaisesti luonnonvarana ja hyödyntämisen kohteena – on ollut myös Lokan allashankkeen taustalla.

Tuukka Haapakorpi and Sanna Korteniemi: Underwater Rivers

exhibition open: 7.-27.3.
tue-fri 12-18
sat-sun 11-18

During the summer of 1968 the water level began to rise in Sompio. The largest string bog in the Europe and rivers that united Sompio region villages Lokka, Riesto, Korvas, Mutenia and Pilliranta were drowned under the Lokka reservoir.

We interviewed people who still remember the time before the reservoir. The exhibition’s focus is in names and places that have been drowned and in what the maps can tell, or not to tell. The idea for collecting the names began with the insight that Lapland is quite thoroughly named region. The locals have named every bend of a river and every strip of a meadow. This thorougful naming contradicts the sketchiness of southern mapmakers. The voiding of land’s meaning -considering the land primarily as a resource and a target of exploitation – has also been behind the Lokka reservoir project.

PÄIVI’S POSSE – JOHN PHILLIP MÄKINEN

February 3rd, 2014 by Oksasenkatu

7.2.-2.3. 2014 to-su klo 14-18
OKSASENKATU 11

TERVETULOA AVAJAISIIN pe 7.2. klo 18-21!

kutsu John Mäkinen

Välillä Kastajan ja Lennonin  – World of John Phillip Mäkinen.
Teksti:  Viestarts Gailītis (suom. M. Mukailtu)

“Näyttelyn juuret ovat tummassa ajassa ” John Phillip Mäkinen hitaasti ja arvovaltaisesti ilmoittaa!

Huimausta. Istuu, kädet taskussa, yllään hattu, harmaa takki, farkut ja cowboy saappaat.

Hän näyttää apokalyptiseltä hahmolta Jim Jarmuschin elokuvasta tai Nick Caven laulusta. Velvollisuudentuntoiset  gallerian omistajat kokevat kiusaantuneisuutta siitä että taiteilija on saapunut haastatteluun humalassa. Tässä kunnossa on mahdollista puhua siitä, miten paljaana maailma on ilman helmikuuta.

On filosofinen ja meditatiivinen tunnelma.

Mäkisen silmissä maailma on paljas, ja täydellisesti kaunis. Verenhimoinen toimisto, palmu, metalli, noteeraus tulevaisuudentutkija Rey Kurzweil’iin. Hänen taideteokset ovat aineellisia ja käsinkosketeltava , kun taas keskustelussa taiteilija on  itse vaikeasti tajuttava; kuten juttelee kuin puolihullu profeetta. Välillä runoilee polysemaattisia lauseita, tai arvokkaita ajatuksia.

“Olen vetosivumerkitys – maalattu hopea – tyhjä silppuri – sivu menossa, mutta tuleva mustaa paskaa ulos .” “Ihmiset tulevat maailmaan ilman arvoja, kuten tyhjiä sivuja “, sanoo Mäkinen. ” Sitten tulee tietoa, osaamista ja riekaleita sinusta. Mustia murskajäämiä eläinten aivoista.”

Seuraavaksi viitataan kokaiiniin, juppien “polttoaineeseen”.

En voi vastustaa kysymystä; Onko John Phillip yleinen nimi Suomessa.

“Minun isäni on ihaillut John Lennonia, äitini Johannes Kastajaa “, hän selittää, ja yhtäkkiä tanssii pienin askelin. Kumpi näistä kahdesta hän on?. Nyt tanssii kastaja. “Dualistinen nimi on taiteilijalle  merkittävä. Hänen töissään, olemassaoloon liittyviä kysymyksiä hän ratkaisee popkulttuurin tasakokoisin muodoin. Työt ovat kauaskantoisia ja vilpittömiä. ”

Uskooko taiteilija Jumalaan ?

” Jumala on kuollut “, Mäkinen vastaa .

Kuinka hän kuoli?

