AV-arkki 2007 · AV-arkki 2007. In collaboration with ... We need to leave room for diversity ......

AV-arkki – The Distribution Centre for Finnish Media Art 1

AV-arkki 2007

In collaboration with

AV-arkki, Distribution Centre for Finnish Media Art, is a non-profi t artists’ association. It was founded in 1989 and has approximately 130 Finnish artist members. AV-arkki’s main function is to distribute Finnish media art and experi-mental fi lm to festivals, events, museums and galleries around the world. The association offers individual works or curated compilations to events and its know-how in collaborative projects. AV-arkki also has a distribution archive, which is open to curators, researchers, teachers, critics and artists by appointment. AV-arkki aims to promote its members’ interests and the fi elds of media art and media culture generally. AV-arkki’s work has assisted in the inter-national success of Finnish media art today.

AV-arkki organizes the annual VIEW - Festival of Finnish Media Art in Helsinki, which screens all new works, which have come into distribution during the previous year. Festival programme at AV-arkki’s website, www.av-arkki.fi .

AV-arkki, Distribution Centre for Finnish Media ArtAddress: Tallberginkatu 1 E 76, 00180 Helsinki, Finland

Tel: +358-9-6944089Fax: +358-9-6944187

E-mail: [email protected] Web: www.av-arkki.fi

EditorsHanna Maria Anttila, Pirjetta Brander, Eeva Pirkkala, Elina Vänskä

ArticlesHanna Maria Anttila, Minna Kontkanen, Maarit Piippo,

Eeva Pirkkala, Kari Yli-Annala, Annamari Vänskä

TranslationMarkku Suihkonen

Printed byKalevaprint Oy

DVD authoringVesa Puhakka

First edition2000

ISBN 978-952-99328-3-2ISSN 1796-7546-


The features of mobiles and PDA devices have diversifi ed in the last fi ve years and also 3G phones are rapidly becoming com-mon. The favourable features of 3G include, among others, fast data transfer, roughly estimated over 1 Mbit/s, and the ability to transfer both sounds and other data. Children and young people grow in to a totally different media culture than my contempo-raries. Young people are accustomed to the networked world and they have used various devices all their lives. They have not ex-perienced the time when there was no Internet. The diversity of content is going to expand and there is room for art, too.

In the USA it is estimated that the Internet has already be-come more popular than television in younger age groups. The development of various devices, data transmission and content has happened so quickly that the slowest will easily miss the bus. New and interesting content services like www.youtube.com have emerged on the Internet. Anybody can upload any type of media fi les to this service. Viewing fi les is free. The volume of digital content increases non-stop as the amount of hardware and devices rises and the distribution of digital content becomes easier and easier. How, for example, the makers of media art will get their royalties in the future should be secured better than in the current system: technology is getting better and laws drag behind. The control of the whole situation is in the hands of few people.

AV-arkki is getting prepared for digital future and has already been able to digitalize a large part of its archived works into digi-tal form. The development for how media art is presented in data terminal equipment in the future is just taking its fi rst evolution-ary steps. The ongoing development of networks and the diversity of equipment lead us to the situation in which contents and tech-nology do not always meet. We need to leave room for diversity and see the meaning of art in this context, too.

Art in data terminal equipment

kuva

Eeva Pirkkala / AV-arkki ry, Director

Pirjetta Brander’s work “The Burden” shown in an iPod

2

Living painting – image moving in time

In an industrial area somewhere in Espoo a snake glides along following the wall of a VTT (Technical Research Centre of Finland) build-ing in the dimming evening light. A hedgehog waddles on ahead of the snake, momentarily turns back towards the snake, and then they both keep on their journeys next to the wall until they get out of sight. Next a wall-size monitor shows a dancing couple, which, stepping through their choreography moves on anddisappears into the same emptiness than those previous animals.

This is Tea Mäkipää’s ”Catwalk”, which, projected on the wall of VTT’s “Digital house”, is the fi rst public video artwork in Finland. The catwalk of Otaniemi is conquered by people, animals and vehicles moving in the most ex-traordinary ways, showing the diversity and non-hierarchy of the species.

Previously, to enliven such public wall space a fresco could have been painted – in digital age art gets to utilize pixels, projec-tors and monitors. It is a hybrid of video and painting: a media art work that can be called, say, a living painting.

