Tuesday 26. September 2017
Elina Brotherus at the Serlachius Museums
Exhibition Playground from June 15th 2018 to January 6th 2019.
Serlachius Museums has announced today a major contemporary photography exhibition for their season 2018: Playground by Elina Brotherus.
Playground focuses on Brotherus’ newest works since 2016. It includes both photographs and short videos. The exhibition is a larger version of her solo show currently displayed at The Centre national d’art et de culture Georges Pompidou in Paris. The Pompidou Centre exhibition as well as the accompanying book, Règle du jeu, are the result of her winning the prestigious Carte blanche PMU 2017 prize.
As a starting point for her new works, Brotherus uses Fluxus event scores from the 1960’s and other instructions that artists have written to explain how a piece can be made. After 20 years of self-representation, with these performative, absurd and playful works Brotherus turns a new page in her production. The works presented in Playground have not been previously shown in Finland. The exhibition is curated by Dr Susan Bright.
– Elina Brotherus is a well-known and much-liked artist at the Serlachius Museums. Her works were exhibited here in summer 2015 to a great success. We are enthusiastic to see Elina’s work again here in Mänttä, and hope to attract new audiences in addition to the large number of existing fans. Our wish is also to see this exhibition travel the world, Pauli Sivonen, Director of Serlachius Museums says.
– Serlachius museums is known in Finland for their exceptional and ambitious program. They have attracted several international super-star artists, and they regularly work with top Finnish contemporary artists such as the inspiring and influencial video-artist Eija-Liisa Ahtila. I am thrilled to be given the opportunity to continue my ongoing research around event scores, first introduced in Paris with Règle du jeu, and now shown in Mänttä on an even larger scope, Elina Brotherus says.
The exhibition Playground will take place from June 15th 2018 to January 6th 2019 at the Serlachius Museums in Mänttä, Finland.
The Serlachius Museums wishes to be at the forefront of contemporary exhibitions, dealing with current themes and phenomena in innovative and unconventional ways. The Serlachius Foundation benefits from a diverse range of works from its own collection, such as a large private collection of Nordic masterpieces, international Old Masters and accomplished newcomers. The foundation’s team of experts actively monitor the field of international contemporary art and draw parallels between their own collection and the contemporary art of today.
Located in the heart of the beautiful lakeside and forest Finland, the Serlachius Museums enjoy a setting of pure authentic nature and thought-provoking art. The visitors are invited to discover an exciting piece of Northern culture.
To find out more about the Serlachius Museums please visit http://www.serlachius.fi/en/
Contact : Susanna Yläjärvi, Information Officer, Serlachius Museums
+358 (0) 50 560 0156, email@example.com
Born in 1972 in Helsinki, Finland, Elina Brotherus works in photography, video and film. Her work has been alternating between autobiographical and art-historical approaches. Elina Brotherus lives and works in Helsinki, Finland and Avallon, France. She has an MA degree in Photography from the University of Art and Design Helsinki (2000). She started exhibiting internationally in 1997 and her works are in major collections including Centre Pompidou, Paris, Kiasma Museum of Contemporary Art, Helsinki, Moderna Museet, Stockholm, to name a few.
For more information: http://www.elinabrotherus.com/contact/
Dr. Susan Bright curates exhibitions internationally at institutions including: Tate Britain, The National Portrait Gallery in London and The Museum of Contemporary Photography, Chicago amongst others. The exhibition How We Are: Photographing Britain was the first major exhibition of British photography at Tate. The exhibition of Home Truths (Photographers’ Gallery and the Foundling Museum and traveling to MoCP, Chicago and Belfast Exposed) was named one of the top exhibitions of 2013/2014 by The Guardian and The Chicago Tribune.
Her published books include: Feast for the Eyes: The Story of Food in Photography (2017), Home Truths: Photography and Motherhood (2013), Auto Focus: The Self Portrait in Contemporary Photography (2010), How We Are: Photographing Britain (2007: co-‐authored with Val Williams), Face of Fashion (2007), and Art Photography Now (2005). She regularly writes for museums and monographic books, and contributes to numerous magazines and journals. She lives and works in Paris.
