Categories
artistic process interviews performance&dance

Anna Nykyri and the transient bodies

Pandemic has left many cities different, as if touched by invisible forces that folded a new narrative in front of us, for what is here now, and what might be more common in the future. At least, it is true to New York City. Finnish film director, visual artist and choreographer, Anna Nykyri created a short film “In-Between”, 2020 (2’51), to capture cityscapes during the pandemic. The artist collaborated with the photographers Aukusti Heinonen, Juan Pablo de la Vega and Griselda San Martin in Helsinki, Mexico City, and New York, respectively, to show relationships of the transient bodies that avoid contact with each other in these cities.

From short film, In-Between (2020). Image: Juan Pablo de la Vega

The documentary film curated by Andrea Valencia, is conceived as a montage that compiles photography and moving image to grasp the results of social distancing in the three cities, which are connected by the shared experience of the pandemic. By capturing details and fragments of the spaces and the moving bodies, “In-Between” suggests that, while movement and touch are being restricted, we are living an emotional collective experience.*

Firstindigo&Lifestyle: As an artist, your practice is quite multidisciplinary. What is interesting is the way your dance and choreography, and film-making, communicate fresh angles to these fields. Maybe there is a level of interconnectivity between these artistic disciplines. Can you tell, how did you eventually pick your artistic practices?

Anna Nykyri: My intention as an artist has always been trying to create an artform, that would bring together my artistic interests at the time. So, I never tried to be a director, screenwriter, visual artist or choreographer. The current piece that I’m creating matters the most. My definition as an artist can be defined through the piece.  

Firstindigo&Lifestyle: Where we come from, to some extend defines what becomes of us, or let me put it this way. I think that sometimes we dream very early on, what we want to be doing when we grow up. Where did you grow up and go to school?

AN: As a 4-year-old, I told my parents I wanted to be a dancer. We lived in the rural countryside and the ballet classes were too far away to attend multiple times a week. Kaustinen, where we lived in, is famous for it’s folk music tradition. So, music it was. During the ten years I played violin, I almost never practiced, was really bad at it but somehow managed to get along with the others to an American tour (twice) and understood what it meant and took to be an artist.

Later on I started singing and playing piano. After a college of music I went to Kemi-Tornio University of Applied Sciences to study my BA in media, started ballet classes and continued to MA-studies in Finnish Academy of Fine Arts specializing in moving image (MFA). I was lucky to have Eija-Liisa Ahtila, Veli Granö, Salla Tykkä and Liisa Roberts as my professors. They were great teachers and certainly had a great impact on my working processes. During the Academy of Fine Arts I also studied pedagogical dance studies in Jyväskylä University & later MA Choreography studies in Trinity Laban College of Music and Dance in London. I guess I have just always really loved learning new things.

Firstindigo&Lifestyle: Trinity Laban is a dear place in my own artistic history. When I was a student there, it was a place to find interdisciplinary approaches. You are a recent graduate. Did you find that the choreographer training supported multiple directions and platforms?

AN: Yes, I absolutely think it did. Still, after attending the MFA studies in Finnish Academy of Fine Arts with an unlimited number of courses to attend with a huge number of supportive one-to-one meetings with teachers & curators, studying in MA Choreography studies in Trinity Laban was much more self-lead. Also, the system of art grading is a different kind of process there, and I feel that being judged by juries was certainly the opposite of the pedagogical angle I had been used to. Of course the school had great teachers, and they are known for having creative professionals doing and implementing the curriculum. But, I personally felt that the system was partly old-fashioned. So, I struggled with disagreeing with some of the principles the system is built on, but fought my way through it, eventually. And learned a lot for sure.

Sonic Presence of an Absent Choreography

Firstindigo&Lifestyle: Sound is an important part of your choreographic and creative work as well. In choreography, sound often comes together with the moving bodies. But, how do you compose a dance piece without choreography being visually present on stage, relying solely on sound? 

AN: I have had the joy to work in artistic collaboration with many great sound designers, sound artists and composers, to mention a few: Petri Kuljuntausta, Olli Huhtanen, Mikko Joensuu, Antti Nykyri and Félix Blume.

