Bells, tools and meditation are all ancient. When it has been confirmed by historic research, that tools and weapons were among the earliest bronze objects in China, the bells also now belong to this bronze age era. The meditative component has eminently added value and appreciation among the Asian arts. People are looking for nurture from art, and statuesque buddhas seem nurturing, even healing with their meditative poses. Massive sculptures are surrounded with the calm that is often lacking from the demands of the everyday life. The journey inwards requires little more participation.
Chinese bells have a special form that calls for a closer investigation. They are emblems of music, and when tried, the sound can be interestingly different from the Western terms of bell-sound. The church-bells have varying melodies, yet Chinese bells embody tones that are thousands of years old. It is believed, that the sound has not changed since they were casted. Bells still narrate of ancient technology as a soundsystem.
With the global travel, the world has shrunk, and meditation practices have become increasingly popular. We are at the moment pushed to scrutinize ourselves into increased indoor dwelling, so discovering new possibilities of meditative practices might be useful. Sound is one way to go, listening to music with new awareness, concentrating fully into music or sound may turn the focus into a particular matter. A ‘look’ inwards may be rewarding.
Meditation is a bodily practice of a mind as operator. A word techne would also fit with its stance of the world. Techne is a philosophical term, which includes knowledge at its core. By using it in reference to bodily practice, it might as well connect to understanding your meditation approach. Learn to meditate by meditating, gain knowledge of meditation by doing it. Knowledge is coming from the act and art of doing.
Sitting buddhas are art works that meditate, giving out a pose with a silent approach that is almost demanding us to participate in a technology of looking inwards, of stopping our other activities, breathing with the sculpture. The art stimulates the senses into a sole pattern of sitting with a more disciplinary attitude.
In 2018, a New York City poet Olena Jennings created poetry based on her family’s stories, attempting to visualise photography with words. The poems that resemble photography, carry them as frameworks of memory. In Olena Jenning’s THE MEMORY PROJECT:The memory comes before the poem. The poem comes before the art.
“I chose ink and paper for the poems. I chose fabric for the art. The poems are a small slice of time in which I experienced memories, many based on photographs in my grandparents’ photo album. I experienced the memories in 2018 and they were embellished by memories I was creating as I lived.”
Red and blue on the dresser,
dust in the folds,
stretching towards the dim lamp.
Click of lipstick cap,
spritz of perfume,
snap of purse,
and she will turn the light off.
The flowers will wither
into their dreams
and I will put my lips
into their centers,
ready to blow away pollen.
The yellow dust caught in my eyes,
when I see for a moment
from her perspective, I look out
onto the yard. I see myself
throwing a rubber ball into the flowers,
crushing their petals,
the place where I convinced
my little brother there was a snake,
there was something to fear.
To make up for my deception,
I gave him one of the plastic flowers,
deceiving him again, pretending
I bought it at the corner gas station
from which we had collected all
of our dishes with the points we got
from pumping gas. I want to make up
more than that now—absences
when I would become like that yellow dust,
a quiet star.
PAPER MAPS Olena Jennings
Even flat maps have texture.
They carry with them
someone’s memory of the streets.
I will walk near the water
to draw the places off the map
on the palm of my hand.
We used to make paper
out of recycled letters,
for a moment – wet,
on our knees
We mark our way to the castle
with the handle of a shovel.
We could live inside
our fairytale, find our way
despite the sand
in our eyes.
Poems and dresses by Olena Jennings. Photos of the dresses by Elvis Krajnak.
Finnish contemporary composer, oboist and music pedagogue Riikka Talvitie is an artist greatly influenced by her audience. She believes that the audience and community have an impact so important that there is a need for new notions of authorship and agency in music. Her compositions are brought into practice in performances, and so the discussion of the community’s role in collaboration is relevant. As a woman composer, Talvitie also wears an activist hat in society. Women are still in the margins as art music composers.
There are topics and ideas that Talvitie is ready to discuss more, and she collaborates with artists of many genres. She is currently in the process of doing her artistic doctorate in music at the Sibelius Academy, University of the Arts in Helsinki.
Firstindigo&Lifestyle: How did you pick oboe as your instrument?
Riikka Talvitie: As a child, I lived in Kerava, in a small town near Helsinki. When I was seven years old I started to play piano in a local music school which was founded in those years. (This autumn I am composing a piece for the 40-years celebration.)
When I was around 14-years old I asked our music teacher if I could start to play oboe in a school orchestra. In the orchestra, there was also an older student, oboist, who started to teach me. I didn’t know how difficult it was to start the instrument.
Later after school, I did entrance examination for Sibelius Academy with both instruments. I got in with oboe, which was a sort of coincidence. I also started to read mathematics at the University.
Firstindigo&Lifestyle: How much did your own instrument define and influence your creations in the early face of your career?
RT: I just did a video work Self-Portrait which is dealing with this question. The main thematic issue of the work is a relationship between a composer and a musician. I am performing both persons at the same time, so I am discussing with myself. I am also improvising some bodily exercises with the oboe. (See the video here https://fmq.fi/articles/composer-at-work-a-critical-self-portrait)
Firstindigo&Lifestyle: What else in your musical training and background created who you are, and what made you choose composing?
RT: I chose a high school, which was specialized in performing arts. All my friends had something to do with theatre, cinema, literature or dance. So while I was studying oboe playing I composed and improvised music to theatre plays and short movies. I was quite enthusiastic with these projects so I took composition as a secondary subject.
I was also quite interested about contemporary music in general. I played myself a lot and I was visiting many festivals.
Firstindigo&Lifestyle: How many years ago was this, and how has your career path evolved?
RT: I had my first composition lesson in 1994 in a summer course with Jouni Kaipainen and Magnus Lindberg. At that time I had lots of ideas and plans but no craftsmanship or technical skills. After the course I started to study really seriously.
The world might have been a bit different place in the 90’s because I was able to study composition quite long at the Sibelius Academy after I had graduated with oboe.
I have also been twice in Paris. First time I was studying oboe and composition at the conservatory of Paris. And the second time I was following one-year-course of music technology at Ircam.
Finally when I got my first child, in 2004, I stopped playing oboe because I didn’t have time to practise and travel anymore. In the video work I am quite strict to myself and ask: why did you stop playing? You did not think about your career? The answer is not that simple. This autumn I have some oboe performances coming so I am still dealing with the same question.
Firstindigo&Lifestyle: What words describe your music?
Firstindigo&Lifestyle: What kinds of themes do you usually develop in your compositions?
RT: Many themes and interests have changed during the years. When I was younger I got excited with mathematical ideas. Abstract world without social intrigues fascinated me in many ways. Then I have worked a lot with texts – poems, plays etc.
Nowadays, I am more into political and critical themes. I have a feeling that concert music is repeating some kind of old ritual where the most creative ideas are forbidden. Many things are not allowed, socially and aesthetically. I find this quite contradictory to the main purpose of art.
At this moment, my goals are more interactive and communal. I am preparing an artistic research about shared authorship and communality in a composer’s practice.
Firstindigo&Lifestyle: Are there ways to categorize contemporary music? Do contemporary works differ from modern music, say in tonality, and in aesthetical ways?
RT: I just read an interesting book Music After the Fall: Modern Composition and Culturesince 1989 by Tim Rutherford-Johnson. The writer argues that contemporary music is not anymore so much linked to modernism as we tend to think. instead, it should be analysed in the context of globalization, digitization and new media. He starts the new era from the year 1989. I recommend this book to all composers and musicians who are trying to define the state of contemporary music scene today.