Friday 19. May 2017
Northern summer and eternal longing in the Serlachius Museums’ Summer Days exhibition in Finland
From 20 May, Serlachius Museums’ Summer Days exhibition presents eight prominent Nordic artists, who represent different generations and different approaches to making art. They are united by a landscape saturated with Northern colour and light, presented either directly or referentially.
The exhibition’s artists are Päivikki Alaräihä, Tor Arne, Einar Garibaldi Eiríksson, Andreas Eriksson, Peter Frie, Olav Christopher Jenssen, Anna Retulainen and Troels Wörsel.
Little has been seen of the painting of Nordic artists in Finland in recent years. Curator Timo Valjakka selected landscape as the theme of the exhibition, because Nordic art is, in essence, natural romantic. “Here in the North, urbanisation is still fairly recent, and the relationship to nature is always present, even if the artist does not particularly emphasise it,” he says.
Valjakka chose for the exhibition at least one artist from each Nordic country. They are among the leading artists of their own countries, but in Finland some of them are relatively unknown. They are united by references to landscape or natural perception, but always filtered by memory. Visual motifs of summer are highlighted in the works selected for the exhibition.
“Summer has mythical significance for us residents of the North. We dream about it and long for it, sometimes even when it’s summer. I was attracted to make an exhibition on a subject that is such an essential part of our identity that we generally are not even aware of it,” says Valjakka.
According to the curator, the bright and airy exhibition encourages one to look at art as one would read poetry. He hopes that it will convey the variety of summer’s day moods that the people of the North recognise. Nearly all of the works of the exhibition are the artists’ new production, many being presented for the first time.
Landscape as building material
“Landscape is food for works of art, not their subject matter,” says Finnish artist Tor Arne (b. 1934). Underlying Arne’s paintings are perceptions of nature, but he develops them into a holistic experience in which memory of the light of the landscape is only one element present in the works.
Swedish artist Andreas Eriksson (b. 1975) is inspired by the surrounding natural environment. Observations of everyday life are the basis of his works, which are situated somewhere between abstract and representational art.
For Danish artist Troels Wörsel (b. 1950), who lives in Italy, painting is simultaneously the focus and the instrument of inspection. He transfers the visual theme to the canvas in a manner that shifts the focus to the painting itself.
Memories of the past
Swedish artist Peter Frie (b. 1947) is a colourist who pursues half-forgotten memories. His works appeal to all the senses and in a manner that enables everyone to easily recognise their own memories and experiences.
Norwegian artist Olav Christopher Jenssen (b. 1954), who lives in Germany and Sweden, says memories of the landscapes of his childhood in Norway are continually present in his works as a kind of yardstick, although very indirectly and referentially.
The themes of Finnish artist Anna Retulainen’s (b. 1969) new works are from her own garden. Even so, she does not paint from models but from motoric memory, where visual perceptions and physical experiences of a beloved location are interwoven.
Mind games in landscape
Finnish artist Päivikki Alaräihä (b. 1981) extends the concept of painting in the direction of architecture. Simple shapes such as rectangles do not as such represent anything, but refer to architectural openings, doors and windows and further to the light that follows the seasons of the year.
Icelandic artist Einar Garibaldi Eiríksson’s (b. 1964) eight-part work turns the idea of landscape painting on its head and tells concretely about the painting of a landscape. The work consists of traffic signs found by the artist in different parts of Italy, which warn about road markings being painted.
Read more about the artists: http://www.serlachius.fi/en/for-media/press-releases/320-artists-of-the-exhibition-summer-days/
Summer Days is open at Serlachius Museum Gösta 20 May–1 October 2017.
The Serlachius Museums are open:
in summer 1 June–31 August, every day 10 am–6 pm (also at Midsummer)
in winter 1 September–31 May, Tuesday to Sunday 11 am–6 pm
For further information, please contact Timo Valjakka, tel. +358 40 548 4450, firstname.lastname@example.org
Monday 15. May 2017
Artists of the exhibition Summer Days
1984 born in Yli-Ii. Lives and works in Helsinki.