Miten hän kuoli? ”

” Jumala on aina ollut kuolleena, mutta apinoiden pitää kontata .”  ” Onko aika täysin pessimistinen?”  “Rakkaus pelastaa maailman”,  taiteilija hymyilee.

LOVE,

J. Mäkinen

(kohtalokas hymy huulillaan.)

Between Baptist and Lennon. – In world of John Phillip Makinen.
by Viestarts Gailītis,

“The exhibition roots in to the age of dark” slowly and authoritatively announces John Phillip Makinen with a fatal smile on his lips.

Dizziness. Recumbent, to thrusted his hands into pockets, wearing a hat, a grey coat, jeans and cow-boy boots, he looks like apocalyptic character from a film of Jim Jarmusch or a song of Nick Cave. Dutiful owners of gallery obviously feel embarrassing about the fact that artist has arrived for the interview still drunk. Though there is an advantage – in this condition it is possible to talk about how balled up the world is without having a February.

He still is in philosophical meditative mood.

In Makinen’s eyes the world is balled up perfectly and pretty. His exhibition consists of careful Finnish design tradition kitsch objects, e.g., bloodthirsty office palm in metal with a quotation of futurist Rey Kurzweil. His artworks are tangible and palpable, whereas conversation with artist itself is elusive, like talking with a half-mad prophet in between poetic and polysemantic phrases you have to cache valuable thoughts. I appealed for the meaning of silver painted shredder with a blank page going in, but coming black shitty stuff out. “People come in to the world without values like blank pages” says Makinen. “Then comes information, knowledge and shreds you. From shredder comes out the black substance of animal brain.

Next to the head work a line of with powder – a reference to cocaine, the “fuel” of jippies.

I can not resist asking wether John Phillip is common name in Finland. “My father admired John Lennon, my mother – John Baptist,” he explains and suddenly after dancing a small step-dance proclaimes which one of two he is – “here is Baptist”. This dualism in name of artist is significant, in his work hard, existential questions he solves with homogenous forms of popculture. In the catalogue of exhibition he writes: “In general I find those works which do not seek the comfort of current aesthetics and fetish norms of that time as good, works that are seeking, far reaching and sincere. Sometimes though I like works that are just the opposite and flirt with everything that is current, simple, filled with the pleasure of the surface.”

Does artist believes in God? “God is dead,” Makinen responds. How did he die? Who killed him? “The brain of monkey. God has always been dead. But monkeys keep crawling.”

Is tiding fully pessimistic? “The love will save the world,” artist smiles disarmedly. But in the exhibition he does not admit that.

LOVE,

J. Mäkinen

Dlow- Piirustuksia rakkaudesta / Dlow- Drawings of Love

January 24th, 2014 by Oksasenkatu

dlow

Näyttelymme on ryhmässä toteutettua sensuroimatonta viivan sekä materiaalien kuljettamista paperilla ja tilassa. Leikimme suurella ja pienellä koolla, symboleilla, kliseillä, kehollisuudella, sarjakuvallisuudella, automaation esiin tuomalla alitajuisella kuvastolla ja sotkulla. Pienet mustepiirrokset muuttuvat kehäradaksi ja varjot viiltävät piirustuksia tilaan.

-Joonas, Kalle Juhani ja Timo-

Dlow on kolmen helsinkiläiskuvataiteilijan, Joonas Jokirannan, Kalle Juhani Niemisen ja Timo Kokon muodostama ryhmä.

12.1.- 2.2. 2014
Galleria on avoinna Ke-Su 14-19

Tervetuloa avajaisiin lauantaina 11.1.2014 Klo 18-21!

Our exhibition is a group effort of uncensored drawn line and material shifting between paper and space. We circle around ideas of small vs. big, symbols, clichés, the physical body, comics and the automation of the subliminal imagery and trash. Small ink drawings form an orbit and shadows are incising the space.

-Joonas, Kalle Juhani and Timo-

Dlow is a group formed by three Helsinki based artists, Joonas Jokiranta, Kalle JUhani Nieminen and Timo Kokko.