I see some trends among composers. The growing use of video and multimedia is now very common in concerts all over. Also the question of material is changing. In modernism a composer created his/her own material on which the composition was built. Now, there is more liberal relation to musical material which can vary from different musical styles to short samples of already existing music or sound.
One of the most important changes is the effect of social media. All the composers are marketing and presenting their works openly in the internet. It gives composers freedom to find their own paths but on the other hand it feels like a global competition of recognition.
Firstindigo&Lifestyle: Does being a woman composer mean something special to you?
RT: Yes, it means a lot. I am a feminist, in a way. I strongly support equality and diversity in the society and correspondingly in the music field.
These values are unfortunately missing in the project of canonizing composers and art works. I am interested in artists who are left outside the canon. A year ago, I was presenting a work by Ethel Smith, a British composer from the beginning of 20th century. She was not mentioned in our music history classes in my youth. And how many others are there?
While doing my artistic research, I have many times wondered why the different waves of feminism haven’t left almost any imprint on art music composition. In Finnish composers society there are still only 10 % female composers. If we think about what happened in performance and video art in the 60’s and 70’s there were lots of artists participating in the happenings for sexual emancipation. At the same time, among contemporary music we just invented new composition techniques 🙂
I have also considered this question while teaching. What values do we forward to the next generation?
Firstindigo&Lifestyle: Finland has a woman composing star, Kaija Saariaho, who is also well-known in New York City music world. Do you think she has developed a way for others to follow?
RT: Kaija Saariaho has an important role in Finnish music life, for sure, and in that sense her career is a sort of example for woman composers. She is also really warm and gentle person towards colleagues, especially for young students.
On the other hand, Kaija is presenting quite traditional image of a composer. Her career is based on international reputation, large commissions, prizes and so on. This position is actually quite hierarchical, and mythical.
There are plenty of artists who don’t want an individual international status. They want to work in working groups or in a pedagogical field. We are different. In that point of view Kaija is not a role model for all Finnish female composers.
Firstindigo&Lifestyle: What are your key influences as a composer, and how do you conceptually start your works?
RT: Every project is slightly different but I still try to give some concrete examples. I start every composition by discussion with other people who are involved. I try to figure out who is playing, what skills musicians have, what are the interests of a producer, what is the schedule, what else is performed in the same concert, is there a musical theme like era or an ideological theme like protection of seas etc. For me it is really important that musicians and performers are fully engaged in the big picture.
I also collaborate quite a lot with other artists. In those situations I normally wait a moment and listen to others. I feel that I have much to learn because contemporary music has been so isolated in the abstract world for a long time. I am also curious about ideas and opinions of my audience. Also different audiences like non-musicians, children, teenagers etc.
When I start to compose I spend a lot of time looking for suitable material for each situation. I sit at the piano and try out things. I look for certain ”constraints or boundaries” for each project. Almost always, I meet the musicians and give some sketches to play. Lately, I have increased to send demos while I am working, just to open up the process and get feedback.
I consciously think composing as an ongoing collaboration.
Firstindigo&Lifestyle: What is the composition process for you like, how long do you usually develop a work?
RT: I like to work slowly and develop ideas with other people.
Firstindigo&Lifestyle: How many solo instrumental works have you composed so far, how about chamber music and orchestral works?
My works in numbers:
– 4 operas
– 1 radio-opera
– 8 works for orchestra
– 14 choir works
– 18 songs
– 12–15 chamber works
– 5 solos
– 1 radiophonic work
– pedagogical works
– theatre projects
– short movies
Firstindigo&Lifestyle: Recently you have also worked with opera. Could you tell more about these projects?
RT: I have recently composed two operas. The first one is called The Judge’s Wife which is based on TV script written by Caryl Churchill at the time of IRA terrorist attacks 1972. The text deals with the power structures of social classes and the difference between terrorism and a revolutionary act.
The opera was carried out as a cross-art performance with some additional text and documentary video material by its director Teemu Mäki. The performance was closer to contemporary theater or live art than traditional opera. It included music, drama, videos, texts, humour and also a meal, vichyssoise soup, which is also written into the libretto (http://www.teemumaki.com/theater-judgeswife.html).
The second opera Queen of the cold land was a radio opera commissioned by Finnish Broadcasting Company (Yle-radio). The libretto is a sort of rewriting of the Kalevala – a present-day version of some abstract life situations. The aim of the working group was to look at the Kalevala from a socio-historical point of view. Kalevala is not qualified as a source of Finnish mythology because the mythical images of folk poems have been transformed and merged into new entities by Elias Lönnrot. Lönnrot’s goal was not only to collect poems and to propose them as a coherent epic, but the goals went together with the nationalist idea to create a common image of the past, customs and culture of the Finnish people.
The opera is dealing with several issues like diversity, sexual identity, nationality and naming. As a composer, I would state that the main theme of the musical narration is nationalism or rather the future of national states. This theme is presented in the musical material.
The music consists of orchestral music, chamber music, operatic and folk singing combined with radiophonic possibilities. The composition is based on a variety of materials. The most extensive material consists of national anthems by different states and people. In addition to these I use folk music, war songs, wedding anthems and lullabies.
Firstindigo&Lifestyle: In Finland, composers like Jean Sibelius are master voices in the classical music world, for their emancipatory approach of voicing national myths, and yet speaking to broad international audiences. Sibelius is a widely known European composer in the United States with his Finlandia, and Violin concerto. Has this tradition created a sense of your own status as a composer who has Finnish roots?
RT: As an answer to this question, I just tell that have composed a chamber opera called One seed, one sorrow – conversations with Aino Sibelius. Aino was a wife of Jean Sibelius. At least it was an other perspective to the question of national heroes.
Firstindigo&Lifestyle: We met in Lapland in 2007, while doing a nature piece in Pyhatunturi. Do you still get inspired while spending time in nature?
RT: I am really worried about nature and by that – also inspired. This year I work with several pieces which are processing nature and particularly climate change.
Last spring, I carried out a project called Heinä (Grass) with playwright Pipsa Lonka. It was performed in Silence Festival in Lapland. The performance contained images that a grass had drawn. I tried to read or interpret those images by composing them for bass clarinet and voice. The performance took place in an old cottage with smoke and a dog. The atmosphere was quite unique.
Firstindigo&Lifestyle: Are you critical of your own work?
RT: Of course I am critical and I would like to rewrite all my compositions but I just don’t have time for that. So let them be…
As for the future composition, I have challenged myself to ask every time ”why do I do this piece”. I feel that every art project should have a reason or meaning or aim which is something more than a commission, a commission fee, reputation or a course credit. This goal can be both an internal musical idea or external starting point. It should be something that connects our work to the surrounding society.
Firstindigo&Lifestyle: Who gives you the best feedback?
RT: The best feedback comes from my children when they ask ”what on earth are you doing” or ”how awkward”.
Firstindigo&Lifestyle: What is the role of commissions in your work?
RT: The art funding is quite different here in Finland than in United States. Mostly I work with small commissions by different musicians, ensembles, choirs, orchestras or festivals. However, the main income of Finnish composers comes from the working scholarships.
Some of my works are collaborations with other musicians and artists. Then we apply funding together as a working group from different foundations and institutions.
Firstindigo&Lifestyle: Do you have specific plans for the future?