Immersive sound installation and choreographic environment “Sonic Presence of an Absent Choreography” is an artistic collaboration between curator Andrea Valencia (MEX/US), sound artist Félix Blume, choreographer, dancer Veli Lehtovaara and me. The installation was made for Prague Quadrenniale 2019, Finnish ECR Exhibition Fluid Stages and was curated by KOKIMO. The piece consists entirely of recorded sounds of a dance. Through the installation, we aimed to reveal the ephemerality of the body on the stage through the immaterial media of sound.

In this particular artistic collaboration, the choreography was based on a visual score, an image I brought to the rehearsals. The image is a picture of an empty advertisement board, filled with strands of old, ripped posters. I took the picture during a nighttime in Tampere, while passing by. For some reason I just felt like the empty advertisement board in the silent city environment had all the sound and choreographic elements in it. Choreographer, dancer Veli Lehtovaara looked at the image for a while and then started dancing. Sound artist Félix Blume recorded Veli´s dance and did a great job by creating a sound score for the piece and further mixing the sounds for the installation in artistic collaboration with me and Veli.

Video documentation from the recordings of the piece, by Félix Blume (6min 41sec):
https://vimeo.com/289907108

Firstindigo&Lifestyle: The all encompassing subject at the moment is of course the Covid pandemic. You created a film that was based on the pandemic in different locations of the world. Can you shed some more light on the process of making this short film?

AN: The short film “In-Between” (2020, https://vimeo.com/432870117 ) is a second work, which I had the chance to work with the great New York/Mexico City based curator Andrea Valencia. I met Andrea whilst working in ISCP residency, New York in 2017 and we instantly bonded, sharing the interest for empty spaces in the cityscape, for instance. Aukusti, who is specialized in photographing architecture, I knew from beforehand and had wanted to work with for a while already, but Juan Pablo, who especially blew my mind with his photos on the cityscapes and Griselda, who is and amazing portrait photographer (for example for New York Times magazine) were introduced to me through our curator Andrea Valencia.

The documentary film is conceived as a montage that compiles photography and moving images to grasp the results of social distancing in the three cities, which are connected by the shared experience of the pandemic. By capturing details and fragments of the spaces and the moving bodies, In-Between suggests that, while movement and touch are being restricted, we are living an emotional collective experience. -Andrea Valencia

Firstindigo&Lifestyle: How do you think the collaboration taking place between multiple countries came together from the point of view of editing and bringing the entire visual material together?

AN: The working process, first of all, included people from various time zones during the pandemic, which created certain restrictions for timing our online meetings. Also, in Helsinki, the Covid situation during the late springtime 2020 was comparably easy, but in New York City and Mexico City, I guess no one really knew the magnitude of things at that point. So, we had to be really strict about the safety of the photographers participating, some of them having small children etc.

I felt that my main task as director in this particular project was to suggest ideas of the angles from which to shoot the world during pandemic. So, we had long talks with the photographers on the themes of the film, but still wanted to give them a lot of freedom and it was a surprise for me, how they would approach the subject. Editing the photos and videos together was an important part of the process, and reminded of editing an archival montage. During the summer 2020, we edited the film in Helsinki with Jaakko Peltokangas. Sound design of the film was made by Olli Huhtanen, whose work I deeply admire. We wanted to publish the film online so that it would be possible for everyone to access. At the same time, the film was made really fast, the clock was ticking and we knew it would stay online however it would turn out to be, there would be no going back.

Firstindigo&Lifestyle: It is very inspiring that you are an artist between two or many artistic endeavors. It could also be challenging, but at the same time it seems to be rewarding. What obstacles can you recall having while finding parameters in your career?

AN: Working as a multidisciplinary artist within film, fine arts, contemporary choreography and sometimes also television, for me the most challenging part has been accepting the fact that it’s OK not to be good at everything, learning as you go. For example, in Trinity Laban, I was surrounded by amazing dancers. Dance has been a part of my life as a hobby and part of my practice for a while already. Still, there were MA Choreography students with amazing talents in that section, while my background was mostly in film and visual arts.