12.1.2014- 2.2.2014
Gallery is open Wednesday- Sunday 14-19

Welcome to the opening on Saturday 11.1.2014 at 18-21!

Taneli Rautiainen: n°8

November 6th, 2013 by Oksasenkatu

No8

Taneli Rautiaisen teos n°8 on kaupunkisinfonia marraskuisen Helsingin pimeille ja autioille kaduille. Teos on yhtäaikaisesti esillä galleria Alkovissa sekä Oksasenkatu11 galleriassa 6.11. ja 24.11. välisenä aikana.
- – -
Artwork n°8 by Taneli Rautiainen is a city symphony for the dark and empty streets of Helsinki in November. The work is simultaneously presented in gallery Alkovi and gallery Oksasenkatu11 from 6 to 24 November 2013.

Dimanche Rouge Festival

October 19th, 2013 by Oksasenkatu

During the Dimanche Rouge Estonia-Finland-France festival Oksasenkatu 11 will be host to three long duration performances, one urban dance intervention and an improvised electronic orchestra of homemade instruments. For more information about the festival see: www.dimancherouge.org

-

Saturday 19th October:

Klo 11:00-17:30 Peter Shaw (Canada), Corporal Outis (USA) // long durational performances

Klo 13:00-17:00  Vloeistof (Netherlands) // urban dance performance starting outside Oksasenkatu 11

Klo 17:00-17:30 Krachkisten Orchestra (Germany) // sound performance with homemade instruments

-

Sunday 20th October:

Klo 11:00-18:00  Jeffery Byrd (USA), Corporal Outis (USA) // long durational performance

********************************

THIS IS (NOT ABOUT) EXPERIENCE – Peter Shaw (Canada)

For the first six hours, there will be a camera on a tripod, so that the audience may photograph and/or video the performance. The artist will start out in blue socks, blue pants, blue shirt, and blue mask. He will, then, spend another six hours constructing a suit from chicken wire, with himself as mold. He will replace, piece by piece, the clothes with the wire. Starting with the feet, then going up towards the head, ending with the arms, he will cage himself as tightly as possible. Finally, the artist will put the blue clothes on top of the wire suit. Sealed in, he will leave, taking everything with him in a suitcase. He will then walk for 3 kilometers to the city centre, and begin to remove the chicken wire, stepping on it, and placing it back in the suitcase.

Peter Shaw was born and raised in Ottawa, Canada. Currently studying in the Theatre Department at Concordia University, Montreal, he has also worked on public performance interventions in Berlin and Erlangen, Germany. He frequently performs as a solo artist, but has worked on larger group theatre and performance projects.  Shaw has also worked with sound installation, video art, and electroacoustic music. His performance practice attempts to explore various degrees and thresholds of pain and endurance, as well as researching and redefining methods of documentation, reception, and interaction.

http://dimancherougefestivals.org/2013/09/05/peter-shaw-canada/

********************************

Welcome to the Outside World by Vloiestof (Netherlands)

On Saturday 19th October 13:00-17:00 dutch dance company Vloeistof will perform ‘Welcome to the Outside World’ nearby Oksasenkatu 11. The meeting point for the performance is Oksasenkatu 11 gallery where a festival attendent will assist audiences.

“A dance experience that provides you with a different perspective on dance”.

We would love to invite you to participate in ths special urban dance experience, taking place in a secret location in the streets of Helsinki….

Times: 13:00 / 13.45 / 14.30 / 15.15 / 16.00 / 16.45

The audience view the performance from inside a car: 5 spectators per performance (6 performances a day)

Participation is free but advanced registration is required. To reserve your place please send an email with your name, number of places you wish to reserve and preferred time and date to publiciteit@vloeistof.nl

‘Welcome to the Outside World’