RT: I have plenty of plans for the future. In a near future I will finish my artistic doctorate that is about shared authorship and communality. For that, I still have couple of projects to compose. After that I will devote my time to activism.
Firstindigo&Lifestyle: How about dreams, perhaps international presentations and residencies?
RT: An old image of a composer with a wig is quite outdated. This image contains travelling and prestige. Luckily the world has changed – women and mothers can be composer too and they don’t need to represent ”a plaster composer”.
Mainly, I don’t travel. I work nearby. I am quite often at home in the afternoons when my children come home from school. And in the evenings they have hobbies. My plan – not a dream – is to spend time in residencies after my children are grown-ups. I just need to be patient because it will take ten years still.
I don’t dream about an international career, firstly, because I like my daily local life. And, secondly, because I am at this moment interested in subjects and working methods which are rather marginal in classical music f.e. community art, live art, performance and philosophy. These are not the themes of a grand audience.
I dream about ideological aims. I hope we will see the world where the terms of consuming, owning and competing are less valued. I also hope that there would be a turn in over-consuming that finally we are saved from dystopical eco-catastrophe. I am not that worried about my own career.
RT: I have a small activist inside me who says that we should listen to different voices. So I would recommend you some other Finnish female composers here:
Stephanie A Lindquist is a New York based artist and photographer, whose photo collages gather ideas of plants with world-wide origins. Her works bring forth anscestral memories from diasporic places, and create meaning mapping our global existence as travelers and settlers. Food has always played enormous role in peoples adaptation to new places, creating and sustaining cultures. Art can have as much to say about this subject too.
Firstindigo&Lifestyle: I have understood your recent photography art is based on your research on plants that are native, local or indigenous to areas. How did you start this art project?
Stephanie A Lindquist: I started gardening and reading about plants and how to grow them. I was especially inspired by farmer, philosopher Masanobu Fukuoka. He is the father of natural farming and a proponent of natural dieting–both of which he believed to be beneficial for the environment and human health. According to Fukuoka, a natural diet consisted of local and preferably ancient plants–something nearly impossible for any urban dweller like me to accomplish.
This sparked my interest in identifying and promoting many little-known indigenous food plants from my ancestors in Africa and Europe, to where I currently live in the Americas.
Firstindigo&Lifestyle: Where did you grow up, and live prior to New York City?
Stephanie A Lindquist: I grew up in Los Angeles. I’ve also had opportunities to travel abroad to Europe and Central America.
Firstindigo&Lifestyle: As one major inspiration behind your art making are the plants, do you cultivate or grow plants yourself and have your own garden?
Stephanie A Lindquist: I garden regularly in East Harlem and the South Bronx. It is an essential part of my practice and life. Gardening allows me to cultivate, consume and appreciate some of the plants I study first-hand. It is a way to immediately begin creating a more reciprocal relationship with nature.
Firstindigo&Lifestyle: Do you think that flowers, fruits and vegetables, etc. as subjects of art carry ideas about sustainability and environmental philosophical concepts?
Stephanie A Lindquist: Definitely. Potawatomi scientist Robin Wall Kimmerer writes about our need to listen, observe and learn from plants as our teachers–rather than only learn about plants. I truly believe that plants can teach us how to lead sustainable lives if we listen.
Cultures close to nature have the benefit of accumulating indigenous knowledge of a diverse number of plants and their uses than city-dwelling folks. To see, recognize and know thousands of local, indigenous food plants is a powerful way to live in communion with the world. By taking care of widely diverse plants within our local ecosystem, we begin to take care of ourselves too–physically and spiritually.
It is my aim to heighten our awareness and appreciation of indigenous food plants and to collectively reimagine the local cuisine of specific regions.
Firstindigo&Lifestyle: Are there other concepts and philosophies attached to your art?
Stephanie A Lindquist: My work is inspired by the work of many scientists including Mary Abukutsu-Onyango. Since the 90s she has been promoting the cultivation and sustainable consumption of African indigenous vegetables and fruits. On a continent plentiful with plants, it is surprising that most do not eat a sufficient amount of vegetables.
The promotion of these plants have commercial and cultural implications as well as physical and spiritual effects on our health. Most of these plants have been purposefully displaced by genetically engineered cash crops and changing tastes. To rekindle our relationship with the oldest, local plants is also to remember the unique history of the land and how we arrived here.
Firstindigo&Lifestyle: Do people act amazed when seeing and hearing about your work?
Stephanie A Lindquist: It has been very satisfying to hear people’s reactions to my work. Even urbanites like me are full of surprising information about plants and their uses, which I happily add to my arsenal of knowledge.
As the daughter of a Liberian-American immigrant and descendant of Swedish and Irish immigrants, I have been invested in reclaiming ancestral knowledge for a long time. Conversing with others about indigenous plants has been a very satisfying way of piecing together our ancestral knowledge of the natural world around us.
Firstindigo&Lifestyle: Who inspires you to do your art?
Stephanie A Lindquist: I admire many artists including Julie Mehretu and Wangechi Mutu. I am also inspired by the authors I read and the emerging artists I meet everyday.
Firstindigo&Lifestyle: How do you design your collages and what is the process like in making photographic prints?
Stephanie A Lindquist: I begin by researching a number of indigenous plants to a specific region and learning about their history, uses, and the people who cultivate them. Next I collect images of them, and if accessible take original photographs of the plants.
I cut the prints by hand and arrange the composition on a smaller scale until satisfied. Next, I digitally produce and print the collage at a larger scale or sometimes hand-cut a larger collage on fine paper.
Firstindigo&Lifestyle: Tell a little more about yourself, where did you study art?
Stephanie A Lindquist: I have studied art since I was little. I received by BA in Urban Studies and Visual Arts from Columbia University. Since then, I’ve had the opportunity to participate in residencies in Rome, Berlin and Staten Island, and to exhibit my work in museums and alternative spaces in New York and California. I also work as an arts administrator.
Firstindigo&Lifestyle: Your objects and prints seem to carry domestic ideas in them, or it gets transmitted as a feeling with the coffee cup on a table, or with the flowers. Does this resonate with your intentions?
Stephanie A Lindquist: Yes, my previous body of work in photo collage was concerned with capturing colorful, jarring, domestic still lives. I often chose the materials used to create the stage in memory of family and friends in my life, like my mother, my partner, or a particular place like the Kitchen Floor. Through collage I bring new meanings to these objects, in this case now where an okra blossoms and fruits. Their patterns are playful, somewhat minimal, abstract, full of textile, and tactile.
Stephanie A Lindquist, Kitchen Floor 2017 Photo collage 14.5“ x 17.5”.
Firstindigo&Lifestyle: Some collages of yours are really colorful. Do you find that colors have significance and carry meaning?
Stephanie A Lindquist: The colors reflect my mother’s textiles, family photographs, and the landscape around me.
Firstindigo&Lifestyle: Do you consider yourself similar to feminist art practices in which domestic life and the everyday gives to details and form in the art?
Stephanie A Lindquist: Yes, in many ways I make my art to create space for feminism and equality among humans and all that lives in the world. I treasure these often feminized spaces of the home and garden. And I enjoy propagating this image into my viewer’s subconscious of a plentiful, sustainable earth.
Firstindigo&Lifestyle: Also your knitted objects would signify not only sculptural dimension as objects that hang on the wall, but also about art-historical connection to the women artists?