Visual Score by Anna Nykyri

Firstindigo&Lifestyle: Can you say that you are more of a choreographer than filmmaker, or is it a completely irrelevant question? 

AN: I define myself as a visual artist, working with moving image, film, cinematic installations and choreographic environments.

Firstindigo&Lifestyle: How did your everyday life and work life balance shift, and change during the pandemic so far?

AN: It certainly changed a lot. Basically, all my artistic collaborations turned into remote work – into zoom meetings etc. During the late fall, I was screenwriting and directing a pilot episode for a documentary television series for YLE. Shooting documentary footage during the pandemic was hard work for all of us – mostly with the extremely tight safety restrictions to keep everyone safe. For the past 1,5 months I’ve been lucky enough to work remotely from a cabin at Iso-Syöte, which is the southernmost fall of Finland.

My weekly dance classes shifted into online classes (mostly Gaga movement language, developed by choreographer Ohad Naharin, which I can warmly recommend to everyone: https://www.gagapeople.com/en/) and gym training into home workouts. I really am grateful for all the dance & sports practitioners, who have continued teaching online! The online classes and workshops have saved me during these unexpected times.

Firstindigo&Lifestyle: This year, you are going to be participating in WRO Media Art Biennale in Poland. It is so interesting, as it also consists of a collaboration that you started at the new award-winning Oodi library in central Helsinki?    

AN: I’m super excited about the WRO Media Art Biennale opening in Wroclaw, Poland, May 12-15, 2021! I’m currently developing a new piece consisting of moving images in collaboration with visual artist Kaisu Koivisto, Helsinki Artist’s Association (project coordinator Anna Puhakka) and curator Agnieszka Kubicka-Dzieduszycka from the WRO Art Center.  The collaboration project, called “Synthesis”, began in Autumn 2020 with a shared exhibition in Central Library Oodi and includes, on top of the WRO Biennale, a following exhibition at Oodi in November 2021. Our interactive video installation will be presented in Wrocklaw in late autumn 2021 as well as in Helsinki, but we will already have an open talk during the opening week of the biennale: https://wro2021.wrocenter.pl/en/works/synthesis/. In the talk we will be reflecting the starting point for our work, Polish artist Pawel Janicki’s algorithmic structure “Synthesis”, and where has it led us.

The theme of the biennale is “reverso”. Me and Kaisu are at the moment gathering footage from our personal archives and filming some new footage. With this kind of theme, I think it has been a lot of fun to think of, what actually matters to us as artists, going back to the “roots”. Currently we are digging into the possibilities of MaxMSP program, testing the possible outcomes of an interactive installation, a choreographic environment.

Firstindigo&Lifestyle: There is a lingering feeling that pandemic left us with some new ideas of how to connect and collaborate. Did you have any time to think what you want to do next?

AN: The year 2021 will be busy with the upcoming exhibitions and a screenwriting process of a fictional short film and a feature length film. Luckily, with the upcoming film works I’m collaborating with an experienced producer, Markku Tuurna and an established dramaturge Tarja Kylmä with both of the films. In 2022, I will also present an installation at the façade of Gallery Forum Box.


Also, for years already, my dream has been to have the time to focus on a research plan, apply for PhD studies, continuing my artistic research in relation to the choreographic environment within post graduate studies.

Who knows, what’s going to happen? There’s always a new adventure waiting around the corner.

— — —
*‘In-Between’ was supported and commissioned by The Finnish Cultural and Academic Institutes’ Together Alone project and supported by Arts Promotion Centre Finland.

Directed & screenwritten by: Anna Nykyri
Photography by: Griselda San Martin, Juan Pablo de la Vega, Aukusti Heinonen
Edited by: Jaakko Peltokangas
Sound designed by: Olli Huhtanen
Curated by: Andrea Valencia

Featured image:

Short film, Passing by:
Passing by (2020)
Documentary short film 1’50”
Passing by shows a carcass of a young roe deer slowly decomposing in a forest, whilst cars are fast passing by on a nearby highway. The film creates a strong emotional charge of passing by; moving from the highway into the forest, details of fur, flies, a carcass – then distancing again, leaving the calf to be covered by the forest.

