Category: Art

Pekka Jylhä, who made
his debut in Vaasa 1984, is one of the most important Finnish sculptors. In
addition to several exhibitions, he has become known through his many public
art works. One of them is Spring (Lähde), a monument built in memory of
the late president Urho Kekkonen, was unveiled in Hakasalmi park,
Helsinki in 2000.

The current exhibition
presents mainly works from the new millennium, but also some older pieces, and a
book on Jylhä's art has been recently published by Parvs Publishing.
For Jylhä himself, the exhibition is about looking back on what has been done.

"I am not sure
whether this is the end of something, or the start of something new",
Jylhä states. "My works are always taking me in unknown directions. It is
like I am in the middle of a stream and I just have to let it take me where it
wants to go."

One of the central
themes of the exhibition is the collision between human beings and nature. A
sadly literal example is the piece Revelation (Ilmestys, 2000),
which presents a golden deer situated on a cliff beside a motorway.  Clear conscience (Puhdas omatunto,
2007) shows another way people today are used to confronting animals: as
objectified goods. This piece brings together an expensive looking crystal
chain and economically worthless bunny. The financially oriented world
suffocates the bunny, conquers its living environment.

The white bunny is a
recurrent element in Jylhä's art works and it seems to speak strongly to many
viewers. Perhaps it reminds us of the vulnerability of  people as well.

“The only means for the
bunny to survive in this hard world, is being scared and staying on guard all
the time”, Jylhä says.

{mosimage}In many works the bunny
confronts big questions, but it always stays faithful to who it is: a timid
little creature, willing to understand and do its best. Perhaps the most
impressive piece with the white bunny, Lantern bearer (Lyhdyn kantaja,
1999-2000), occupies a whole room. The little bunny stands lit in the middle of
a dark room holding a mirror ball that reflects a rotating night sky. The
innocent little animal is holding an entire world on top of its nose, but it is
proud and confident.

Jylhä explains that
through his works he tries to tell stories that have touched him. The
autobiographical content has an important role in his work. The small rocking
chair, This side that side (Täällä puolen tuolla puolen,
1994), is based on a childhood experience: the nine-year-old Pekka Jylhä found
his mother dead in a similar chair.

“I was the first to
arrive and the chair was still gently rocking”, he states. “I wanted to make a
rocking chair that would never come to a halt.”

This side that side, with its everlasting movement, reminds us of
the preserving qualities of art, which become important in many artists' work.
For example, the most famous Shakespeare sonnet, Shall I compare thee to a
Summers day, is about the fading beauty of the beloved, which only the
eternal lines of a poem can preserve. Jylhä however, has a more humble view on
the matter:

"In this world,
nothing that was made by man is permanent, and that is probably for the
best", he concludes.

Jylhä continues by saying
that the autobiographical elements are a way of returning to experiences that
may have been forgotten, but are still present in him, and may even have been passed
on to his children.

Many of the works deal
with the big questions of life and in some instances, even give an impression
of a religious atmosphere. According to Jylhä, a lot of this experience is due
to the materials he uses:

“I try to use materials
that are pure and therefore naturally reveal a sacral impression. The symbolism
that comes with the materials is very central in my works.”

The choice of materials
such as water, crystal and stuffed animals; the use of light, living fire and the
colour white, create a very northern atmosphere. Walking in the museum feels
like walking in a wintry Finnish forest: ice and snow sparkling like diamonds
in the pale light of a frosty winter day. For a Finn the forest is like a
church: a peaceful and holy environment. Through Pekka Jylhä's work, the
peaceful harmony of the forest is passed on to the museum space.

Along with China's economic miracle and recent
development in the region as a whole, Asian contemporary art is on the rise as
well. Biennials and art festivals are numerous and ever growing and there's
increasing international interest – enough to constitute something of a boom in
Asian contemporary art. Kiasma's exhibition brings an interesting selection of
works to Helsinki.
”The purpose of this exhibition is not to cover the whole field of contemporary
art in Asia, but rather to present visitors with perspectives on it”, says
senior curator Marja Sakari from
Kiasma.