Stephanie A Lindquist: The knitted objects Needles and String and Rosary for me were living sculpture–something I could create and disassemble again and again as a public performance and private meditation.
Firstindigo&Lifestyle: How do you separate your own artistic practice from curating, and working with other artists in your work?
Stephanie A Lindquist: I make time for it. I also let it bleed into my research interests and writing. My practice gains a lot from being in such close contact with artists and curators on a daily basis. I am constantly listening to and collaborating with other visually creative minds.
Firstindigo&Lifestyle: Can you describe what art projects are you planning for the future?
Stephanie A Lindquist: I am thrilled to show recent work around indigenous food plants at Smack Mellon as a part of AFRICA’S OUT! inaugural benefit exhibition, Carry Over: New Voices from the Global African Diaspora curated by Kalia Brooks Nelson. To have my work in the context of Firelei Báez, Layo Bright, Melissa Calderón, Baseera Khan, Jasmine Murrell, Anna Parisi, Keisha Scarville, Pamela Phatsimo Sunstrum and Saya Woolfalk is a joy!
I am also looking forward to presenting work at CTRL+SHFT Collective in Oakland this summer. Other than that, I’m excited to spend part of the summer camping and learning more about plants indigenous to the eastern seaboard.
I treasure these often feminized spaces of the home and garden. And I enjoy propagating this image into my viewer’s subconscious of a plentiful, sustainable earth.
Anne Raudaskoski is a Finnish enterpreneur who wishes to create new connection to nature. Her approach can change the game of sustainability. With a background in dance, she has faith on the power of the arts:
“Arts provide a holistic approach to existence, and this is what we need to change the current linear system. Human beings are part of the nature; nature isn’t something that is “out there” to be exploited, but rather, we need to re-establish our connection with the nature to realise that we can create sustainable growth and well-being with far better rules than what we presently have”. (Anne Raudaskoski)
Firstindigo&Lifestyle: When and how did you start Ethica consulting company?
Anne Raudaskoski: I started Ethica in 2013 with my business partner Paula Fontell. We actually didn’t know each other at the time, but we both had been talking to our mutual friend of having a dream to set up a company focused on sustainability and the circular economy. This friend of ours suggested we should meet and share our ideas. We had our first meeting over lunch and we realised we shared the same vision. Three months later Ethica was formally established.
Firstindigo&Lifestyle: How did you get interested in the circular economy?
AR: My approach to CSR (corporate social responsibility) and sustainability has always been very business oriented. It means that there has to be a solid business case for sustainability and it should be embedded in strategy and R&D in such a way that sustainability works as a spring-board for the strategy instead of being an add-on or philanthropy. I wrote about the circular economy (CE) in early 2012 on my blog site after reading some articles on the Ellen McArthur Foundation (the global driver for the CE) site. I felt that some of the questions and pain points that CSR could not resolve – especially the intersection around environmental, strategic and economic issues – were inherently part of the circular economy. So when we started Ethica, it was very clear to us that the circular economy would be part of our service portfolio.
Firstindigo&Lifestyle: Is it possible to define, what circular economy actually changes?
AR: Circular economy is an economic model, so it affects all sectors and organisations in some way. I always say that the biggest hurdle in transition from a linear to a circular economy is our current mindset. All our processes, decision-making, governance and actions are based on linear thinking. In a nutshell, this means that we keep overusing natural resources, we accept the concept of waste as de facto, design processes are not based on biological and technical cycles and we haven’t figured out yet how to do business within the planetary boundaries. All this is changing as part of the transition towards the circular economy.
Firstindigo&Lifestyle: What are the basic principles that define the circular economy?
AR: The below list of six principles offers a good starting point to explore CE more in detail.
1 Circular economy is a resource wise economic model that is restorative and regenerative by nature. It operates within the planetary boundaries.
2. Materials cycle endlessly in technical and biological loops in society. Materials are safe & non-toxic.
3. The value of products, components and materials is maintained and increased through refinement.
4. All energy is renewable and is used efficiently.
5. Solutions are systemic and based on designing life cycles, ecosystems and multiple purposes.
6. Equal distribution of resources and well-being is in the heart of the circular economy.
Firstindigo&Lifestyle: How would you describe the ‘ethical’ core of Ethica?
AR: We want to create a circular future. To us this definition also entails equality, social well-being and in fact, a more just and transparent economic model than what we currently have as the result of the linear economy.
Firstindigo&Lifestyle: Finland seems to be a forerunner for ethical solutions when it comes to consumption, and the country is also involved in introducing new clean practices. What aspects in Finnish culture support these kind of thinking?
Indeed, there are quite a few aspects supporting this and I’d say it’s the unique combination of culture, history and welfare state: high number of clean tech innovations; excellent education system that educates children and young people about sustainability topics; frugal manners that our grandparents and parents had to adopt during the war, which then were passed on to younger generations; good recycling infrastructure with incentives…and of course ambitious policies and action plans in place. For example, circular and bio economy are one of the five flagship programmes of the current government. Finland was also the first country in the world to publish a national circular economy roadmap in 2016.
Firstindigo&Lifestyle: What in your mind defines good consumption?
AR: Understanding your own impact and power as a consumer. Exploring your own values; what kind of world I want to be building, do I want to be part of the solution or part of the problem? Questioning your own consumption habits: is there something that I could do and choose differently? Being your own leader when it comes to adopting new, sustainable solutions.
Firstindigo&Lifestyle: Tell more about your Relooping Fashion project?
AR:Relooping Fashion was about creating circular fashion. We piloted a circular ecosystem consisting of seven business partners ranging from waste management company to fashion retailer and packaging service. So the goal was to build, test and learn how a closed loop fashion ecosystem could work. Another important goal was to test VTT’s (Technical Research Centre of Finland) new technology for cotton dissolution that replaces the use of virgin cotton. Ethica’s role in the project was to model the business ecosystem as well as research the consumer interface. i.e. how to create demand for circular clothing.
Firstindigo&Lifestyle: Where do you find your daily inspiration from?
AR: No matter how cliché it may sound, I simply and truly enjoy my work, so the work itself coupled with the opportunity learn new things is my source of inspiration. Every project is different, we have great clients and collaboration partners to work with and of course our own team is brilliant.
Firstindigo&Lifestyle: What can the world learn from Finnish innovation in clean practices?
AR: Great education and innovation support system are essential enablers. I also think that the Finnish way of living and thinking inherently has a fairly good level of social and environmental responsibility, and when these aspects are combined with innovation, you get the solutions that the world needs.
Firstindigo&Lifestyle: How do you like to influence and motivate people in their everyday life to incorporate more sustainable solutions and choices?
AR: There are a number of different players who all have a role to play. Of course we need businesses to develop solutions that are not only sustainable, but they’re also the best solutions available. Legislation can speed up the development and help mainstreaming new solutions. Education and the media also play a hugely important role in making sustainable choices the “new normal”.
Firstindigo&Lifestyle: Do you think that your background as a dancer helped you in your career path?
AR: It did in many ways. Working as a freelance dancer requires endless curiosity, self-discipline, perseverance and ambitious attitude. You’re always seeking new opportunities and you need to welcome constant change. You need to be a good team player, but at the same time you’re 100% in charge of your own development. There are hardly any permanent vacancies available, so you have to build your own career and make sure you are sufficiently networked just to be even considered to be one of the many candidates. Basically, you work as an entrepreneur without the formal status of entrepreneur.