The film was supported by The Promotion Center for Audiovisual Culture AVEK / Media Art and Arts Promotion Centre Finland.

Directed and screenwritten by: Anna Nykyri
Cinematography by: Italo Moncada
Edited by: Jaakko Peltokangas
Music by: Mikko Joensuu
Sound designed by: Juuso Oksala
Color correction by: Juuso Laatio

Categories
art review&curating asian art

Ai Weiwei @ Helsinki

Chinese artist and activist Ai Weiwei’s exhibition opened in Helsinki in September 2015. Ai Weiwei @ Helsinki will be on view through the end of February 2016. His first solo exhibition in Finland features 25 works from 1985 to the present, including selection of wooden sculptures and installations, and taking materials from antiques and building structures of old temples. Ai Weiwei’s exhibition is connecting to historical China, raising contemporary questions and speaking of the critical voice, which requires to be heard. The exhibition narrates of the personal and the cultural, weighting the nuances that the artist has tested in practice.

Ai Weiwei is the artistic figurehead for thinking how today’s east meets west in many forms. I call my perception of the works ‘massivity of matter’. Firstly, the amount of matter in a museum space probably recalls any sculpture display as the intervention of matter over the space. In this exhibition, however, the sculptural speaks together with the space, the airy high ceilings are breathing with the objects. Second, the massivity of matter is more of a feeling that comes with the lack of scripture between the works. An echo of Chinese contemporary art, in which ancestral is disconnected from the line of reproducing the artifacts?

Map of China
Ai Weiwei, Map of China (2008) installation view.

Map of China (2008), is Ai Weiwei’s large opening piece to the exhibition. The sculpture is tall, hard to measure, and made of tieli wood fragments that come from ancient temples. This material is centuries old and told to be very rare today. Map of China is made with traditional Chinese woodworking technique bringing the pieces together. The challenge was to create the work without any visible seams. The configuration has the shape of the country showing how there was not a single history or culture in the first place, but only a forced effort to fit all the richness into a one state.

ai weiwei installation
Ai Weiwei, Traveling Light (2007) & White House (2015) installation view.

So a question arises, how to connect historical meaning and the general meaning of the past to those issues that define a contemporary consciousness of a man, after he had to struggle with the fascist propaganda and denial? I am not proposing this question as an individualist concern, but more as a rhetorical phrase to speak of a multiple choices. The artist can mirror his personal position on the power/to shed light on the power, which one-sidedly and univocally has taken over all the other voices, eventually starting to represent masses of voices. This is where massivity arises in artistic aesthetics. And perhaps this is why there is no single narrative imposed in the exhibition, because bringing together all the objects would already be a lot. They would utter so strongly, so let them escape the definition, and let the cacophony sing its well-orchestrated noise. Needless to say, as the wood is concerned, the aesthetics is well rehearsed, well mounted, the sculptural is well organized in groups, following up the international sculptural aesthetics of the moment. Working with wood, and collecting pieces that come from a cultural place with this huge time span; say, goes far beyond our contemporary time. This makes the works epic for today. Historical load is apparent. History arrives with the same massivity, as the ancestral would drive you over.

To be a political artist is not easy from the point of view of artistic aesthetics. Our art world needs the voices to break silences, but often the politics becomes massivity. It would perhaps be different to subtly speak without ruins taking over, as objects do have their own weight without us directly attaching them to ‘art’. In this case, the objects are not simply cultural artifacts as they appear in the art museum context, however they connotate in the form of temples, for instance. Some pieces come from temples – that is the shrine nature of a house, narrating about ancestry and patriarchal dominance. These fragments are ultimate references to the age of property, practice, and material attachments.

Another sculptural work by Ai Weiwei, is called Tree (2010). It is an assemblage of different woods deriving from individual trees. The dead tree trunks were collected from various locations in the mountains of South China. Differences between components is left visible intentionally:

‘We assembled them (the parts) together to have all the details of a normal tree. At the same time, you’re not comfortable, there’s a strangeness there, an unfamiliarness. And it’s just like trying to imagine what the tree was like.’