In 2015 graduated with an MFA degree from the University of the Arts Helsinki, the Academy of Fine Arts.
She has held several solo exhibitions and participated in several group exhibitions in Finland.
Her works have been included in the collections of Helsinki Art Museum HAM, the Finnish State and the Finnish Art Association.
2016 received a grant from the Finnish Cultural Foundation, in 2015 a Young Artist grant from the Finnish Art Association and the Toini Mäkelä grant from the Finnish Art Association.
Päivikki Alaräihä makes both stand-alone paintings on canvas and site-specific installations formed out of several paintings. She favours simple abstract forms, such as rectangles, that do not represent anything in themselves, but which contain references to the surrounding architecture, for example, to doors and windows. Her works are extremely reductive, and sometimes even appear to be empty surfaces. And yet the absence of detail is paradoxical: it tempts us into a long, meditative viewing experience and multiple conceptual interpretations.
1934 born in Turku. Lives and works in Helsinki.
1956–1959 studied at the Free Art School of Helsinki.
1966–1988 worked as a principal of the Free Art School Helsinki.
Several solo exhibitions and group exhibitions.
1975 received a visual art award from the Nyland region.
2011 a retrospective exhibition at Art Museum Emma in Espoo.
Tor Arne thrives in the border zone between the abstract and the figurative image, and amid broken colours, in areas where concepts are loose and things have no specific name. Besides that, he views language with suspicion. “Words are barriers, at least in the world that I spend time in.” One of the key elements in Tor Arne’s paintings is the painting process itself, with traces of it visible on the surface of the canvas. He does not plan his paintings carefully in advance, but brings various things together on the canvas and seeks out a point of origin in the encounter between them.
Einar Garibaldi Eiríksson
1964 born in Iceland. Lives and works in Reykjavik.
1986–1991 Studied at Accademia di Belle Arti di Brera in Milan.
1980–1985 studied at Iceland’s College of Art and Crafts.
From 1984 has held solo exhibitions and participated in group exhibitions in Iceland, Norway, Italy, France and Sweden.
Since 2015 Director of Visual Arts Department at the Reykjavik School of Art, and since 2012 guest lecturer at Iceland Academy of the Arts.
Einar Garibaldi Eiríksson’s Grand Tour is a work that constantly grows and develops. He began making it in Italy at the end of the 1990s. It consists of road signs that Eiríksson has found in various parts of Italy, signs that warn that road marking is in progress. Even if the visual motif is the same, each sign is a unique painting – the work of an anonymous hand. The simplified, black-and-white visual language of the signs comes close to the punchiness of pop art.
1975 born in Björsäter. Lives and works in Medelplana, Sweden.
1993–1998 studied at the Royal Institute of Art, Stockholm (1998).
2011 represented Sweden at the Nordic Pavilion of Venice Biennale.
2012 participated at the Sao Paulo Biennal, Brazil.
Several solo exhibitions and group exhibitions in, among other countries, Sweden, Finland, Denmark, Norway, Germany, Italy, England, Poland, Austria, France and the USA.
2007 was awarded the Baloise Art Prize.
Works included in many countries’ public collections.
Andreas Eriksson is a multi-faceted artist, whose production, alongside paintings and photographs, includes sculptures, tapestries and installations. Eriksson lives in the Swedish countryside, in a house surrounded by open fields and forests. The minor and major events and observations of everyday life serve as starting points for his work, and provide a powerful basis for their formal, conceptual and metaphorical structure. His works, as it were, float in the intermediate terrain between the abstract and the figurative image, which makes them both familiar and enigmatic at the same time.
1947 born in Lysekil, Sweden. Lives and works in Båstad, Sweden and in Phuket, Thailand.
1998 received the Ars Fennica award and gave a comprehensive touring exhibition in Finland.
Has been exhibited in several dozen solo and group exhibitions throughout Europe. His works are included, in, among others the collection of Moderna Museet in Stockholm, Kiasma, the Museum of Contemporary Art in Helsinki, and the Fries Museum in Leeuwarden.