In a car you can surreptitiously and unabashedly spy on the passersby. You are part of the whole, but separated from the outside world. Protected by the cage of glass and steel you are an anonymous voyeur who sees and experiences intimacy. You become aware of yourself as a voyeur. Vloeistof places its dancers in the un-orchestrated reality of a road. Cyclists, cars, trucks and pedestrians pass by. The frame of the window provides the cadre though which all things seem to have a purpose. What do I see? Where should I look? Who is a part of the plot? Who is watching? What are my expectations? In this setting Vloeistof uses a suspension that teases. With subtle distortions and interventions the choreographer-duo in a striking manner discloses behaviour in the urban environment.

http://www.vloeistof.eu/

********************************

Krachkisten Orchestra (Germany)

The Krachkisten Orchestra produces improvised electronic sound using homemade analogue instruments, and incorporates the styles of various genres including noise, polka, electro  and hip hop. The Krachkisten Orchester’s homemade instruments were inspired by Luigi Russolo, who invented the “Intonarumori” over a 100 years ago. Each instrument has a unique sound generator, taken from toys, alarm systems and simple laboratory instruments.

The Krachkisten Orchestra is a German-based group that was founded in 2009. Consisting of between 9-15 members, the ensemble is constantly growing and searching for non-musicians or dilettantes and new monophonic sounds. Tintin Patrone (Christina Köhler) is a German musical instrument sculptresses, musician and performance artist. She resides and works in Hamburg. Inspired by Punk Rock music and attitudes, Tintin Patrone examines the interface and coherence between music, art, sound and gesture, using methods of Futurism and Fluxus. She operates in an area of art and music ranging between the activities of an instrument maker, performance-artist and ‘krachmacheur.’ Above all, she is concerned to create free space which is marked by self-determined creativity and a feeling of responsibility for one another.

www.tintinpatrone.com /
www.dimancherougefestivals.org/2013/09/05/krachkisten-orchestra-germany/

********************************

If you can dish it out, I can take it – Corporal Outis (USA)

In “If You Can Dish it out, I Can Take It,” Corporal Outis will watch several other durational performance works presented in the festival from beginning to end.  He will be anonymously (but conspicuously) dressed in the white shiny armor of a Stormtrooper. Most people wander in and out of durational performance works, watching only bits and pieces.  Corporal Outis will dedicate himself to watching them in their entirety, an
endurance performance in its own right, where the audience member’s gaze is a form of active, constant surveillance. You are welcome to watch Corporal Outis as he watches the other artists’ performances.

Corporal Outis is a conceptual and performance artist interested in mapping systems of being and perception onto one another, exploring the points at which those systems are analogous and the points at which they are not. CO’s work tends to be characterized by a sense of humor, an exploration of the aesthetics of presentation, and a tension between data and phenomena. CO makes work that is friendly and accessible to the average person while also posing experimental propositions about the field for consideration by other artists. CO believes art can be entertaining without sacrificing its sophistication or depth.

********************************

Symphony #3 (480 Beautiful Notes) – Jeffery Byrd (USA)

“One of the great challenges of modern life is to find beauty and meaning in our daily existence. So many of us live with boring routines that we complete simply to awake tomorrow and do it again. I would like to create a performance that engages these issues. Ordinary Post-It notes are normally used for the most mundane communication. Can these small and lovely bits of paper be employed to create poetry? Can repetitive action lead us to beauty?”

Jeffery Byrd is a performance and video artist who has presented work all over the globe. He has exhibited in over 75 group exhibitions and 15 solo exhibitions, and has performed at such notable venues as the Lincoln Center in New York and the Institute of Contemporary Art in Boston. Byrd is a frequent lecturer at art schools and universities, including Parson’s School of Design in New York, University of the Arts in Philadelphia, the School of the Museum of Fine Arts in Boston and the School of the Art Institute of Chicago.

www.jefferybyrd.com / www//dimancherougefestivals.org/2013/09/05/jeffery-byrd-usa/

********************************

Jon Irigoyen: There’s always room for one more.

September 30th, 2013 by Jaakko

My PhD_web

OPENING FRIDAY 4.10 18.00- 20.00

EXHIBITION OPEN  5.10 – 26.10 WED-SAT 12-18

There is always room for one more.