 

Wood as artistic material is so much about nature. Tree as a material is beyond our dominance. It exists and grows without our appropriation. But we did cut trees, we destroyed their existence, and we were cutting down entire forests. In the exhibition, the tree-sculpture is made from pieces to look like a whole tree, an original, yet at the same it is not. It is a look-alike, a not exactly, and a make believe of a tree, a form of a tree, a powerful signifier of a tree, of nature, of origin. It is quite interesting how this sculpture ended up being the center, as other objects are made of wood as well, representing crafty continuation of the artifacts as man made materiality, a continuation of time, which was before mass production.

The modernity of artificial materials, known as the mass-production is another question. Mass production creates massivity. Perhaps the ancestral places speak in the same manner as the modernity. The history is long; we communicate and paraphrase with it. Perhaps this exhibition communicates beyond art, becoming dynamic battlefield for matter and spirit, proposing final materiality in art. Where do we stretch the line between the materials that make the essence of an artwork? We draw from culture, bringing cultural objects into museum to speak for the culture. And this takes place ultimately not in the name of individual subjectivity but for all the collective consciousnesses.

After all, the dialogue between poetic and anti-poetic is what we are looking in the massivity. Poetry does not speak with the loudness unless it was dried out of mythological meaning and it communicates more with the naturalist approach to speak with metaphors. Metaphor can be standing for something, which is not invisible, and stands for something apparent, showing the evidence, creating presence of the political as inevitable. It is standing, yet changing?

There is an evident need for change in the cultural. The aesthetic is more of a repetitive force that takes form in the massivity. The criticism toward west comes in the undertone of the material in consumption, as enlightening force. The materialism is our new religion?

Traveling Light (2007), is a sculpture mounted on a temple pillar, appearing as being a gigantic table lamp or crystal chandelier. Ai Weiwei became interested in light as an object from the point of view of illumination and environment. The large sculpture stands for the idea that objects are close to human scale to be experienced physically.

Divina Proportio (2012), is composed of huali wood, referring to the golden mean, and as mathematical proportions to geometry in the Renaissance.

The exhibition includes two previously unseen works, White House, and Garbage Container, the former speaking of China’s developments and urbanization, the latter about five homeless boys who died tragically.

A new piece in the exhibition titled White House (2015) is an entire residential house of the Qing dynasty. The composition includes different woods and is constructed traditionally using nail-less joints. The work stands for the heritage, as the new developments in China have pushed away the traditional. The new white paint on a wooden surface creates questions about past and present, authenticity and change.

Ai Weiwei, White House, detail
Ai Weiwei, White House (2015), detail.

But cultures change slowly. The anthroposcience of human life shortly lived, continues in the legacy of a son who outlives his father (in a natural cycle). The artifacts have a longer life than we do, and this ends building the culture as fluid and as anatomically tilted. Objects lend to the patriarchal order creating legacy and interdependency. Objects echo about history, so in the name of the poetics and dialogue whenever they are on display there is an underpinning of voices that mesmerize with their presence.

The exhibition architecture divides the show into two large rooms. On the other side there are objects, which call much of the legacy that is darker, even more personal than the first exhibition space. Ai Weiwei became a prisoner after he was arrested in 2011 at the airport in Beijing. He was sometimes handcuffed to a chair while questioned. He also kept washing his one set of clothes while in prison, drying them on a hanger.

The art in this case becomes a historical conscience of a collective. It necessarily opens as a voice for the people whose history it is part of. The objects, their material consciousness and presence appear as inevitably non-corruptive, with presentation and physical presence, as non-poetic solidity. The substance is speaking through the stone, or the stones would shout, in this case wood objects.

Ai Weiwei’s role as a seer or visionary, means a hard position at home in China. His work Through (2007), is composed of tieli wood once again, having fragments of old temples from Qing dynasty. The scale is massive, and piercing, the tables and pillars form an almost cage-like atmosphere.

He says: ‘Artists are not in a position to decide the conditions imposed upon them but they can make statements about these conditions.’

Through
Ai Weiwei, Through (2007) & Frames (2013) in the background.

Artists have their own life, their own existential power, their own presence and saying. When it comes to power propositions with artwork, let’s say this. It is hard to assume that the artist proposes his artwork knowing that the entire nature of the artwork would stand for the resistance of power. Cultural legacy changes in a moment, when it becomes ‘art’. The objects are in a terrain of global and international exchange of matter. When it comes to materiality in the sense or meaning, would not the objects have a saying only inside their cultural reference? Legacy or cultural speaking of the history changes with the art market. When legacy becomes art, it has become layered with different meaning; yet the objects are not entirely free of their cultural origins.

The Garbage Container (2014), impresses as a valuable huali wood piece, reminiscing of a cupboard, and looking like a container when it turned on the side. Another impressive piece is the architectural installation titled Ordos 100 model (2011), which was built together with Swiss architect firm Herzog & De Meuron. Made of carved pinewood, an uncompleted, miniature city was planned to be build in Ordros. Treasure Box (2014), is another construction made of huali wood. interestingly, all the objects seem to highlight the wallpaper, titled as IOU Wallpaper (2011-2013), which has decorative appeal, yet a message that makes everything seem unconventional.

Treasure box
Ai Weiwei, Treasure Box (2014) with IOU Wallpaper on the walls (2011-2013)

Ai Weiwei’s exhibition at HAM Helsinki in on view until February 28th, 2016.

Artist website: http://aiweiwei.com/

images: Firstindigo&Lifestyle

Categories
fine and contemporary art women in art

Chantal Joffe’s women visit Helsinki

Chantal Joffe’s oil paintings raise questions about women as subjects of art. What is feminist art, and what makes women portraitures as subjects of feminist art? What makes Joffe’s paintings so appealing in the world of portraits is their movement and their character; whether it is the angles, features, colors and their environment. The domesticity or the everyday versus iconographic femininity is so intriguing. The art historical note would be multiple references. One thing that comes to mind in relation to Joffe is her psychological approach. Her portraits create emotional landscapes of the person they portray. Chantal Joffe’s art will come to Helsinki in August 2013. Gallerie Forsblom will feature the artist together with two other artists. According to the gallery this is the first time her art will be shown in the Nordic Countries. It is about time, as she is an international celebrity.

***

Between August 30 and September 22 Joffe’s art will be seen, together with Adel Abidin and Nelli Palomäki, at the Gallerie Forsblom.

Gallerie Forsblom: http://www.galerieforsblom.com/artists/chantal_joffe/representative_works/

More information about Chantal Joffe: http://www.victoria-miro.com/artists/_19/

Categories
design sustainability urban planning world design capital helsinki 2012

Kamppi Chapel of Silence in the World Design Capital 2012

Kamppi Chapel of Silence opened in May-June 2012 and immediately became a Helsinki World Design Capital architectural landmark. It has become a huge tourist attraction with thousands of visitors coming to see it on a weekly basis, and the architecture has gained international following. The Chapel is designed by the K2S Architects, and is built by the Evangelical Lutheran Church of Finland. It is a collaboration of the City of Helsinki and the Church. Kamppi Chapel of Silence is a unique concept in Finland, being a first of its kind.

The Chapel was nominated for the European Union Prize for Contemporary Architecture Mies van der Rohe Award. Nordic Architecture and Design Magazine FORM chose it as the building of the year within Nordic countries. The architectural shape brings in mind, for some, ideas of Noah’s ark, and for others it reminds them of egg or bowl shapes. What is extraordinary about it, is the element of cutting out the sounds of the city. When you enter the space you have come into contact with silence, and you are isolated from the urban mayhem. The Chapel entrance hall is designed for encountering people, there is a service desk for the staff to meet with the community and visitors. The Church offers prayer services and communion, but it does not offer the usual congregational services like weddings and funerals. Its main focus is to be open for people and to assist the surrounding areas. The professionals in the Chapel encounter and help visitors and even meet the youth hanging out in the shopping mall area. This sometimes means dealing with usual social problems of public spaces.

The building brings in natural light during the daytime. The rest of the lighting is created to keep this natural balance. The lighting is operated by sensors, which adapt to human movement. The Chapel interior is made of alder, with common alder planks cut to shape, the benches are made of ash tree, and the exterior is made of horizontal spruce strips, which are bent at different radiuses. The exterior wood is glazed with a special wax that utilizes nanotechnology, and its frame is prepared of massive glulam beams, which were cut to shape. The exterior consists of 30 kilometers long of the material. The World Design Capital was launching a theme for innovative wood architecture, as it is more ecologically sustainable in the times of the World’s ecological crisis.

The acoustics are fantastic for musical performance, however there is no room for an organ.  It would be ideal space for baroque ensembles to perform, for instance. The most important concept of the Chapel is to be a service desk for both the locals and travelers alike. The doors are open for anybody to enter either to stop by or spend some quiet time there. The Chapel is located in the middle of the Kamppi market square, which incorporates a big shopping mall and a metro station. The area has hotels and museums nearby so it invites tourists and international visitors. Overall, the square is an ideal location for the Chapel, since it is an intersection of the cultural and the leisurely, bringing in people from all parts of the city. The Chapel itself is a small gathering place holding the most 60 people.

The City of Helsinki implemented that the World Design Capital projects come up with ideas of service design. Part of the thinking of the design is that it is embedded in the everyday life of people, and it can be more than just objects, material things and products. Design can be experiences, and it can encourage communities to create, to meet and come together, to influence and serve others. When this idea is brought together with architecture it adds another layer of the human experience. Good architecture is there to serve communities, and create meeting points in the busy city-life. The Kamppi Chapel employs professionals from the City and from the Evangelical Lutheran Church of Finland Helsinki parish, employing twelve people.  A pastor and a deacon, a youth social worker, two ushers, and the manager are employed by the Church. The city employs two social workers, two social instructors, and two cleaning professionals.

inka

Pastor Nanna Helaakoski

 

December 12, 2012, was a special day for the Kamppi Chapel. 12.12.12. was commemorated there with several weddings in the Chapel. This is an unusual occasions, so I spoke to the Chapel’s pastor Nanna Helaakoski about it.

– The December 12, 2012 was made a theme day of weddings at the Chapel. We had 16 couples to celebrate their wedding ceremonies. For some of them it was more important to get a rare chance to be married in the Chapel, than to emphasize the 12.12.12 as a special wedding day.

Websites: K2S Architects Ltd. www.k2s.fi/

http://www.helsinginkirkot.fi/fi/kirkot/kampin-kappeli

WDC Helsinki 2012 wdchelsinki2012.fi/en

(Update: Mice family living in the Kamppi Chapel moved to nature. Pastor Nanna Helaakoski assisted them. The following video was published on Jan 16, 2013 by Kotimaa24:n production’s Päivikki Koskinen and Katri Saarela, 2013.)

Categories
design world design capital helsinki 2012

‘New Nordic Oddity”?…and other design definitions

What I find very intriguing in the current design-discussion, is the questions of how we signify the things, and how we see the world-object -relations from different points of view. What now seems timely, is to define and differentiate ourselves as consumers with more softer values. We are ‘humans’ after all, meaning that we are responsible of the planet, therefore, what kinds of significations we give to the things and objects in the era of mass-production is crucial. How we consume, how we define what we consume, how we differentiate things, adds value to the objects. The meaning-systems behind the branding of products are referential, but they are also truthful from the point of view that they engage our participation in the entire definition-game. As it is also true that what kinds of nouns and adjectives we give to the objects, puts them on the market more.

Where comes a need to define the objects, which we use, which surround us, and so on? A question is relevant in relation to design, since we incorporate the objects in our daily lives. That is the pre-value of the design. ‘National’, or should we say ‘regional’ or ‘geographical’ instead of a national as we share a global world, is attached to the design-products, and calls for several attributes. This is strongly the case in the branding of Finnish design. Let’s look back to 2008.

The summer of 2008 generated an exhibition of Finnish design in the Helsinki Design Museum. The exhibition was called Fennofolk-New Nordic Oddity. One of the exhibit curators, professor Timo Salli from the University of Art and Design in Finland, told the newspaper Helsingin Sanomat that the Fennofolk-New Nordic Oddity -exhibition aimed at honoring the local Finnish culture. It tried to find “weapons” from the Finnish culture. Additionally, Salli mentioned that the show was not trying to bring in the latest trends from Paris to be shown “too late” in Finland, but when viewed from the “Slavic-urban” perspective, the contents were precisely that of the “national romanticism” (Pöppönen/HS 11.6.2008).