Art happens to a viewerWhen compared to traditional fi lm, media art does not necessary include a plot, a be-ginning or an end. This way the viewing ex-perience of an employee arriving the digital house of VTT is comparable with a visit to an art exhibition, in which the work can be ad-mired as long as the visitor desires.

Even the coincidental viewing of a living

painting is not an incomplete art experience, as there is no pre-defi ned logic of a plot.

According to visual artist Pekka Sassi, who concentrates on video works, a living painting is like an abstract fi lm in which ev-erything happens to a viewer, not to a fi cti-tious main character, through which the con-tent of the artwork is experienced.

The continuity and simultaneousness of timeMarra Lampi, who studies ornamentation and geometrical shapes in her graphic works, thinks that the time dimension enabled by a living painting is a revolutionary benefi t in the expression of her ”Creation myth”. The Islamic story of the Creation that has fasci-nated Lampi a long time, fi nally found the form she had dreamt about. The diversity of the world gradually takes shape on the vid-eo, starting from a point, growing into a line and an arc of a circle, which by repetition and transformation turns into a pulsating, spa-tial network.

- The benefi t of mobility is clear in this work: I wanted to paint a series of events in which things are clearly placed on the time-line, says Marra Lampi.

Lampi heard about living painting from Pirjetta Brander who, by accident, acquaint-ed herself with this possibility to add move-ment, time and sound dimensions to a paint-ing, and learned the technique.

Brander’s ”Single room” originally is a watercolour painting; then the static picture

about a room was animated into a video work with some movement in the room. With new technique the macabre atmosphere in the room is accentuated as a table swirls up in the air and the hands of a clock are moving forward and backward.

- It is fascinating how the simultaneous-ness of the events is triggered by showing movement, says Pirjetta Brander.

She believes the benefi t of this technique is that the artwork receives more possibili-ties of interpretation. A video work can occa-sionally be also a background image, and the usage of the living painting can be compared with fi replace videos in department stores. Art happens when the viewer so desires.

Maarit Piippo


Tea Mäkipää: Catwalk

4

Collecting media art in Finland – two cases

In Finland, like elsewhere in the world, there are less collectors of media art than, for example, of painting. Additionally, most private persons and institutions acquiring media art are not concentrating on collecting this art form only.

The operation of AV-arkki is exceptionally specialized, but also elsewhere in Finland art collections are growing with media art. Tra-ditions are even shorter than the history of contemporary art:

“Before the founding of Museum of Con-temporary Art in 1990, Ateneum did not pur-chase media art,” says the curator, secretery of the acquisition committee in Kiasma, Eija Aarnio.

“With the exception of ARS 83 exhibition, which led to the purchase of 17 video works and Bill Viola being one of the artists.

At the end of November 2006, Kiasma’s collections included 255 works of art that can be classifi ed as media art, which defi nition at Finnish National Gallery includes convention-al fi lms, videos, sound and light works, multi-media works and also some installations.

Kiasma usually purchases video works in Betacam format, and makes digital exhi-bition copies of the originals. The Betacam master tapes and digital copies are stored in separate places.

All kinds of contemporary art ends up in Kiasma only after the purchase committee of fi ve members has discussed the works and fi tted them in the budget at their meeting. The purchase committee assembles about once a month. The museum director makes the fi nal decision on purchases.

“In 2006 there was a budget of 320 000 euros for artwork purchases, which generally

is suffi cient for acquiring 50-70 artworks,” re-veals Aarnio.

This sum of money cannot really buy in-ternational art but the purchase policy of Museum of Contemporary Art states that the primary focus is on Finnish art, second-ary focus on our neighbouring areas and then comes the rest of the world. 75 percent of all our collections are from Finland.

In 2007 the purchase committee will include Museum Director Berndt Arell, Pre-senting Curator Marja Sakari, Secretary of the Committee Eija Aarnio, and external ex-pert members, photography and video artist Heta Kuchka, and sculptor, light artist Jaakko Niemelä.

Foreign artworks enter the discussion of the purchase committee via the museum director’s contacts including, for instance, bi-ennials, and from Kiasma’s own exhibitions. The popular ARS exhibitions, in particular, create the need to purchase and keep some works permanently here in Finland. In addi-tion, domestic art is acquired from the stu-dios of artists, galleries and some even as donations.