Also my dance teacher background has been an asset when running workshops and giving presentations.
Firstindigo&Lifestyle: In what ways can arts support circular economy?
Arts can create connections and mental horizons that escape the typical business environment. It can bridge rational and emotional in a way that enables eureka moment, which is a prerequisite for willingness to change the status quo.
Firstindigo&Lifestyle: How many countries have you visited to lecture and share about your business?
AR: A few so far: China, the Netherlands, Estonia and Reunion Island (France). We also exhibited in Austin (US) at the EcoExhibition a couple of years ago. Next month I’m going to Sweden.
Firstindigo&Lifestyle: Is it easy to name clients that are best for your brand?
AR: The ones who want to work ambitiously, are truly interested in raising the bar and finding new opportunities through the circular economy thinking, no matter the size or sector of the organisation. From the circular economy perspective, we are still at the dawn of the new era and endless opportunities that this new approach can provide us with.
Firstindigo&Lifestyle: Is the questions of climate change significant and embedded in your models?
AR: Absolutely. To start with, all energy should be renewable, this is one of the basic tenets of the circular economy. Decoupling growth from the use of virgin raw materials and resources is another key principle. In short, it means doing more with less and designing our products, systems and societies in a circular way so that emissions can be decreased significantly.
Featured image credit: textile hackathon, Sara Malve-Ahlroth.
“Eyes as Big as Plates” is an ongoing collaborative photographic project between the Finnish-Norwegian artist duo Riitta Ikonen and Karoline Hjorth. This unique collaboration is now presented as a solo exhibition in New York City at the Brooklyn based Chimney Gallery. In the exhibition, 12 photographs are installed in the gallery space so that they form a visual unity in a column-like formation. This way the solitary portraits emerge naturally from the gallery space, which itself is raw and original. Eyes as Big as Plates presents solitary humans standing meditatively in their favored setting. What makes them special is their organic attire made of leaves, branches, pine needles, rocks, or flowers. The models are senior citizens. Ikonen’s & Hjorth’s photographs have another layer in them. The wearable sculptures connect the humans into their stages organically, making them part of the world they inhabit. The Chimney exhibition features newer works from Greenland, South Korea, NY, Iceland, Japan, Finland and Norway.
Firstindigo&Lifestyle: Karoline and Riitta, can you tell more about the idea behind the elderly portraits. Where did the idea to do the series originate?
Karoline and Riitta: The series is produced in collaboration with retired farmers, fishermen, zoologists, plumbers, opera singers, housewives, artists, academics and ninety-year-old parachutists. These are people we meet through friends, relatives and newspaper ads, in hardware stores, noodle bars, indoor gardening society meetings, swimming pools, senior centers, on the city streets etc. Our creative point of departure lies in the collaboration with these contributors, who we consider as co-creators. As we started our investigation into local folktales we reasoned that the older the local interviewee we would work with, the closer we would be to the tellers of the tales and the talking rocks of the stories. Those Nordic hills hadn’t changed since the tales, but the people sure had. So far it doesn’t seem to us that the answer can be predicted by the age of the answerer. Thinking of older people as a unit that operates in a certain manner is rather lazy with much of the western society unnecessarily confused when it comes to the ‘usefulness’ of older people. Attitude with knowledge, life experience and stamina are some of the main traits we have found amongst all our collaborators, as well as a formidable curiosity for new experiences. As Eyes as Big as Plates continues to cross borders, it also aims to rediscover a demographic group too often labeled as marginalized and generate new perspectives on who we are and where we belong.
Firstindigo&Lifestyle: You shoot the portraits in the nature, so it seems that thoughts about environment, and people’s relationship to it is really part of the visual narrative?
Karoline and Riitta: Each image presents a solitary figure in a landscape, dressed in elements from surroundings that indicate neither time nor place. Nature acts as both content and context and the characters literally inhabit the landscape wearing sculptures. In the beginning of the project we were curious and on a mission to find out what kind of connection the Norwegians had with their rocks, fjords and hills and especially keen on looking at the folktales where nature or natural phenomenons were personified.
Folktales often made complex natural and sociological issues understandable and accessible, with phenomena taking on forms and characteristics that even a mere mortal could have a dialogue with. Perhaps our Eyes as Big as Plates images aim to discuss the contemporary human in the nature in a similarly approachable language. As the project started crossing borders, our quest soon turned more towards investigating universal questions about imagination and curiosity, and evolved more into a search for modern human’s belonging to nature.
The location is chosen based on conversations with each collaborator, who might have a special connection with a certain landscape or a specific plant in the area. Sometimes we spend days finding the perfect location, sometimes we discover it within minutes. Most often the best collaborators and locations are found through chance encounters and lucky coincidences, which is also some of the main reasons why the project is still ongoing – the unpredictability is highly addictive.
Each image always starts with a conversation with the contributors. Most often, and ideally, we meet our model before the actual shoot day to chit chat about the world, life, interests, neighbourhood, relationship with nature, opera, moss, fishing, weather…, and see if there is something there that we can just magnify a little. We try to find out as much as possible about who our model and collaborator is beforehand in order to best present them and their relationship with their surroundings. The ‘costumes’ are just a primal response to real people in their settings. We always start from scratch with each contributor. Some of them are eager to participate in all stages of the process, from collecting the materials to deciding on the location and even putting together the sculpture, while others prefer that we make the choices that best reflects them.
Firstindigo&Lifestyle: I recall that Karoline found Riitta, or was it visa versa, as collaborator in a fun and memorable way?
Karoline and Riitta:Eyes as Big as Plates started life on the southwest coast of Norway in 2011. When Riitta was searching for a collaborator online, the three words ‘Norway + grannies + photographer’ found Karoline as the top search result, as she had just finished a book on Norwegian grandmothers. Karoline loved Riitta’s work and sense of humour, and one email and two months later, they met for the first time on the doorstep of a little white wooden house in Sandnes.
It was a very natural marriage of our complementing skills, where we come up with one image from two heads. Part sculpture, part installation and part photography, we work together from beginning to the end of the process. Karoline is the photographer in the duo while Riitta works mainly with the creation of the wearable sculptures in the images, but most importantly we operate with one mindset and vision, to the extent that we barely need to talk during the shoots, as we both know exactly what we are aiming for.
Firstindigo&Lifestyle: How many countries have you embedded in these portraits, and how many people?
Karoline and Riitta: Over 60 people from 12 countries (Norway, Finland, Sweden, Iceland, Faroe Islands, Greenland, UK, France, US, South Korea, Czech Republic and Japan.)
Firstindigo&Lifestyle: Do you remember the most memorable portrait ever in the making of it, perhaps related to the how the situation or process evolved?
Karoline and Riitta: It is quite impossible to pick one portrait as the most memorable, especially since so many of them feels more and more precious as time passes and our dear collaborators (and us) grow older. There are so many incredible encounters over the years, many that have turned into long-lasting friendships and we feel like we are the luckiest artist duo alive. One day the most memorable portrait is the very first one made together with Halvar in Norway, another day it is the memory of Riitta’s mum midnight swimming back and forth in lake Kalvä side by side with beavers on a freezing Midsummer’s Eve in North Karelia, or the very magical double shoot with Karoline’s grandparents last summer, some days we remember the intense weather conditions, other days we treasure the silence we all experienced, or the eagle that flew past us, the fog that landed just perfectly in time or the ruthless sun that never left the scene, it all depends on the time of year, season and mode of the day what comes into mind.