{mosimage} 

”The
three countries represented in the exhibition are quite different, but they
also share several characteristics, such as mounting pressure for change, vast
population, political conflicts and natural disasters, which cause these
societies to be in a constant state of transformation. There are questions of
how an individual fits into the larger scheme of things. All this in turn is
reflected in the artists' interpretation of their surrounding reality”, Sakari
tells us. Also in common are powerful traditions. Beneath contemporary
political and social preoccupations with global consumer culture and
modernisation, traditional culture and spirituality are present in many of the
works displayed.

Shanghai,
a swiftly growing urban expanse afflicted by an enormous population and a
building frenzy which leaves little trace of the city's vernacular history, is
home to two of the artists. Photographer Hu Yang lets us peek inside Shanghai households in
his photo series Shanghai Living,
which features ordinary Shanghainese from all walks of life photographed in
their living spaces with a short interview attached. The series offers a
compelling inside view of the human consequences of recent development in the
city's infrastructure and social fabric. Also hailing from Shanghai is Yang Zhenzhong, who represents a
new generation of Chinese artists who've grown up during China's open
door policy and economic prosperity and are well acquainted with new media and
technology.

Indonesia's
colonial past and history of 
authoritarian regimes is reflected in works by Yogyakartan artists Heri
Dono and Eko Nugroho, who deal with issues of political pressure and social
control with equally playful yet ambiguous ways. Since the fall of Suharto in
1998 there have been significant changes in Indonesia's political system but
images of oppression and blind faith in authorities are nevertheless vivid in
their art. Many of Dono's installations include puppet-like sculptures with
some robotic features producing sound and movement. The complex installation Political clowns represents his brand of
satire: a series of clown-faces with tubes drip-feeding urine to their heads.

Some
of the most puzzling and fascinating works are by Chinese artist Chen Zhen, who
died in 2000. Zhen moved to Paris
in 1986 and made most of his career in the west. Many of his works contemplate
on broad humanistic themes, but also on Asian art as part of the whole
international sphere of contemporary art. In fact, all the participating
artists are to some degree integrated into the international art world, but
mostly maintain focus on their local Asian realities and often draw on
traditional art forms. The surging popularity of Asian artists calls to
question our entrenched notions of the centre and periphery of contemporary art
in a most welcome manner.

The exhibition Wind from the East – Perspectives on Asian Contemporary Art opens
Feb 17 at Kiasma museum of contemporary art.

{mosimage}The floor
in the main atelier is made of tarred wooden blocks, a durable style imitated
from factories. In the glass vitrines by the wall there is a collection of old
oil paint tubes and brushes. Gallen-Kallela wanted the windows in the ceiling of
his atelier to point to the north, in order to lay a perfect indirect light for
painting all day long. When climbing up the staircase to the tower, and passing
by the bathroom with windows, you can imagine how the family members would
observe the atelier while having a bath.

An
adventurous and cosmopolitan artist, Akseli Gallen-Kallela felt at home
everywhere. He lived and worked in Paris, North America and east Africa. He
loved his home country deeply, and explored the roots of Finnish mythology during
long trips in Karelia. He constantly searched
for something genuine and exciting; native Indians in North America, and
kikujus in the present day Kenya. Thus he is often defined as a ´national
cosmopolite´. For Finns, he is most known as the illustrator of the characters
in Kalevala, the Finnish National Epic.

The
artist was an important influencer during the ‘Golden Era of Finnish Art’
between 1880-1910, along with Albert Edelfelt and Helene Schjerfbeck, amongs
others. During these Golden years, the ruling art tendencies were realism,
symbolism and above all national romance, as a result of the Finnish national
spirit raising its head before the independence.

Not only
a painter, Gallen-Kallela was also known for his graphics and furniture design
skills. For the World’s Fair in Paris in 1900 he had designed most of the
furniture and textiles for the Finnish pavilion, for which he was awarded and recognised
internationally. The fair is considered to be the first occasion when such a concept
as Finnish design was launched.