Not even donations are automatically ac-cepted by Kiasma, as the acquisition policy requires that all acquisitions contain “artis-tic, contentual and expressive signifi cance”. Various types of contemporary art do not have fi xed percent quotas, but the selection principles include only quality and price.

When the museum decides to purchase a media art work, a media art contract is made with the artist. This contract confi rms that the museum has the right to show the work in the museum premises, make archive copies of the work, and use the photos of the

work in the press releases. At the same time it is confi rmed that the artist owns the rights to all parts of the work, and agreed on in what context and how the work should be shown.

“ In the contract the artist determines the boundaries also for what the artwork should look like when shown in new formats taken into use in the future” says Aarnio.

One of the rare private collectors of media art in Finland is dentist Lars Swanljung from Helsinki.

“I started to collect media art as a side activity to photo collecting. I have collected art for about 20 years and media art since 1995 – 1997, says Swanljung. His fi rst media art acquisition was Peter Land’s video from Stockholm Art Fair.

“I don’t go after unique items in media art or photography but just hope that the art I buy will be good and lasting. The emotional feeling at the time of viewing the work affects the buying decision and my history as a col-lector affects that emotional feeling. I don’t go to see the work many times; it’s a “get or forget” situation.

At the end of November 2006 Swanljung possessed about 20 works of media art from about ten artists. All the videos and DVDs have digital backup copies and the originals are stored in a “safe”.

“As a private collector I don’t need to agree on presentation rights”, Swanljung says, “but I’d like to emphasise that also the home viewing of media art has undergone a revolution in the recent years. The viewing devices have developed and the prices of vid-eo projectors have practically plunged”.

Minna Kontkanen

“There wanst was two cats of Kilkenny Each thought there was one cat too manySo they fought and they fi tAnd they scratched and they bit‘Til instead of two cats there weren’t any.”Irish limerick (a fi ve-line epigram)

It’s been suggested that the poem of Kilkenny cats belongs to the era when bright-cut mirrors were rare in Ireland. It was imag-ined that the cat and its mirror image had an evenly matched fi ght with no winning side. The similar idea of an undecided fi ght or rela-tion between the image and its counterpart in real life is approached in a Jorge Luis Borg-es’s story, which depicts how the making of the most detailed map of the kingdom ends up with a realisation that the map should be as large as the size of the kingdom in real life. The interaction between concrete space and virtual world or the real thing and its image is a dear subject in media art. In Lauri Asta-la’s video installation Small Spectacle about Image-Semblance (2005) the text by Borges is written with metal letters stretched on a steel wire and placed in the middle of the hall

in the formation of a 3⁄4 enclosure with one side left open. When the viewer’s eye focuses on the letters an optical effect takes place: the video projections representing abstract, moving lines come out the walls of the hall and fl uctuate in the space as three-dimen-sional.

In Milja Viita’s video work A Tale of a Dead Man (2006) woman sends a letter to the US space administration NASA telling about her dream, in which she creates a world with all living creatures, forests and cities on the surface of a rock. The Earth is appearing as a whole of emerging, present and vanish-ing entities, the changing compositions of which we can imagine ourselves working in. The woman is convinced that the Earth and a microplanet born on the surface of a rock cor-respond each other and therefore she wants to travel to the space to see the world of her creation. We create the view of the world into our awareness by gradually scanning and enlarging our sphere of experiences. It dis-appears from us when our awareness disap-pears. I understand Viita’s work as a desire

to bring into the sphere of consciousness the fact that one day this round planet will go on living without the teller of the dream.

The perception of images and the world is in connection with emerging, presence and vanishing. The world feeds the image and vice versa. But perhaps the world does not appear to us any other way but as its own image. In Astala’s video installation Small Spectacle about Nearness (2005) a pendulum placed on top of a partially transparent, large glass window is making a light bulb move and al-ternately light one part of the room and then the other. There are two chairs symmetrically situated on both sides of the window and equally far from it.

The viewer sitting on one of the two chairs sees a refl ection of a superimposed image bringing together the features of him/herself and the other person sitting on the chairs

Alternatively, if one of the chairs is empty, he or she only sees the chair, which, due to the movement of the lamp/ light bulb, seems to keep losing and fi nding its sitter - as a re-minder of the cats of Kilkenny.

Two cats of Kilkenny Kari Yli-Annala

Milja Viita: A Tale of a Dead Man Lauri Astala: Small Spectacle about Image-Semblance

6

Art made by women has always dealt with personal issues. Home, human relationships and problems with one’s own body as well as pressure on appearances are central issues also in the output of Eeva-Mari Haikala.

What if you had a second chance with the one that got away? (2006)

A young woman contacts the directory enquiries, speaking French and trying to get a phone number that was in use ten years ago. It remains unclear whether she gets what she wants. Eeva-Mari Haikala’s video work “What if you had a second chance with the one that got away?” is based on true events: in 1995 Haikala had a crush on a French young man in Paris. Unfortunately, she wrote down his contact information on a city map with lipstick only. In 2005, having returned to Par-is, a memory of an old affection came back to her: would it be possible to fi nd the lost love? The video work got an extra inspiration from Richard Linklater’s fi lms Before Sunrise (1995) and Before Sunset (2004). In the fi rst fi lm a young Frenchwoman meets a young Ameri-can man on a train journey in Europe, spends an unforgettable night with him in Vienna, and leaves him with the intention of meeting the same man a year later in a certain place. One might guess that the couple never meets again. The sequel to the fi lm starts with how nine years later the couple meets each other by accident. And voilà: the rest is history. Will this happen to Haikala, too?

Spaghetti, Cantaloupe and Red Beet (2006)

Food is one of the most essential themes in dealing with womanliness and female sexuality in feminist contemporary art. This theme interests also Haikala in her video quickies “Spaghetti”, “Cantaloupe” and “Red Beet”. In “Spaghetti” a young woman enters the scene and starts staring towards the viewer in an intensive way. After a little while she bends down, picks up a red bucket and pours all of its content, white spaghetti, onto her head. The ironic statement of the video says: One is not born a blonde, one becomes one!

Another video work “Cantaloupe” con-tinues the minimalist style of “Spaghetti”. A young woman enters the scene with two cantaloupe halves in her hands. She starts pressing the cantaloupe halves against her bare breasts, and it seems that she would like to attach the fruits on top of her breasts. This fruity parody on silicone breast implants refers to a prevailing order in our culture: the woman must have huge breasts - in deroga-tory language breasts are called melons/can-taloupes - and still, at the same time, the woman should not practically eat anything, not even a half of a cantaloupe.

The third food performance from Haikala, “Red Beet”, addresses a taboo subject: wom-en’s menstruation. At the beginning of the video a woman wearing ragged, white under-pants enters the scene. After standing still for

a little while she buries a red beet under her underpants. A widening red stain starts ap-pearing in the crotch area of the underpants. The work ironically asks why also women fi nd menstruation so shameful? Why shouldn’t it be shown? Why do you have to hide blood in sanitary towels or make a tampon absorb it?

Tableaux Vivants (2006)Eeva-Mari Haikala’s living paintings are

small glimpses shot on Super 8 fi lm. A wom-an enters the scene with fruits already there or walks into the scene and stays as part of it while chewing gum. Nothing else happens. Haikala’s still life works negotiate with the traditions of performance and painting, and their most fundamental theme concerns time and temporality. The history of art tells us that living paintings were popular in the 19th century forming a part of socializing. The guests placed themselves in a formation resembling a classic painting or sculpture and the other guests had to guess what the original work was. Haikala’s works also make this guessing game possible. For example, her living painting “Cigarette” is similar to Elin Danielson-Gambogi’s painting “At the Breakfast Table” (1860) in which Gambogi had immortalised her sister smoking after the breakfast. “Artichoke” depicts a woman who, close to the viewer’s eyes, lies down naked and with her legs spread wide open. To cover her vagina, the woman uses an artichoke, which metaphorically refers to woman’s sex

The unbearable lightness of being a woman Annamari Vänskä

organ, hence the title for the work. The histo-ry of art provides an intertext for the work in the form of Gustave Courbet’s richly detailed pornographic painting “L’Origine du Monde” (1866). It shows a torso of an anonymous woman and offers a clear view along her open legs to her vagina and bare breast.

Eeva-Mari Haikala: Tableaux Vivants, parts Fruits, Crown and Chewing Gum

8

“Finnish artists have made a lot of video art that falls fl at because of some minor technical thing due to, for example, the lack of resources”, says Tuuli Penttinen-Lampisuo from the Arts Council of Satakunta.

AV-arkki and Artists’ Association MUU also became aware of the drawback and they launched a video art production project ITU in 2004. At this point the producer of AV-arkki Penttinen-Lampisuo had become a regional artist of art production in Satakunta, and the Arts Council of Satakunta became the third member of the project.

To start off ITU-project AV-arkki and MUU arranged an open invitation for the artists, who had to state reasons for their wish to get involved in the project.

MUU started its operation as a production company by organizing a scriptwriting work-shop; 10 artists and work outlines from 27 ap-plications were selected. The preference was given to outlines that required using more people than just the artist him or herself.

“The scriptwriting workshop comprised of three meetings in Helsinki and a long weekend in Pori in 2004”, says Penttinen-Lampisuo. “Visual arts teacher and producer Lemmikki Louhimies was the instructor. Erkki Astala, Sari Volanen and Leena Kemppi from YLE Co-productions provided feedback on manuscripts.”

Finally, four works were selected to be completed within the project: Elina Sal-oranta’s ”Do Not Disturb” (Ei saa Häiritä), Lena Séraphin’s ”Watchmakers” (Kello & Kulta), Marko Lampisuo’s ”Porifi cation” (Po-

riutuminen) and Tanja Koistila’s ”Fishbones” (Ruodot).

The fi rst time these works were collected together was in Rauma Art Museum’s “In this house, in these rooms” (Tässä talossa, näissä huoneiss) exhibition in November 2006. They will also be seen in 2007 in Uusi Kino programme on Yle TV1, as well as at the MUU gallery in Helsinki as part of VIEW07 fes-tival from February 22nd, 2007.

Even before Rauma, these works had been shown in several short fi lm festivals around Europe.

“A special attention was paid to the sound and image quality of these four works”, says Penttinen-Lampisuo. “What came out is video art that meets the normal technical re-quirements for short fi lms.”

ITU is an independent and non-profi t project with MUU being its production com-pany. In practice, this meant that MUU and producer Tuuli Penttinen-Lampisuo arranged the funding for the production and managed extensive contractual and fi nancial admin-istration during the production period of the project. Tuuli Penttinen-Lampisuo coordi-nated cooperation with the Arts Council of Satakunta and other cooperative partners. She made the required contracts and admin-istered the progress of the works together with the artists and MUU.

“Nobody else but the artists controls the content of the works completed in the proj-ect and the project does not have commercial aims”, encapsulates Penttinen-Lampisuo the characteristic essence of ITU.

“MUU, AV-arkki and the artists have signed a tripartite agreement, which allows them all to distribute the works. Additionally, the artists are permitted to sell their works. After all, the idea of the project is not to re-strain but to help the artists in many ways”.

But what do these artists feel they have learned from ITU-project?

“What was especially interesting in the project was this scriptwriting workshop, which created interaction between other art-ists,” remembers Elina Saloranta. “ I hadn’t ever written any script for my works because when you work alone you don’t necessarily need to write one.”

“Thanks to ITU-project and their fi nancial resources I was also able to use actors and pay people wages, which I had never done before.”

As a result, ”Do Not Disturb” (Ei saa häiritä) was completed. The work is fi lmed in Kannelmäki suburb and it tells about how someone, from outside of a love relationship, can become the main character in the rela-tionship.

Marko Lampisuo, who moved to Pori in 2004, made, through ITU, a contact with an expert in sound and editing, Olli-Pekka Salli, whom he had never before worked with.

The result of the cooperation is ”Porifi ca-tion” (Poriutuminen), a personal and docu-mental video about getting settled in a new place to live.

Lampisuo also praises the scriptwriting workshop: “ Some good things stuck in my

ITU-project produced polished video works Minna Kontkanen


mind, something I had never before thought about. Discussion was interesting and you could present your unfi nished work with no fear of its idea getting nicked.”

ITU-project has offered a new way to op-erate between several different project mem-bers. After a persistent work, four magnifi -cent works have been fi nished.

Marko Lampisuo: Porifi cation (Poriutuminen). Photo: Tuuli Penttinen-Lampisuo

10

I have never been able to understand that getting babies belongs to one’s life course as if it were a natural part of it. After completing studies and getting a permanent job you are supposed to marry someone and get a baby. This is how the life cycle is naturalized to us. Even as a child, I remember arguing about it. I remember angrily running away from my sister when she was telling me that she would make a hundred babies when she grew up. The number of children was not the most madden-ing thing, but the fact that my sister thought the whole idea of making babies was so matter-of-course.

Maarit Suomi-Väänänen’s work tackles a topical issue, which has re-ceived relatively little interest in art. Why is it that getting a baby is so naturalized? Why does anyone need a justifi cation for not getting a baby?

- Even if the reason for not having children were one’s own choice, it can involve grief and abandonment. The insinuating questions from friends and relatives about procreation can feel oppressive. The ex-perience of childlessness is both physical and abstract: you grieve for something that has never existed, backgrounds Maarit Suomi-Väänänen her fi lm “Salty Snow” (Suolaista Lunta 2007).

“Salty Snow” (Suolaista Lunta 2007). is a very subtle work and its fun-damental theme is grieving. The work shows a woman sitting on the sea ice in the middle of snowy scenery. The sun is glistening on snow and in her hair; reeds are swaying in the wind. The woman is concen-trated on crocheting. Behind the woman there is a man shovelling snow and building an ever-growing snowdrift behind her back. Sad ambient music sets the pace to the events.

- I wanted to illustrate that although the feeling of grief may be mu-tual, everybody grieves in his or her own way separately. In grief a person is alone.

Annamari VänskäAbout the naturalness of making a baby

Salty SnowSALTY SNOW thematises the yearning for a child. The fi lm refl ects both on the evanescence of being and the innate human need to breed, to create things new. As hopes, expectations and disap-pointments become interwoven, life feels fragile and vulnerable, and, at times, the shared sorrow is experienced separately.

Maarit Suomi-Väänänen: Salty Snow, Solo Exhibition at Cable Gallery 7. – 27.2.2007

AV-arkki – The Distribution Centre for Finnish Media Art 11Minna Långström: The Sleep Lab – at the Korjaamo Culture Factory 15.2-4.3.2007

Markus Renvall: Media Sauna - at The Korjaamo Culture Factory 15-18.2.2007

12

Pekka Sassi is interested in the media culture of our time. He collects all kinds of images and sounds, works both with found footage and self-shot material. “While fi lm-ing, I intend to produce as little material as possible. It’s a question of something like croquis drawing: you sketch quickly to create vividness and spontaneity which otherwise would be lost while adjusting the camera and fi ddling about with lights. Once I fi nd an interesting image, it is saved and a suitable sound for it is either searched for or made. Sometimes this can take years. Usually it takes only a few days,” describes Sassi. The sound recordings and freeze-framed or mov-ing images stored on the hard drive of the computer are generally combined into short works on Sassi’s desktop. When examined separately, the structure of the video track and sound is often very simple. But glued together by Sassi, these elements generate a magic, catharctic experience in the viewer – as if rock lyrics found just the right melody. I assume that Sassi’s works are usually born in the manner of collage-likeness. He com-bines together kinetic art, constructivism and, in the spirit of Brancusi, the elements of experimental cinema, contemporary media and rock music. This makes Sassi’s works ex-plicit, forward-pushing and breathing.

Pekka Sassi’s installation “Stories About Light” (Tarinoita Valosta, 2000) is about Yuri Gagarin, the fi rst man in space, who makes a call to his mother from the orbit around the Earth, and the call goes to a living room built in the exhibition room. Space, distances

between people and the planets, heroic trav-elling and the nostalgic outline of home are combined in this fi lm set. The video works from a couple of years ago continue the same line of domestic space researches – a new planet is discovered on the bottom of a card-board coffee cup (Void, 2004), a fl ying seagull creates a new galaxy by circling around on a pier (Bird, 2004) and there is a black hole pulsating at the bottom of a kitchen sink (Schwarzschild Radius, 2004).