Firstindigo&Lifestyle: Your recently published a book about the project, and it bears the title “Eyes as Big as Plates”. What do you want to tell about the book tour?
Karoline and Riitta: The book is a culmination of the first six years of this ongoing project, and each book is hand-finished, unique with thinly pressed vegetation veiled underneath the cover cloth to honour each of the 60 collaborators in the project. We teamed up with Swedish designer Greger Ulf Nilson and the independent, Oslo based Press Publishing. For the release tour we returned to many of the countries we had visited to produced the works, and enjoyed a fantastic, fun and intense book launch tour to New York, Paris, Helsinki, Oslo, Landskrona, Nuuk, Seoul, Tokyo and London all over the course of 4 months. The book was also shortlisted for the Paris Photo- Aperture PhotoBook awards in the ‘First Photobook’ category, as a finalist from nearly 1000 submissions.
Firstindigo&Lifestyle: The book also initiated a Kickstarter fundraising process. Do you want to share some tips, or ideas for this kind of succesful outcome?
Karoline and Riitta: Our Kickstarter experience was a true rollercoaster and the outcome was just quite unbelievable. We spent weeks preparing, researching and gathering material, editing texts, having the material reviewed, putting together the video piece, sourcing the perfect soundtrack etc. Obviously we already had quite a lot of material from our 6 years of production and process material, and even an established audience that we could reach out to. We took day and night shifts between New York and Oslo emailing people non stop with personal emails, and our magic bullet in the campaign came in the form of Kickstarter’s weekly newsletter where we were recommended amongst 3 other projects to their whole worldwide community. Until this moment, we fought for each and every pledge and it was a slow start. We were lucky to be picked up – and in 24 hours went from 29% to 120% funded…
Hot tip: Make sure you set aside enough time to babysit and nurture the project and campaign while it is live, throughout the duration of the campaign. Then, once the campaign is successful, starts the aftermath of following up with delivering the rewards. We spent probably nearly a month sending emails, packages, postcards, printing, resending, chasing post etc. It was hard, but mainly exciting and definitely worth it.
Firstindigo&Lifestyle: Karoline, since you are Norwegian, and I haven’t asked this previously from you, I’m kind of curious what do you want to say about Norwegian art scene and support?
Karoline: The Norwegian art scene is small, but it has got quite a unique support and funding system in place for artists. There are many different opportunities when it comes to project funding, stipends, grants etc and recently some exhibition venues have slowly started to get used to the thought that artists might also deserve payment for the exhibitions they produce, instead of paying for renting a space, which I understand is more common in for example Finland. Norway still has a long way to go in terms of the gender gap though, both in terms of the most-selling artists, the most represented artists and the movers and shakers of the gallery world.
Firstindigo&Lifestyle: Do you think that the art education is exceptional in Norway?
Karoline: I studied abroad, so I cannot speak from my own experience here, but after hearing from my colleagues who did study in Norway, my impression is that there are many other countries with much more progressive art education.
Firstindigo&Lifestyle: Riitta, you are Finnish, what does ‘Nordic’ collaboration mean to you, do you find that you both share similar ideas or mindset because of the Nordic factor?
Riitta: We both grew up with an understanding of the outdoors as something intermixable with the indoors. It is part of everyday and the awareness and interaction with our surroundings still drives our practices strongly. Both of us live in big cities so there is a definite need to roll in the leaves regularly.
Firstindigo&Lifestyle: Where do you see that this project could be developing on its next phase, have you figured out the ‘after’ yet since the book came out?
Karoline and Riitta: We are taking part in a public art project in Seoul, South Korea this winter with newly produced work made in collaboration with seniors living in and around the Olympic village in the PyeongChang area, these will be on display on the Seoullo 7017, a newly renovated former highway turned into a pedestrian walkway that connects the eastern and western sides of Seoul. We are also taking part in a group exhibition in Germany (The Museum Schloss Moyland) this winter and spring, followed by a solo show in Finland in the summer (Pielisen Museo in Lieksa), and more exhibitions in Detroit in the autumn. We have promised each other that we will continue the project as long as it’s fun and we are still very much enjoying ourselves. In the continuation of the project our focus might shift more to investigating the impact of climate change on people living in different parts of the world. We feel compelled to use our voice and platform to discuss the things we find important and urgent.
Karoline Hjorth completed her BA Photographic Arts and MA International Journalism from the University of Westminster (London) in 2009 and Riitta Ikonen graduated from the Royal College of Art in 2008, with an MA in Communication Art.
Finnish artist Sirkku Ketola had her performance project A Body Called Paula at the NARS Foundation Gallery in Brooklyn in November. In Finnish the word paula means a ribbon, something to tie or to be enchanted with. It is also a synonym for a trap. Globally Paula is known as a female name, originating from the Greek word ‘Paulus’, which means small.
In her current project of ten years, Ketola creates an installation that mixes screenprinting with performance. Part installation, part performance, A Body Called Paula is a piece that develops over the days of the installation through long-duration printing sessions. The movements and their soundtrack create an enchanting, sensual machine with the main themes of time and temporality, pleasure, and the meditative process of working.
The narrative story behind the performance hunts beauty through the themes of light, passion, knowledge, reality, and depth, finally balanced out by darkness. What is the measure of time? Ornament is a universal form of visual art in every culture. The installation at NARS is part of Sirkku Ketola’s long-term project. For the duration of ten years ‘A Body Called Paula’ produces hand printed ornaments, or ribbons.
Firstindigo&Lifestyle: What comes to mind, when you think about your project Paula is that it is so clearly beyond the visual practice, or enhances the physicality of the practice. What is so intriguing is how you dive into the embodiment and stretching of the paper. Is it that the body becomes a continuation of the paper in the printing process, as if being one with the paper? What kind of metaphors would you like to highlight, or are being evoked in the process?
Sirkku Ketola: I guess I need touchable material to support thinking and understanding. In this case the handling of color and paper together with challenging technical crafting, tune us as one organism, where the tempo is being set in the cohesion of the qualities of the all included matters. The strength of the body, the sensitivity of the hands and the exactness of the eyes, are sensing constantly the fragility, stretching, moistening and drying of the paper, and the consistency and volume of the ink. The local, or should I say site-specific humidity and temperature effect strongly to the functioning of this paper/colour/body formed sensual machine. Also the instant substance of the body, the general vitality, the emotional ambiance, and for example the daytime, give all some special marks, first to the performance, and second to the visual appearance of the ribbon in progress. Imprint is different during mornings and evenings, also in the beginnings and the ends of the ribbons. I have chosen the long and fragile paper to be forced to lose control. The process is too tiring to hold on it. During the series of the performance the same paper roll goes by my hands 12 times so it is impossible to dominate the quality or the crossing effects of different layers. I just must be humble, and let the ribbon teach me. Maybe the greatest thing is that the ribbons still surprise me even though I’ve been working with the same materials for years. The major errors have been avoided, but the danger of errors are constantly present – everything can be irreversibly spoiled even in the last round of printing.
Sirkku Ketola: The ornament arises on paper in stages from light to darkness. The colours (yellow/magenta/cyan/black), except being common from every home printer symbolize light, passion, knowledge, reality, depth and darkness. Step by step these colour layers, as named the elements of beauty, while mixing and uniting approach the truth, the code of life or would I say the mystery.