The first idea that comes to our mind when we speak of tableware is an artifact to serve the food and drink we consume every day. We should, however also be aware of its other, more powerful and symbolic meaning where different social, political, and class values inextricably merge.

How about creating our own tableware with our symbolic and personal imagery, leaving to our descendants values and images completely different from the ones associated with traditional tableware, with its class, political, and traditional weight?

At these times of the postmodern society, few things play as influential role in our lives as consumerism does. Consumption is intimately tied to the creation and production of a sense of self. All objects we consume have a sign class, the creation of our own objects, in this case in a dishware, confronts these dynamics by making a “Do It Yourself” production process.

This allows us to break free from the social and family load that we irrevocably carry, by creating our own set of values and beliefs, outside the capitalist and consumerist ones we have been indoctrinated with since our childhood.

The words and images I have printed for my new own dishware, are representations of scenes happening all around the South of the World / Europe. They are also my everyday life statement. They show situations of the newly real world and global crisis in places as Brazil, Spain, Italy or Greece, in contrast of the apparent well-being, abundance and ease of the North European countries.

In addition, quotes from philosophers such as Michel Foucault, Jean Baudrillard or Franco Berardi in some of the pieces, allow us to understand the real condition of our society. A semio-capitalistic consumer society of control, mass production, biopolitics, simulation… In conclusion, a reality Baudrillard would define as “the desert of the real”.

Bon appétit.

welcome to Barcelona

Heikki Räisänen: Työpiirustuksia

September 16th, 2013 by Jaakko

1241013_10151819831648559_1610162880_n

AVAJAISET/OPENING 20.9. 18:00-21:00

********************************

Kuinka piirrokset ovat syntyneet

Olen vahtimestari. Työni on asiakaspalvelua ja vahtimista, mikä tarkoittaa useiden tuntien paikallaan oloa. Yksi työn haasteista on paikallaan olemisen sietäminen. Siihen on sopeuduttava. Tähän on kaksi vaihtoehtoista tapaa: voi joko täyttää paikallaanolonsa pienillä askareilla tai harjoittaa istumameditaatiota. Aloittaessani vahtimestarina ajattelin lukea kirjoja. Kirjojen lukeminen ei itseltäni luonnistunut kuin osan aikaa, koska pitää olla varautunut ottamaan vastaan ihmisiä ja olla valmiina suorittamaan työhön liittyviä palveluksia. Kirjaan uppoutuminen ei ole mahdollista.

Vahtimestarin käsien ulottuvilla on paperilappuja ja erilaisia kyniä sekä muita toimistotarvikkeita. Kuin huomaamatta aloin piirrellä ja sutata paperilapuille. Annoin piirroksia kirjastossa käyville ystäville. Sain tietää, että kirjastossa on skanneri, kun minun piti käyttää sitä johonkin viranomaistarkoitukseen. Kokeilin piirrosteni skannausta. Siitä muodostui pikkuhiljaa työpäivää rytmittävä rutiini. Tein työpisteessäni nopeita piirroksia, kävelin skannerille, josta piirros siirtyy sähköpostiini ja avasin piirroksen Paint-ohjelmalla.

Piirroksen syntyresepti:

1 käsin piirtäminen
2 skannaus kopiokoneella
3 tiedoston avaus Paint-ohjelmalla ja kuvan rajaus
4 julkaisu facebookissa.

Paint-ohjelma on yksinkertainen piirrosohjelma. Sattumalta se ei kyennytkään lukemaan skannerista tulevaa tiedostoa vaan avatessani tiedoston ohjelma muutti satunnaisesti piirustusta. Se pikselöi piirustuksen ja voimisti ja muutti värejä sekä kadotti osan viivoista tai lisäili viivoja. Minua alkoi viehättää piirosten satunnaisuus ja muutosten kauneus. Jäin jumiin tähän työpäivää miellyttävästi rytmittävään peliin. Tuhertelin istuessani ja kävelin välillä skannaamaan piirroksia.