Peter Frie is a poet of light, who in his paintings seeks to render the drowsy heat of a sultry summer’s day and the burnt-orange sun of evening sinking below the horizon. He is a colourist whose works speak to all of our senses. In them it is easy for anyone to recognise their own memories and experiences. Frie does not paint out of doors with his subject spread out before him, but from memory. For him the landscape in the painting signifies a state of happiness and wellbeing, in which experiences he has had as an adult and paintings he has seen are mingled with memories of the summers and happy moments of his childhood.
Olav Christopher Jenssen
1954 born in Norway. Lives and works in Berlin, Germany and Lya, Sweden.
1976–1979 studied at the National Arts and Crafts School of Norway.
1980–1981 studied at the National Academy of the Arts of Norway.
Works have been exhibited in several solo exhibitions and he has participated in group exhibitions in, among other countries, Norway, Sweden, Denmark, Estonia, Germany, Switzerland, Portugal, Spain, France and the USA.
Participated in Documenta IX in Kassel in 1992. Solo exhibitions in Ateneum in 1993 and in Kiasma in 2011.
Works have been included in the collections of MoMa in New York, British Museum and Pompidou Centre in Paris as well as many private collections in Finland.
Olav Christopher Jenssen’s production contains an astonishing number of ways that a painter can apply paint to canvas and draw shapes and patterns on its surface. Every broad survey of his art resembles a dictionary or encyclopaedia of abstract painting. For him, conquering new worlds of painting is a joy and a pleasure that carry his art forwards, and also catches hold of the viewer. Nordic nature and especially memories of the landscapes of childhood have always been important for Jenssen, who was born in northern Norway.
1969 born in Orimattila. Lives and works in Helsinki.
Studied at the College of Arts and Crafts and at Konstfack in Stockholm.
Works exhibited in solo exhibitions and group exhibitions in, among other countries, Finland, Sweden, Norway, Estonia, Britain and France.
1999 and 2014 nominee for the Carnegie Art Award and 2004 nominee for Ars Fennica.
2006 received the William Thuring Award.
Works included in public collections: Kiasma Museum of Modern Art, Helsinki Art Museum HAM, Amos Anderson Art Museum, Sara Hildén Art Museum, among others.
Retulainen paints by “imagining”, by observing the experiences and sensations inscribed in her memory. The paintings may, at first glance, appear not only abstract, but also swift and spontaneous. A closer look reveals fragments of space, light and the visible world, and the way that every work is the outcome of an extended working process. Retulainen’s paintings are like the ruins of experiences, delicate tissues of colour and form. They can be blurred images of the world, but they are exact renditions of the way that human perception and memory operate.
1950 born in Denmark. Lives and works in Cologne, Germany and in Pietrasanta, Italy.
Self-taught as an artist.
2002 won the Carnegie Art Award’s first prize.
2007 represented Denmark at the Venice Biennale.
Had solo exhibitions in, among other countries, Denmark, Norway, Germany, France and the USA.
Works included in public collections, for example MoMa in New York, Kiasma Helsinki, Pompidou Centre Paris, National Gallery of Denmark and Louisiana Art Museum in Denmark.
The starting points for Troels Wörsel’s works lie in his profound interest both in the history and nature of painting, and in its formal properties, along with the tools needed to make it. This being the case, painting is simultaneously both the focus of his inspection and the instrument for that inspection, something that he uses to probe the possibilities of painting. He is interested, for instance, in the way that the meaning of a painting is constructed on the level of form, technique, concept and symbol.
Friday 31. March 2017
Esther Shalev-Gerz´s exhibition Factory is Outside opens in Serlachius Museums in Finland
Esther Shalev-Gerz’s Factory is Outside will open on 1 April 2017 in Serlachius Museums, Finland. Extensive in scale, the exhibition comprises interweaving series of works that investigate how cultural identities are constructed and examine the role and status of traditional professions in a world that is global and undergoing a rapid digital transformation.
Paris-based Esther Shalev-Gerz (b. 1948) is known for her consistent investigations into memory, history, nature, democracy and the construction of cultural identities. She sets out to challenge conventional notions of art and artistic practice and considers how art may contribute to contemporary discourse on the politics of representation.
Shalev-Gerz’s art takes the form of an active dialogue with others; it is a process of consultation and negotiation that ensures that the individual and collective memories, stories, opinions and experiences of her participants are visible and indeed highlighted in her works. She is interested in the fluctuating nature of time and space, and the interrelationships between identities, places, history and narratives. Her art is a process of recording, critiquing and furthering our understanding of the social role and significance of artistic practice.
The themes of Shalev-Gerz’s exhibition are also relevant to the history of Mänttä, the small industrial town in Finland, where the exhibition is due to be held. For generations, the local mill has determined the structure and rhythm of everyday life. Consequently, the dramatic decline of the traditional manufacturing industries has had a significant impact on the community.
Work and identity in the global world
In her exhibition The Factory is Outside Esther Shalev-Gerz brings to Mänttä several works that were done in different places. Describing Labor (2012) was realized in Miami, USA about the rarity of the image of the worker. Potential Trust, (2012–2014) was conceived in Detroit, a former dynamic industrial city that its heart is only now starting to beat again.
Sound Machine (2008) was realized in the small town of Norrköping, Sweden, about women’s life in a factory that was located in the heart of the city. The Last Click (2010–2011) was commissioned by the museum for photography in Braunschweig, Germany where this museum replaced in a way the industrial production of Rollei cameras. Dead Wood (2016) was realized in a town of 800 inhabitants living in the middle of nature and history for the 30th anniversary of their contemporary art center.
And Les Inséparables (2000) is a double-clock with one side going to the future and one side to the past. It was conceived and exhibited on the roof of the Bauhaus University in the small city of Weimar that is existing between culture and history, be it the presence of famous writers, the Republic of Weimar or the concentration camp of Buchenwald.
– In spite of all differences, what is interesting is how much the world has in common. This exhibition is about the rainbow that takes us from our identity as being of nature through the production in industry and into the other side of the mirror, into culture, Esther Shalev-Gerz says.
– This cyclicality of nature, industry and culture is going backward and forward in time where we use art to look at what just happened, what we went through and to reflect on the future. And today even with globalization and media, what is important is the very personal and its uniqueness. That is what my art shows when we listen to the participants in my projects, each contribution is unique even though they all speak about a common subject. And that is the beauty of bringing these installations here in Mänttä.
The exhibition is curated by independent writer and art critic Timo Valjakka.
The Factory is Outside is open 1 April 2017 – 1 April 2018.
Serlachius Museums are open:
11:00–18:00, Tuesday to Sunday during the winter season 1 September–31 May
10:00–18:00, Monday to Sunday during the summer season, 1 June–31 August
For further information, please contact:
Timo Valjakka, +358 40 548 4450, email@example.com
Friday 3. February 2017
Riiko Sakkinen brings European refugee crisis to Serlachius Museums
“If you demand that Europe’s borders be closed, you are not following your time. Our borders have already been closed, with concertina wire that tears both flesh and clothes. The Iron Curtain of the Cold War was a toy compared to the present border fences of Europe,” says artist Riiko Sakkinen in his Closing Borders exhibition, which opens to the public on 4 February at Serlachius Museums in Finland.
Sakkinen’s words are based on what he himself has seen and experienced. In 2016, together with the curator of the exhibition, Director of Serlachius Museums Pauli Sivonen, he toured Europe's external borders: to the African cities Ceuta and Melilla, which belong to Spain, the Greek archipelago, the Balkan routes and, finally, the demolished refugee camps in France.
During their travels, the artist and the curator saw refugees and migrants trying to reach Europe, their path blocked by metres high fences and razor-sharp concertina barbed wire. They saw refugees placed in conditions reminiscent of concentration camps. They saw refugees in the border zone of two countries, stuck in no-man’s-land, living in makeshift tented villages.
On reaching a new hotel, Sakkinen always asked for writing paper bearing the hotel’s logo and began to sketch what he saw. The exhibition’s key works are also enlarged prints of the drawings made on the writing paper, and which he added to later. In them, Sakkinen addresses the issues encountered by the refugees as well as the attitudes of the indigenous population towards refugees and migrants from the Middle East and Africa.
Car, barbed wire and swimming toys
Sakkinen is a political artist. He finds the subject matter for his images in entertainment and consumer culture: comic strips, packaging and advertising. The multi-layered and provocative works contain references to history and social ills: attitudes and racism. All of the exhibition’s works have texts that open up their details but leave interpretation to the viewer.
The exhibition also features objects. At ceiling level runs concertina barbed wire, manufactured by a company in Malaga that has rapidly increased its sales. To the soles of worn-out training shoes have been attached heavy-duty screws, with which people attempting to reach Europe tried to climb over a barbed wire fence. In the centre of the exhibition space is a car that asylum seekers arriving in Finland from Russia left after crossing into Finland in winter 2015–2016. The Finnish state auctioned the cars accumulating at the border, and one of them ended up in Mänttä.
The exhibition also has children’s swimming toys, on which is printed “This is not a life-saving device”. Sakkinen collected them from among the tens of thousands of life jackets abandoned on the shores of the island of Lesbos. Over a couple of years, hundreds of thousands of refugees from Syria, Iraq and Afghanistan have passed through Lesbos, crossing the sea between Greece and Turkey in densely packed boats.
From the fate of a single person to a phenomenon
Sakkinen does not highlight in his exhibition the perspective of a single refugee or migrant. Instead he addresses the state of being a refugee or migrant as a phenomenon and tells how Europe has responded to it.
The artist says that when preparing the exhibition he read the Universal Declaration of Human Rights, adopted by the United Nations in 1948. Under the declaration, everyone has the right to seek and to enjoy in other countries asylum from persecution. Similarly, everyone has the right to freedom of movement and residence within the borders of each state.
“The Declaration of Human Rights is, in practice, no longer in effect. It is not protecting people in distress that are coming to Europe,” he concludes.
In connection with the exhibition, there will be a publication written by Pauli Sivonen, which will appear in summer 2017. It is a kind of travelogue, which arose when the men discussed each evening the day’s experiences. At the same time, it casts light on the stages of the exhibition process, which went through many twists and turns.
Sakkinen is himself a descendant of evacuees who left Finnish Karelia after the Second World War. He lives and works in Spain. In the exhibition, he is saying what kind of Europe and world he would like to live in.
“I want a world where there are no borders and where people can freely choose their place of residence. I want a world where people have the right to move but, above all, the right not to move. I want a world where no-one has to leave home because of war, violence, persecution or poverty.
The exhibition is open at Serlachius Museum Gösta from 4 February 2017 to 7 January 2018.
The Serlachius Museums are open in the winter season, 1 September–31 May, from Tuesday to Sunday 11 am–6 pm.
- 26.9.2017 Elina Brotherus at the Serlachius Museums
- 19.5.2017 Northern summer and eternal longing in the Serlachius Museums’ Summer Days exhibition in Finland
- 15.5.2017 Artists of the exhibition Summer Days
- 31.3.2017 Esther Shalev-Gerz´s exhibition Factory is Outside opens in Serlachius Museums in Finland
- 3.2.2017 Riiko Sakkinen brings European refugee crisis to Serlachius Museums
- 4.11.2016 Marita Liulia´s exhibition Golden Age opens at Serlachius Museums, Finland
- 22.9.2016 Marita Liulia´s exhibition Golden Age to the Serlachius Museums, Finland
- 27.5.2016 Mark Wallinger exhibition opens in Serlachius Museums, Finland
- 29.10.2015 Helene Schjerfbeck’s work Robber at the Gate of Paradise to Serlachius Museums in Finland
- 2.10.2015 Major Anselm Kiefer exhibition to open at Serlachius Museums in Finland
- 18.6.2015 International architecture experts assess Serlachius Museum Gösta’s Pavilion
- 12.6.2015 Touching from a Distance and Vision 2015 open Serlachius Museums’ summer
- 15.5.2015 Serlachius Museums presents a major collection of Outsider Art
- 27.3.2015 A work of art from the Serlachius Museums’ collections has been authenticated as a genuine Claude Monet
- 23.1.2015 Neo-Rococo and Nordic Masters at Serlachius Museum Gösta