The hand printed ornament reminds somehow of the DNA. Basically with the repetition of same patterns, the motif is being affected continuously by the changes of the circumstances. All the variations show together endless amount of visual possibilities and diversity. At the same moment the so-called mistakes come part of the entirety and open up routes for the new beginnings.
Today we talk a lot about unmaterialized art, light and it’s different digitalized reflections. I am blown away by it also, the transfer of energy from one equipment to another accomplishes wonderful outcomes. In my own work process the need of touch, the acception of the tardiness of the body as the part of the thinking self, in other words handling with hands, have so far helped me to the deeper knowledge. I choose to cherish this special bodily tempo – it might be good for human species. When one forces oneself to stop by the slow repetition, one might also have time to understand something essential.
Sirkku Ketola: To be able to do the metamorphosis to become a sensual machine I had to create a role. My character Paula is simultaneously enraptured and trapped (in Finnish there is a sentence with both meanings, derived from the word ‘paula’ which also is a ribbon). She is a metaphor of a small human in cosmos. The name Paula comes originally from the Greek name Paulus which means small. So my Paula works with paula, with her special ribbon. Her job is to communicate visually by printing this repeating and overwhelmingly beautiful ornament. She wanders globally and communicates of the seen beauty. The previous place sets the next pattern, for example the New York effects to Paula will be seen next spring in Helsinki, Finland.
The machine is slow and time bending. It is a factory that is able to work without problems approximately four times per year. The doctor’s order has set the limit. I forget the rules always in the beginning of the new project, but now, when the Brooklyn ribbon has been finished, the pain in my hands is there and that makes calming down easy. By respecting this manual of the project, it will be possible to enjoy after ten years from now about the yet unknown massive installation, which is made of these forty different and international printed ornament ribbons.
I feel extremely privileged to be able to define the speed of the assembly line. For that reason the pleasure is an important part of the performance. Paula enjoys her movements and the choreography set by the printing process. The ink flows and the paper glides with the hands accepting to follow the weight of the body. The touch varies from strong to gentle and the rhythm beats with the working steps. The birth of the image feeds the will to come along to the anonymous destination. The possibility for sudden challenges forces the printer into the extreme concentration and to overcome difficulties and accept the errors. With the physicality, the mental part is also reacting all the time to the present. The chosen repetition grows thinking and developes strong pleasure.
Firsindindigo&Lifestyle: How do you prepare for the performance of this scale, which is almost a marathon? What is the preparatory phase like, and what happens during the performance aftermath?
Sirkku Ketola: During the performing period I take specially good care of myself. I try to do the outdoor activities daily, sleep enough and eat healthier. I try also to avoid the evening happenings and alcohol. The preparation for the performance takes mentally the whole day, but the most intense are the two hours before the show. The soundtrack of the performance follows me since morning. I’d like to highlight, the sound scape of my music and the noise of the printing table are essential elements of the performance. When arriving to the show space I tend to eat lightly and drink a lot of water. After it is time to check all the technical equipments and to mix the printing inks, the hue and the saturation needs to be done carefully. I have a special ritual order to do this. After this, I isolate myself, warm up and slowly become my transformation to the role. Thirty minutes before the show it is time to change the costume and become Paula. She doesn’t speak. The aftermath of the show is quick, washing the make up and changing the clothes are rapid, so I’m soon ready to communicate with the world again as myself. Before leaving I clean the colours and check all the technical details for the next day. When arriving home I stretch well and take a warm shower, except in Finland my choice is sauna.
Firstindigo&Lifestyle: How is New York as a place different, and this performance venue special, in terms of what is their impact on the quality and outcome of the work? How is the location different from the rest, say, Canada or Finland where you also created this performance piece?
Sirkku Ketola: The place impacts mainly how the performance is being installed. I like different spaces because they challenge the art work and keep it impossible to predict. The space in NARS in Sunset Park in Brooklyn is many ways special. First, it is near the Finntown, where there was a strong community of Finnish emigrants. During today’s new emigrations flow it felt important to mark the difficult roots of my own country. Second, the size of the gallery was perfect for the project. It fit there well, both visually and functionally. Third, the space is in the building, which is full of working artists, situated in the middle of the industrial Brooklyn. Where else should the sensual machine be? I came to New York as a visiting artist-in-residence of Finnish Cultural Institute for two months. My main goal was to research the structures of the money and power in the contemporary art scene. Beyond A Body Called Paula –project I started to sketch the new large-scale print installation referring to this research theme. The work will be produced during next three years. My colleagues in Brooklyn taught me a lot about independent artists’ living at the capital of contemporary art (NYC).
The physical dimensions and the quality of the NARS space gave the rhythm for the installation when growing during the performances. The intimate gallery of the Sunset Park made possible to the paper ribbon to take a shape of a visually fine zig zag when it landed to dry to the perches I mounted. Also the rest of the visual elements of the performance found their places to create a dynamic composition. There was space for Paula to move and the audience was able to have several standpoints. The space was also photogenic with A Body Called Paula – and that’s important in our social media time.
This was the fourth time and the fourth place for Paula. In Toronto it was seen in a gallery with the long hallway. There the magic of Paula worked like in the story of the Pied Piper, when people saw the action from far, they just had to reach to the space. In Helsinki Paula measured the huge hall in Cable Factory during the five hours marathon performance. And in Turku, Finland she worked behind the lightened window in the darkness of the first autumn evenings by the riverside. And in Brooklyn she captured the industrial space around the other artists. I believe that during the next ten years, Paula can capture many different structures and spaces as rich as she has done in her first year of the process. The big scale quality will be seen in the end of the whole process. All in all, these places are valuable treasures for me, and will affect the final installation.
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Next time A Body Called Paula will be seen in Helsinki in March 2018. After that Sirkku Ketola travels mostly in Central Europe. She will be back in New York City during autumn 2019.
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The screenprints made in New York have been prepared at the Robert Blackburn Printmaking Workshop: http://www.efanyc.org
A 90-year old Chinese artist An Ho finds inspiration from nature and its serene beauty. Still a steady brush in her hand, she invents nature with her visionary approach. The landscapes seem like in many Chinese classical paintings, where the vision engages in the detail. Stillness of a landscape is poetic, without rush forward, yet bearing undertones of memories and dreamlike solitude. The artist who lives in Upstate New York, shows her love towards the trees and landscapes of her environment.
An Ho’s six recent paintings are on display at the CHINA 2000 FINE ART in New York City. In a way, the works on silk and paper are telling an ancient story. Ho studied techniques that were forgotten many centuries ago. The artisthas revitalized this history by bringing the painting styles into life in modern times. Eventually, there is a play of translucent refinement that of color and movement.
An Ho’s mastery of the Chinese brushwork lays the basis of the landscapes. There is a sense of perception in the works, as her artistic vision develops in a close observance of nature. Each composition has its own reality, and perfection, or an entire world to narrate. If the works were a dream, they would be more perfect than a reality. They propose harmony and co-existence between man and nature.
An Ho, also known as Wen-ying, was born in 1927 in Beijing, China. Her father was chief newspaper editor, and mother was a painter of flowers. Her parents were senior members of Sun Yatsen’s revolutionary movement.