Nykyisin kaikki roikkuvat työpaikalla sosiaalisessa mediassa. Tuntui luontevalta jakaa kuvia facebookissa. Vilkuilu sosiaaliseen mediaan rytmittää työpäivää. Työn kuvaan liittyy nykyisin tämä yhteysvälineiden luoma rytmi, työn ja työn ulkopuolisten suhteiden luoma vuorottelu.

Piirrän kuvan, skannaan, jaan sen sosiaaliseen mediaan ja käyn välillä vilkuilemassa miten ihmiset reagoivat piirrokseeni. Tuntuu hyvältä kun ihmiset tykkäävät. Kun piirroksien virta alkoi olla tasainen, ihmiset kommentoivat ja likettivät piirroksia myös live-kohtaamisissa. Useita kiinnosti nähdä kuvat fyysisesti paperilla. Koska tietokoneen ja skannerin osuus piirrosten tekemisessä oli merkittävä, en ollut kiinnostunut varsinaisista paperilapuista. Useimmiten fyysiset piirrokset olivat huomattavan tylsiä ja huonosti onnistuneita. Ne muuttuivat kiinnostaviksi ja kauniiksi vasta tietokoneohjelman tekemän sattumamuokkauksen jälkeen.

Työskentelyni kehittyi siten, että piirtämisen kohde ei varsinaisesti ollut paperille muodostuva kuva vaan skannauksen ja tietokoneen ohjelman tuottama satunnainen lopputulos. Siksi tuhosin aina alkuperäisen piirroksen rutistamalla ja heittämällä sen roskakoriin. Sanoin ihmisille, että piirrokseni ovat virtuaalisia, niitä ei ole olemassa paperilla. Tämä ei tyydyttänyt yleisöä. He halusivat nähdä alkuperäiset kuvat. Nyt piirrokseni ovat paperilla, mutta en voi kutsua niitä alkuperäisiksi.

Heikki Räisänen

https://www.facebook.com/events/227709757384618/

translation in english:

How the drawings are born

I am an attendant. My job is customer service and to watch, which means being present in a single place for several hours. One of the main challenges is to tolerate being still. You have to adjust yourself to it. There are two alternative ways to do this : to either ease the passing of time with small things to do or engage in sitting meditation . When I started as an attendant I thought I would like to read books. Reading books was only possible for me part of the time, because you have to be prepared to receive people and be ready to carry out the work related to the services. It is not possible to immerse oneself in a book.

The attendants have access to pieces of paper and pens, as well as a variety of other office supplies. Without even noticing I started to doodle and scribble on pieces of paper. I gave these illustrations to my friends when they visited the library. I got to know that the library has a scanner when I had to use it for an official purpose. I tried scanning my drawings. Gradually this became a part of my daily work routine. I did quick illustrations at my work station, I walked to the scanner, which then sent the image to my e-mail and I opened the drawing in
the Paint application.

The drawing generation recipe:
1 hand- drawing
2 scan with the copy machine
3 open the file with Paint application and cropping
4 release on Facebook.

The Paint application is a simple drawing program. Incidentally, it was not able to the read the scanned image properly. When I opened the file in the file the program it had made random changes to my drawing . It pixelated the drawing and deepened and changed the colors, lost or added lines. I became attracted to the randomness and beauty of the changes. I was absorbed in the workday with a rhythmic game. Tuhertelin as I sat and walked every now and then to scan the illustrations .

Today, all the people in the workplace are hanging out in the social network . It seemed natural to share pictures on Facebook. Glancing at social media creates rhythm during the work day. Työn kuvaan liittyy nykyisin tämä yhteysvälineiden luoma rytmi, työn ja työn ulkopuolisten suhteiden luoma vuorottelu.

I draw a picture, scan it, share it with social media and then look back how people react to my drawing. It feels good when people like it. When the drawings were coming at a steady rate, people would comment and like the drawings during live encounters. A number were interested to see the pictures physically on paper. Because the computer and scanner’s role in changing the drawings was so great, I was not interested in the actual paper notes. In most cases, the physical drawings were remarkably dull and badly made. They became interesting and beautiful only after the computer program edited it.