In the interview, it became evident that the fennofolk idea had been invented couple of years prior to the show together with Salli and co-artists Jari Leinonen and Paola Suhonen (founder of Ivana Helsinki brand). Fennofolk-New Nordic Oddity displayed works from 80 different artists, who deployed a great variety of media in their works, not just birch and birch bark, which are the traditional folk art materials that Salli himself used in his exhibition designs.

What inspired me immensely about the show itself, and what also captured my curiosity when I read Salli’s interview,  was the idea of design branding; the core idea of how we choose to define the objects and things, give them certain value. And look at them in respect to our own pasts, weather it is local histories or our own experiences in Finnish forests, for example. The beauty of the Fennofolk-New Nordic Oddity is hidden in the paradox. Finland is, first, a culture of the ‘fenno’, what ever that means. At least it comes with the traditional methods of designing the birch. Second, Finland seems to represent in the design imaginings some kind of New Nordic or Northern Oddity, which could mean something Nordic (as it is part of the Nordic countries) and then something New (as exiting?). What remains is the definition of Oddity. A question remains, what would that be? How do we define Oddity in relation to Finland and its designs?

Helsinki World Design Capital might come up with some answers…

See also Paloni Designers on this blog

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world design capital helsinki 2012

Follow me to the forest

It is time for Helsinki Design Week (HDW). We are impressed that the locations include the Old Customs Warehouse. There will also be a fashion show in the brand new Helsinki Music Centre (designed by LPR-architects Marko Kivistö, Ola Laiho and Mikko Pulkkinen). Finnish people love their music, also for the reason that Finnish music has gained world class reputation with our composer Jean Sibelius. After Sibelius, of course, several other 20th and 21st century composers have turned into the unique sounds, which have defined Finnish art music. Perhaps one definition for the musical trends could be a word ‘moody’. It is quite easy to pin it down when one listens all the brass-instruments in Sibelius.

The new Music Centre stands in a row of other remarkable buildings along Mannerheimintie-road, which honor Finland’s musical tradition and the local arts. Next to the new construction is Alvar Aalto’s Finlandia Hall with its beautiful white marble walls. The modern classic stands out as a continuum of (evolving) organic shapes within the city landscape. Then, a little away from the center is the Opera House, which opened in 1993. The Bauhaus-inspired building was designed by prominent HKP-architects Eero Hyvämäki, Jukka Karhunen and Risto Parkkinen… As going towards the city center along Mannerheimintie, the Music Centre shares an outside green area with Kiasma Museum of Contemporary Art, Designed by American Steven Holl Architects, the museum opened  in 1998.

During the Helsinki design week, a fashion dimension is added to music. As a result we have an interesting Nordic-Finnish combination of performativity.  Like the musical tradition, Finnish design can be associated with some unique factors. The design and architecture take inspiration from the nature. It makes sense as the country is filled with so many forests and lakes. The nature functions not only as a source of inspiration for design patterns, but it also offers concrete materials and structures. The use of a birch tree and birch bark has been common since traditional times, for example. Birch bark was used in folk designs, and it still continues to define some of the Finnish design, which has taken new forms.

In 2010, I started imagining the future World Design Capital. How to picture one’s own hometown as a world design capital, how to find the paths, buildings, and all the details and different perspectives, which all are true and necessary in the mixture; to represent Helsinki as a place with rich history?  One important step is to acknowledge our own design potential in the ways we perceive our everyday lives. To see all the creativity in the everyday life.  Finally, remembering Helsinki’s amazing location and closeness to nature is a surplus to the small capital. If one does not want to take one of the cruise boats to Tallinn or Stockholm, at least a trip to one of  the forests and national parks is a must!..As much as there is also international art on display (2010 there were sculptures of Manolo Valdes, picture above), and beautiful natural and man-made design around, there are also landmarks with so much historical value. This prehistoric grave is just a mile away from the city center.

see more about Helsinki architecture in this blog