Often
many of Gallen-Kallela’s privately-owned paintings and the treasure-like
material he brought back from his trips are exhibited in the museum. Currently,
the museum hosts an exhibition of expressionist art entitled ‘Wound’ which is
on display until the 20th of May. Many of the pieces of art are created by
contemporary Finnish artists, such as Elina Merenmies or Mari Sunna. This
exhibition focuses on the personal and subjective experiences of the self, an
exposition concept envisioned by the painter Henry Wuorila-Stenberg.

After the
tour in the museum you can sip a coffee in the original Finnish wooden villa,
where the artist and his family used to live before building the stone castle
next to it.

{mosimage}

The museum is a masterpiece in itself. Because of the architecture: like many other buildings by famous Finnish architect Viljo Revell, Villa Didrichsen is not just another L-shaped building but a perfect blend of art, architecture and nature. And because of the location: built in 1957 on the shore of the Laajalahti, the villa enjoys a beautiful vista of the sea.

The history of the Didrichsen museum dates back to 1942 when Gunnard Didrichsen, a Danish businessman living and working in Helsinki, and his wife Marie-Louise bought a painting called ‘Ateria’ painted in 1899 by Pekka Halonen. At first, the couple focused on Finnish art of the 19th century, but they grew more and more interested in more modern paintings. In time, and sometimes with the help of Aune Lindstrom, at the time director of Ateneum, the Didrichsens ventured to purchase masterpieces like Pablo Picasso’s Artist at work, Wassily Kandinsky’s Church in Murnau, Fernand Léger’s Nature morte à la coupe, whilst increasing their collection of Finnish artists with the works of the likes of Helene Schjerfbeck – whose exhibition last year collected an impressive number of visitors and will soon tour Europe.

At the beginning of the '60s the Didrichsens also started collecting pre-Columbian and Eastern art pieces, now on display in the museum. In 1963 a foundation was settled to take care of the works of art and in a few years a new wing was added to the villa built by Revell. In September 1965 the museum was opened to the public, who could thus contemplate the family’s masterpieces. Already in 1968 it hosted the first exhibition with loans from other museums and galleries.

“The family was at the time living in the villa and Marie-Louise took care of the museum, from exhibits organization to tickets sale” tells Maria Didrichsen, head of exhibitions: “the last exhibition she organized before dying in 1988 was a Henry Moore memorial exhibition in January 1987. It was one of the first organized in the whole world, and the Didrichsen museum was able to do it because of the personal friendship that linked Moore and the Didrichsen family”.

Henry Moore’s masterpieces will return to Didrichsen in spring next year. Meanwhile, from January 27 to July 17 the museum will host Nella luce italiana – Italian valossa, a collection of paintings by Elin Danielson-Gambogi, a Finnish painter born in 1861, who lived part of her life in Italy. The exhibition will offer an opportunity to see paintings never shown before in Finland and to learn more about another interesting woman painter.

{mosimage}Now, for the
second round of Spring exhibitions, that will open from 8.2 until 29.4, that
path has been followed introducing one of the most remarkable figures in contemporary
Finnish art, and follower of the mathematical and geometrical lessons that
Malevich helped to spread around the world: Raimo Utriainen (1927-1994).

Utriainen´s fame
has crossed the national borders. His work can be contemplated in countries
such as Israel,
Norway
or Sweden,
and he was venerated in Japan,
where his abstract sculptures had an immediate success and exhibitions were
organized in Kamakura,
Kobe and Sapporo during 1978.

EMMA has had the
Raimo Utriainen Foundation Collection since October 2006, and with the upcoming
exhibition, the visitor will have the opportunity to contemplate a huge
different amount of material from the artist: 150 sculptures, drawings,
paintings, bronze portraits medallions and some other personal stuff that comes
mostly from the old artist’s studio that was located in Pitäjänmäki. In
addition, the WeeGee building itself, where EMMA museum is, appears as a
perfect surrounding for Utriainen´s work, having been designed by the artist´s
old friend, Aarno Ruusuvuori.

The opportunity
not only of observing his more famous side as sculptor, but also his paintings,
gives us an approach to a more personal drama in his lifestyle. Being proud of
his education with a solid background in mathematics and architecture,
Utriainen tried to hide his more romantic side as painter, where he could break
the limits that the formal structures in his sculpture represented. It was not
until 8 years before his death, in 1986, when he became older, that he allowed
this other side of his artwork to emerge in the public sphere, and show it in
public.