My work developed in such a way that the drawing object is not actually the picture on paper, but the random outcome after scanning and a computer generated program. That’s why I destroyed to the original drawing by crumpling it and throwing it in the trash. I told the people that my drawings are virtual, they do not exist on paper. This did not satisfy the audience. They wanted to see the original pictures . Now the drawings are on paper, but I cannot call them originals.

Heikki Räisänen

JENNY SUHONEN : IHMISSILPPURI

August 23rd, 2013 by Oksasenkatu

ihmissilppuri

Performanssinäyttely / performance exhibition

AVAJAISTAPAHTUMA TAITEIDEN YÖNÄ,  22.8 klo 17-21
OPENING AT NIGHT OF ARTS Aug 22nd at 5pm-9pm

avoinna/ open 23.8-1.9
ti-pe / tue-fri 13-18 (performanssi / performance 16-18)
la-su / sat-sun 12-16 (performanssi / performance 14-16)

Kohtaamisia. Rajojen kokeilemista ja ylittämistä. Poistamista. Luopumista. Hyväksymistä.

Ihmissilppuri on osallistava performanssi -projekti, jota Jenny Suhonen on toteuttanut syyskuusta 2012 lähtien. Performanssi käsittelee poistamisen ja luopumisen teemaa konkretisoiden osallistujien abstraktit ajatukset (taakat, päätökset, pelot, unelmat tms.) edelleen työstettäväksi materiaaliksi. Osallistuja kertoo taakkansa, antaa sitä symboloivan rikottavaksi soveltuvan asian ja taakka silputaan osallistujan edessä. Lopuksi taiteilija säilöö syntyneen silpun Oksasenkadulla näytteille asetettaviin lasipurkkeihin. Suhonen silppuaa kaiken minkä pystyy käsin, jotta kokemus olisi mahdollisimman henkilökohtainen, kuitenkin myös työkalujen avulla tarvittaessa. Annettu materiaali silputaan ja rikotaan niin pieniin osiin, että on mahdoton tietää sen alkuperäistä muotoa, tai sisältöä. Tulevaisuudessa Suhonen rakentaa kerätystä materiaalista suuren tilateoksen kerätyistä taakoista.

Mielenkiintoisia ovat mm. hetki kun taakka annetaan poistettavaksi, silputtavaksi,  ja reaktio, kun silppuaminen on tehty. Ihmissilppuri-performanssi antaa osallistujalle mahdollisuuden pysähtyä ja hengittää, luvan tuntea, mitä ikinä tuntee. Taakka katoaa silputessa ja muuttuu pelkäksi jatkotyöskentelyyn sopivaksi materiaaliksi. Oksasenkadulla on esillä
ihmissilppurin aiemmin keräämät taakat. Taakoista rakennettu tilateos täydentyy näyttelyn aikana silputusta materiaalista.

Jenny Suhonen on helsinkiläinen taidemaalari ja performanssitaiteilija. Hänen maalauksiaan on ollut viimeksi esillä yksityisnäyttelyssä Galleria Katariinassa Helsingissä toukokuussa 2013. Lokakuussa Suhonen matkustaa teostensa kanssa
Berliiniin näyttelyresidenssiin.

www.cargocollective.com/jennysuhonen
www.facebook.com/Humanshredder
https://www.facebook.com/events/413704745402896/?fref=ts

TERVETULOA!

Encountering. Stepping over and touching borderlines. Removing. Letting go. Accepting.

Humanshredder is a participatory performance project that Jenny Suhonen has been practising since 2012. It deals with encountering, stepping over borderlines and letting away. Humanshredder collects people’s burdens. The goal is to lift some weight away from the shoulders of the person taking part to the performance. It can be a secret, a goodbye, letting go, accepting, making a decision, removal etc. The person comes, tells what she/he wants to share, wants to get rid of
and then gives the thing that symbolizes the burden to shred and destroy. The only request that the artist has for the material is that it somehow is connected to the matter and that it is possible to break. Hopefully after the
action the burden feels lighter to carry, maybe is even gone. Suhonen tries to shred everything  with her bare hands, but often she needs some tools. She wants the action to be as personal as possible, and Suhonen stores all the material for a large installation she will build when having enough material. The participant is asked to watch the shredding action.

Interesting is the moment when the burden is given to be shredded and the reaction after it is done. The performance gives the participants a possibility to stop and breath, as well as a permission to feel whatever they feel. The burden dissappears when shredded and becomes just material to be worked with. To Oksasenkatu Suhonen brings the material collected before and will build an installation, it will be completed with the material collected during the exhibition.

Jenny Suhonen is a painter and performance artist from Helsinki. Her paintings have been seen last in a solo exhibition in Gallery Katariina in Helsinki and in October she will pack her things and travel to Berlin to prepare a show.

www.cargocollective.com/jennysuhonen
www.facebook.com/Humanshredder
https://www.facebook.com/events/413704745402896/?fref=ts

WELCOME!

Dis/Appearance

August 6th, 2013 by Oksasenkatu

fin_verso

The exhibition explores the relationship between physical presence and the online experience.

It isn’t uncommon to experience artworks online, instead of in a physical exhibition setting, and the idea of online presentation of artists can be very dominant. Internet representation is almost unavoidable, and seems necessary, and it easily becomes an identity in itself. This was the starting point and main motivation behind the artist’s new body of work shown at Oksasenkatu 11.

After having re-photographed found photos for years, especially other people’s profile photos from Facebook and dating sites, the exhibiting artist has now turned towards found photos that have their origins in the artist’s own atelier.

The exhibited artist abandoned the concept of having a name in the beginning of this year, and has since then lived, as an experiment, without any fixed name. Consequently the artist exhibits only without a name during this period. This experiment can be seen as a performance of absence. In this gesture, or non-gesture, the artist aims to rise questions about the meaning of name, cultural background, and other categories with which people are usually typecast.

We look forward to welcome you at the exhibition opening on Saturday 10th August from 6p.m.

-

Näyttelyä varten taiteilija jälleenkuvasi teoksiaan, jotka löytyivä internetistä taiteilijan vanhan nimen perusteella. Näytteillä oleva valokuvat ovat täten uusia töitä yhdistäen taiteilijan menneitä taiteellisia pyrkimyksiä digivalokuvauksen ominaisuuksiin. Kuvien pikselaatio muuttaa ne puhtaasta dokumentaatiosta itsenäisiksi, aika abstrakteiksi kuviksi, ja saattaa jättää katseen esittävän ja abstraktin väliin.

Näyttely tutkailee fyysisen läsnäolon ja online-kokemuksen suhdetta. Ei ole epätavallista kokea taideteoksia internetissä fyysisen näyttelyn sijasta, ja taiteilijoiden presentaation idea siellä voi olla hyvin hallitseva. Internet representaatio on melkein väistämätontä, se tuntuu tarpeelliselta ja siitä tulee helposti itsestään identiteetti.

Vuosien ajan löytökuvia, erityisesti ihmisten profiilikuvia Facebookissa ja deittisivustoilla, uudelleen valokuvannut taiteilija on nyt kohdistautunut omien teostensa löytökuviin joilla on alkuperänsä taiteilijan työhuoneella.

Näytteille asettava taiteilija hylkäsi käsitteen nimestä tämän vuoden alussa, ja on siitä lähtien, kokeena, elänyt ja näytteilleasettanut ilman nimeä tämän ajanjakson ajan. Kokemus joka voidaan nähdä poissaolon ja puuttumisen performanssina saattaa nostaa kysymyksiä nimen merkityksestä, kulttuuritaustasta ja muista kategorioista joihin ollaan tavallisesti taiteilijana ja ihmisenä roolitetut.

Tervetuloa avajaisiin lauantaina 10.8. klo 18-21.

Näyttely on avoinna joka päivä klo 14-18.