An Ho got introduced to famous Chinese traditional painter Pu Ru (1896-1963), who took her as his student and protégée. She studied 17 years with him, learning that Chinese painting takes into account both the fine quality of the art, and the personal approach and attitude of an artist. She studied with him initially in China and then in Taiwan. Master Pu Ru came from the Qing royal family. He was a poet, calligrapher and painter. Also, An Ho studied first classics and poetry, before starting arts and painting. The artist started with calligraphy, and finally learned the techniques of painting. Pu Ru’s teaching method cultivated her character as the basis for the skillful using of brush and ink. The brush is profound and important part of the technique, and the character of an artists rehearses for it.
In 1952, An Ho’s work began to be noticed by the Chinese art world. Her works have been exhibited in China, Taiwan, Germany, Italy, France and the United States.
A tree blossoms, meadow is green, horizon is filled with stillness, which is almost touchable. The rich video footage by Jumana Emil Abboud narrates without noise. Palestinian artist, who lives and works in Jerusalem, uses video and audio to add into other mediums of storytelling. For her exhibition in Bildmuseet, The Horse, The Bird, The Tree and The Stone, the artist has added murals, and included drawings and sculptural objects to create installations that open up about personal and communal memories and losses. Her art handles belonging and peoples’ attachments to territories. For her project, she has visited sites, which carry haunted memory of the past. The artist visited wells and other water sites that no longer exist, but are retold in the oral history. Abboud’s current artwork carries magical components that mix with reality. The imaginary intertwines with researched material, which both influenced the art. The artist has collected stories and reinterpreted fairy tales from new perspectives. She used a story of Rapunzel, for example, to imagine lives of Arab women from a domestic point of view, to make it a women’s story that has universal visibility and resonance.
Abboud was born in Shefa-‘Amr, Galilee and moved to Ontario, Canada with her family. After returning back home, and moving to Jerusalem, she encountered personal questions of belonging, and started making her journey towards finding her own connection to the place. Her exhibition at the Bildmuseet, asks through visual images and oral performances, what the personal and collective memories can be, and what the myths can tell us about ourselves and our history. What stories connect us to the places that we live in?
Abboud’s three-channel video installation Hide Your Water from the Sun (2016), goes back to 1920. The video is based on a study by ethnographer Tawfiq Canaan who dived into the Palestinian customs and folklore. The ‘haunted locations’ presented in the study, connect to multiple water sources, which are inhabited by demons, good or bad. Abboud visited these locations together with cinematographer Issa Freij. The original wells and springs pointed in the study have disappeared. The artist applied the notion that in the Palestinian traditions the haunted or blessed sites become activated with storytelling and through fairy-tale practices.
Upon returning home as a young adult, the artist did not feel connection to the place called home. She found a new connection by looking at the landscape, which played an important part of her childhood. It acted again as a direct link to her past. Abboud had also experienced stories as a child. The stories were not written down, so she wanted to ask questions about them and find out, how the political layer attached to Palestinians had pushed the oral history down. In her mind, the landscape related to all the stories told about the people, creatures, monsters and goblins. Landscape related to the past, and what she had learned as a child, but also to collective memory, which belonged to others as well.
Abboud’s artistic whole, The Horse, The Bird, The Tree and The Stone, relocates the disappeared landscape, which went through alteration and changes of infrastructure. Many of the original sites have been buried. Only the older generation has memory of the haunted sites. Abboud’s installation include film, drawing and painting, reflecting the journey to the past that confronts the current political reality. The artist has also created recent performances out of the Palestinian folktales, which connect to contemporary life-stories of the people.
Jumana Emil Abboud installation view, Bildmuseet, 2017.
Jumana Emil Abboud installation view, Bildmuseet, 2017.
Besides Bildmuseet, Umeå, Jumana Emil Abboud has had solo exhibitions in Tel Aviv and in Switzerland, among other places. Her work has been exhibited at venues such as the Istanbul Biennial (2009); Acción! MAD-Festival, Madrid (2010); Sharjah Biennial (2011); Bodies that Matter, Galeri Man, Istanbul (2013); the Venice Biennale (2009, 2015); Baltic, Newcastle (2016); and Kunstraum, London (2016). Bildmuseet represents artist’s first major solo exhibition in Scandinavia.
Danish designer MargretheOdgaard’s exhibition was on view at the DesignMuseum in Helsinki during this summer. An introduction to her work put the creative aspect of design in focus. Odgaard’s study of color and the cultural signification of it is very relevant and timely for innovative design conversation, in which we are looking for perspectives that see beyond the pure form.
It feels timely to give design process a platform, which naturally builds discussion about contemporary creative culture. In the world of high tech platforms, we may say that the DNA of design can be found in those practices, which designers organically share with the world in which they live. Without the personal and playful approach, perhaps the future of design would find itself in trouble.
The Helsinki exhibition featured MargretheOdgaard’s collaborations and use of materials bringing forth an idea of process. What it highlights is that design should not abandon creativity and art. MargretheOdgaard was assisting late LouiseBourgeois in the artist’s large scale work, which she created for MoMA in 2005-2006. The young designer learned from this experience with the famous artist. Bourgeois shared an approach that artist has to believe 100 percent in the work, even if the outside world is not able to see the same thing. According to her, ideas and vision come with a careful attention to detail, and from a non-compromising attitude.
In the future, Odgaard hopes to work more from her own studio base, and focus on the quality of the materials and colors. There is still huge call for colors in our contemporary cultural environment. Tactility of design does not come to mind as a top priority, and the colors still belong to a neglected area in the design world and architecture. Odgaard’s dream is to bring colors back to the black and grey field of architecture, which she frequently collaborates with.
Odgaard’s design can appear as minimal, yet playful, featuring bold ideas and patterns. It is important for her that the work has emotive response from various audiences. She hopes that the designs bring comfort and energy to our everyday life. Colors have so much potential to give birth to moods and create different atmospheres. Odgaard has focused on the cultural context of colors. She traveled to Japan in 2015, and to Morocco in 2016 investigating culturally specific domains for colors. The designer aimed to find out if there are specific ways to code the local colors from architecture and objects that are attached to particular places.
Odgaard trusts that as a younger generation Scandinavian designer, she is aware of the craft that carries a long cultural history. This means that she is able to add on the existing knowledge, and offer solutions to design questions and problems, which can be both beautiful and functional. At the heart of her color thinking is ThePopsicleIndex, which she created as a tool. It comes out in rich color hues that appeal to the senses and relate to the body.
Copenhagen based Odgaard studied at the RoyalDanishAcademyofFine Arts and the RhodeIslandSchoolofDesign in the United States. After graduating in 2005, she worked as a textile designer in Philadelphia. Before opening her own studio in Copenhagen in 2013, she also designed in Paris. In 2016, the designer received a prestigious TorstenandWanjaSöderbergPrize, which is the largest design prize in the world.
The textile designer looks for the purpose behind the design, and confirms that it should be always clearly attached to the process. The product is the end result of what the process entails. MargretheOdgaard keeps diary of the colors which are inspirational for the designs. Details of colors have become a crucial part of her process. Nuances are extremely important, and the diary is a great tool as part of the investigation. Results are far away from being shy. It is truly a matter of sharing as well.
“Share your knowledge, ideas and skills without hesitation. Be specific to order to become general. Use good tools and create new if necessary. Think through your hands. Free yourself from the limits of coolness. Allow things to evolve in their own pace. Listen. Laugh. Dance.” – Margrethe Odgaard.
The designer investigates colors.
For Odgaard wood can offer pattern and color combination to textile ply.
MargretheOdgaard’s exhibition was on view until August 28, at the DesignMuseum in Helsinki, more info: