Konstnärer på residenset
Serlachius-residenset har valt 24 konstnärer, konstnärsgrupper eller forskare från 8 olika länder för år 2018. Residenset fick tilsammans 109 sökningar från 29 länder.
Konstnärer på residenset år 2018:
Ignacio Acosta, Chile
Kate Bae, USA/Sydkorea
Claudio Beorchia, Italien
Céline Berger, Frankrike
Winnie Chan, Storbritannien
Unski Antti Immonen och Jussi Meuronen, Finland
Emmu Johansson, Finland
Mikael Kinanen och Vili Nissinen, Finland
Heli Konttinen, Finland
Esa Laaksonen, Finland
Johanna Lecklin, Finland
Sami Maalas, Finland
Marianna Milhorat, Finland
Maija Santala, Finland
Miya Sukune, Finland
Kalle Mustonen och Outimaija Hakala, Finland
Suvi Nurmi, Finland
Steven Randall, USA
Arbetsgrupp Turbida Lux: Pedro Riva och Lucila Mayol, Argentinien
Agita Steinberga och Andris Marackovskis, Lättland
Arbetsgrupp 1224 CLUB: Berglind Erna Tryggvadóttir, Island
Kimmo Ylönen, Finland
Jenni Yppärilä, Finland
Konstnärer på Serlachiusresidenset berättar om sig själv och om sitt arbete. År 2015 på residenset arbetar de nedanstående konstnärerna:
Tuike och Simo Alitalo, Åbo
Pirjo Berg, USA
Johanna Björkman, Helsingfors
Heidi Maria Björklund, Helsingfors
Sigbjörn Bratlie, Norge
Ninni Heldt, Helsingfors
Päivi Häkkinen och arbetsgrupp, Helsingfors
Raija Kallioinen och arbetsgrupp, Helsingfors
Nathan Kelly, USA
Ville Lenkkeri, Schweiz/Finland
Suvi Leukumavaara, Helsingfors
Jolene Mok, Hong Kong
Takeshi Moro, USA
Christoph Mügge, Tyskland
Pälvi Myllylä, Valkeakoski
Auri Mäkelä, Tammerfors
Mayumi Niiranen-Hisatomi, Kajana
Julia Norton, USA
Suvi Nurmi, Helsingfors
Jonna Salonen, Helsingfors
Sanna Sarva och arbetsgrupp, Helsingfors
Antero Toikka, Helsingfors
Ashley Williams, USA
Ilkka Väätti, Tammerfors
I am a 31 years old Japanese artist, permanent living and working in the city of Kajaani which is about 400 km to the north. I work with all kinds of medium such as painting, installation and site-specific art.
My first visit in Finland was in 2006 when I was still Mayumi Hisatomi. I stayed at the printmaking and photography centre in Jyväskylä for about two months at their artist residency programme during my research studies at Osaka University of Arts. Now I am Mayumi Niiranen-Hisatomi here in the world since 2008. Serlachius residency is my 2nd experience as artist-in-residence.
My life in Kajaani is about getting up from my bed and eat and go to my studio and come back home and sleep. Mostly I meet only my husband and our cat everyday. One human, one cat and me is my life now. So here in Mänttä, you can a little bit imagine now, I am very actively meeting people and seeing all kinds of things existing in Mänttä. My brain is fully working of receiving all these things -Yes, I am very busy now!
My work plan is to make a series of paintings around the theme of Family Tree during my one month residency.
This project has started in 2012 and here in Mänttä I will delve deeper into creating the series of paintings using local newspapers and taking shapes of some objects or art existing around the museum area. The theme of this work is finding “multiplicity of one happening, person or object”. The completed and also unfinished paintings I make during the residence + the previous works will be presented as one installation work Family tree Il at the end of my residency at Aleksanter linna’s gallery space as one exhibition together with my colleagues Antje Pehle and Jolene Mok - the other current artist in residency. You are all welcome to visit our exhibition!
I was born and raised in Hong Kong. My whole life was grounded there before I headed to the U.S. to pursue a Master in Fine Arts degree in Experimental & Documentary Arts in 2011. At the time, I thought I would spend just 2 years outside of my home country then I would return and develop my career in the Arts there. Here and now, coming to the 2nd year after completing my MFA degree, I am writing this piece of self-introduction note in my studio on the top floor in an Art Nouveau building known as Aleksanterin linna, where locates in the centre of Mänttä.
Before starting my 2-month residency with the Serlachius in February 2015, I did a 2-month residency in northern Iceland in December & January after spending 4 months in South Korea for yet another residency during the summer 2014. I am not at all bragging about how great it has been to travel to here and there. Looking back, my solo travel from place to place was arduous, exhausting, even brutal, but it was genuinely exciting. The biggest discovery I get from my globetrotting is that I am able to develop a mindset for each of these very places that I visited for an extended period of time.