Utriainen, born in
Kuopio, was
mostly interested in developing public sculptures that would suit in open
spaces. He did not make many portraits, although the few ones conserved give a
clear example of his mastery in all kinds of art fields.

{mosimage}Another of his
major influences was the Italian artist Brancusi,
and belonging to the generation of artists that studied and wrote about public
monuments after the Second World War, he remained as quite a strict defender of
the Constructivism and Modernism theories. Even when the formalities of size
and design are very much remarked upon in his work, the forms that the light
reflects in some of his sculptures are very sensual and expressive. Some of the
works you can contemplate inside the exhibition reach around three meters high!
Some others even had to be kept out of the exhibition for lack of space.

As well, the
exhibition would give a unique opportunity to take a look at his development in
his work with different materials. From the bronze used in some works during
the 1960s, like his famous “Ida Aalberg Statue”, dedicated to the actress, to
the steel and aluminium of the 1970s with his particular and personal style of
statues perfectly balanced in size, and formed by slats.

And for the
visitor, a last surprise. Not only Utriainen´s influence can be seen inside the
EMMA walls. If you just pay attention, close to the main entrance, there is
surrounded by trees a statue based on Utrianen´s miniature design.

Born near Kiev in 1878, Malevich is with no doubt one of the pioneers of abstract geometric art. He was inspired by Cubism and Futurism until he gave birth to a new stage not only in his work, but in the whole history of art: Suprematism, a concept that alludes to the supremacy of form.

Hannele Savelainen, researcher at Emma museum, explains us: “Malevich was a great thinker, and behind his work there is a complex philosophical and artistic theory. He was filled with a great sense of mysticism. For example, the concept of “zaum”, which refers to things beyond the reach of rational, is very present in his art’s theory. In this way, the surface of the painting is considered as a field of energy, where the colours are alive. The surface becomes sacred”.

In the current exhibition you can see some of the most famous of Malevich´s work: the black square, the cross and the circle on white background. Although arranged on different walls, the group looks like it could possibly be a triptych (a work of art done in three separate panels, which usually would be hinged together). There, the energy is clear and condensed in the black surface, while the white background represents emptiness. As a peak in Malevich´s Suprematism theory, he even painted a white surface on a white background. Unfortunately, EMMA could not get any of these works.

Malevich was so immersed in his Suprematism philosophy that in the early 1920s he left painting for several years to focus on teaching. The new Soviet system under the Totalitarian control of Stalin never allowed him to come back to such radical Suprematism ideas, but he always managed to walk on the edge between the official art, and his own vision and theories.

He focused on basic geometric forms and bright primary colours. Observing the different periods and stages of his life and work through the exhibition in Espoo, you realize that he never abandoned the use of the same colours in his palette. {quotes}It can be an abstract composition, or the portrait of a peasant, but the same primary colours remain there as a very personal touch in his work.{/quotes}

The exhibition has more than 50 paintings of the artists, most of them borrowed from the State Russian Museum, which has collaborated very closely with EMMA. The different periods of the artist’s work are widely represented, from their cubism compositions, to his more radical Suprematism period, and coming back to depicting figures, in concordance with the Social Realism art that was sure to follow. But many other aspects of Malevich´s creations are covered as well: drawings, costumes designed for the futurist opera Victory over the Sun that was played in Uusikirkko, on the Finnish side of the border (and with a strong resemblance to the Harlequins painted by Picasso during his earlier period), sketches and designs for buildings and other objects, such as a curious teapot.

In contrast with the geometrical compositions, the portrait of his mother, painted in 1932 – three years before her death – shows a very warm image of a person who always supported him all throughout his artistic career. There, a more humanized concept is in his latest creative period, with a style that approaches the great classics of the Impressionism.

An amazing feature in Malevich´s work that the visitor can contemplate all through the current exhibition is that he was able to master different styles without ever losing his own personal perspective of art, and that is why he is and will always be remembered as one of the fundamental figures in contemporary art.