Meanwhile, I am intrigued by the idea of creating artwork while traveling. To me, only by immersing myself in estranging environments I could become more sensitive in unfolding my everyday life experience and encounters. So I very often set myself up in unconventional situations, which is a way to remind myself to be sensitive to my surroundings.
As an itinerant experimental filmmaker with video art background, I believe filmmaking should not only be about iterating interesting happenings, subjects and/or characters, but should also be about the way a filmmaker takes in and understands the core rationale of matters. The reason I am so drawn to filmmaking is that it offers me the chance to recover my vision retrospectively. With film shooting, I am offered a window that allows me to find what I missed while going back to things I have seen before. The rationale behind all of my film and video work is very much the same – they express my urge to see the world through camera eye in alternative ways.
Here in Mänttä, I hope to develop both site and character specific video works that resonate my residency experience in the Serlachius residency via locating and uniting the common voice between my vision and the environmental character that so attracted my attention. Through interacting with locals and venturing around the city, I look forward to exploring meaningful and unique stories that correspond with my interest and insight.
It always fascinated me to observe others being exposed to new conditions in an unfamiliar surrounding. For a number of years, I have subjected myself to that experience: Since winter 2009 I have spent several months as artist-in-residence in different regions of Finland. I was astonished by the seasons, the light and the magnificent landscapes. The tranquility and vastness are a stark contrast to my life in Berlin. I experience it as a wonderful enrichment for both my artistic work and my life as an artist, because these stays have proven to be great opportunities to get to know and engage with people of various backgrounds – people who create, communicate and promulgate art.
During my first residency at Nelimarkka Museum in Alajärvi in January and February 2009, I started the drawing project experiencing landscape, which captured Finnish landscape and nature. To explore the seasons, I continued this project in Alajärvi in autumn 2010 and as artist-in-residence in Ateljé Stundars in Sulva in summer 2012.
The series time shift from 2012 was inspired by and focused on Finnish interior: I collected pieces of wallpaper that I found in old houses and made drawings, in which I mimic signs of decomposition of interior design. My approach is beyond copying – I reuse those found patterns, shapes and colours to generate something new, something contemporary, something surprising. A single piece of wallpaper can be looked at as a snapshot of time, sometimes superimposed with a new layer of wallpaper as well as reprising traditional shapes.
During a stay as artist-in-residence in spring 2014 in Drake AiR Kokkola I endeavoured to connect experiencing landscape and time shift. This project is unfinished. To take it further, here, at Serlachius Residency Mänttä, I am keen to search for connections between shapes, colours as well as between natural, architectural surroundings and interior decoration.
My aim is to investigate connections between interiors and nature by layered, texturised drawings. I consider the village of Mänttä an ideal location to work on a new series, which plays on the richness of the locality. Having experienced all seasons in Pohjanmaa, it is stimulating to get to know the different landscape of Pirkanmaa, to have a connection to Serlachius Museum, its collection and the people who work here. Moreover, I look forward to further explore the Finnish art scene by visiting the museums and meeting staff, researchers, and curators.
I am a 41 year old, Norwegian artist, currently based in Poland. I work with installation, performance and video. My art practice has a conceptual and analytical undertone, and humour is an important part of it. A key ingredient in my way of working is what I like to call «the artist as anti-hero» – i.e. – the artist who desperately tries to create profound, deep-felt and groundbreaking work, but who usually fails miserably. This strategy accounts for a lot of the humour in my work, a strategy that allows me to see serious matters from an unexpected angle.
I am influenced by contemporary visual culture. My work is about the production of artworks in the midst of an overwhelming flow of TV, movies, advertising, fashion and cartoons. The artworks are often “filtered” through one or several layers of cultural references, but are ultimately about the search for a voice, both artistically and personally.
In my work there is also a distinctly hermeneutic approach to contemporary visual culture: It is often conceived in order to search for meaning in cultural phenomena.
Since I was a teenager, I have been very interested in foreign languages, etymology and grammar, to the point where today I can make myself understood in simple situations in about a dozen different languages.
Some of my art projects over the last few years have dealt directly with communication in a foreign language, in keeping with what I like to call “the artist as anti-hero”: I have embarked on performance projects where I first spend a year’s time teaching myself a foreign language, and then produce a video in which I, in a particular setting, try to communicate in this language. These videos focus on situations where access to meaning and mutual understanding is made extremely difficult due to lack of vocabulary, misunderstandings, bad grammar or bad pronounciation.
During my residency at Serlachius I intend to produce a video related to these topics. This time I have chosen to focus on poetry, and the way in which poetic language, rhythm and metaphors change in translation from one language to another. My starting point is that some poems are impossible to translate, some phrases and expressions are impossible to convey in a language whose grammar, sound system and rhythm is completely different. For my project I have given myself the impossible task to find out and explain why.