Sassi started the press release of his lat-est solo exhibition with the following quote: “Notice. Persons attempting to fi nd a mo-tive in this narrative will be prosecuted; persons attempting to fi nd a moral in it will be banished; persons attempting to fi nd a plot in it will be shot.” (Mark Twain: The Ad-ventures of Huckleberry Finn, translation by Yrjö Kivimies). He dissociates himself from a pedagogic mission, the video art copying the structure of mainstream fi lms, and the easily chewable content descriptions, which have become conventional in press releases. The most recent works of Sassi take the viewer to the journey of exploration into angst caused by Christian spam e-mail (A Message from Mary Davis, 2006), to the Wild West in the spirit of Twin Peaks (It’s All Around Us Now, Frank, 2006) and to furious Italian version of Little Red Riding Hood in which children are eaten – red is also the colour of blood (Little Red Riding Hood, 2006). Media culture and communication, death and storytelling are present in a powerful fashion. Sassi’s mov-ing images work like modern poetry or jazz;

fl irting with existing, recognizable structures and genres – and simultaneously construct-ing something new in an intuitive way.

The Promotion Centre for Audiovisual Cul-ture granted the AVEK prize for Pekka Sassi in 2006. This prize is the most signifi cant recog-nition for media art in Finland.

Found Meaning in Found Footage Hanna Maria Anttila

Pekka Sassi: Little Red Riding Hood (El Cappelin Rosso)Screened at the movie theatre Andorra, Helsinki, during the VIEW07 festival, 16-18.2.2007

Juha van Ingen: FlutterScreened at the movie theatre Andorra, Helsinki, during the VIEW07 festival, 16-18.2.2007


ARTISTS AND WORKS AV-arkki collects screening fees for public presentation of AV-arkki’smember artists’ works. Our current rates are as follows:

Presentation in screening context (fi lm festivals, lectures etc.):50 € / work / fi rst screening. Additional screenings in the same venue: 25 €/ work.

Presentation in installation context (museums, galleries, exhibitions):300 € / work / exhibition, if the exhibition’s duration is under threemonths. Fees negotiated on a case to case basis when exhibition period islonger than three months.

16

Abidin AdelJihad

200600:03:30

The scene is a familiar one, seen far too of-ten in news coverage of the war in Iraq: the videotaped message of an Islamist “terror-ist”, with a covered face and a Kalashnikov in his/her hands, reciting a message of hate and death from the Koran. In my version of the videotaped message, the “terrorist” is standing in front of the Stars and Stripes painted on the wall behind him. He starts by reciting a verse from the Koran, and then picks up an acoustic guitar and sings, “This land is my land”.

Abidin AdelRakkauslauluLove Song

200600:02:33

When I came to Finland and tried to learn the Finnish language, I found it challeng-ing. Since the language seemed so rhythmic, I started to wonder whether singing would make it easier for me to pick it up.

Abidin AdelVoid

200600:13:00

director, script, editing: Adel Abidin, cast:Roi Vaara, Alexi Salminen, Ekki Peltoma, AdelAbidin, cinematography: Jussi Syrjä, cameraassistant: Arttu Peltomaa, sound design: Sanna Haarala, make-up: Essi Orava, stills: Heta Kuchka, post production: Henri Tani, sound design: Aku Raski, music: Sanna Salmenkallio, production: Elovalkia, funding: AVEK, Finnish Cultural Foundation, effects: Heiku Romu, transportation, carpenter: Manu Kaupimäki

“Void” is a short fi lm telling a story of a west-ern man who is a religious fundamentalist. His life is fl oating between fantasy and real-ity.The fi lm visually discusses the confl ict peo-ple have with a modern sense of void and emptiness. In this piece, the confl ict ends in the destruction of the void.

Screening


200400:13:28

I am standing with a blue scarf on my shoul-ders on a cliff of Harakka Island and looking out to sea, for a day and a night during Easter, 12 times, with two-hour intervals, from April 10 at 19:00 to April 11 at 17:00 in 2004.

200500:22:00

I am sitting with a red scarf on my shoul-ders on a ledge on the northwestern shore of Harakka Island, 43 times, approximately once a week from April 11, 2004 to March 20, 2005.

200500:07:00

Part 1. I am sitting with a red scarf on my shoulders on a ledge on the northwestern shore of Harakka Island, 43 times, approxi-mately once a week from April 11, 2004 to March 20, 2005.

Part 2. I am standing with a red scarf on my shoulders on a cliff on the northwestern shore of Harakka Island and looking out to sea, 43 times, on the same occasions.

Arlander AnnetteApinan vuorokausiDay and Night of the Monkey

Arlander AnnetteApinan vuosi – TomteboYear of the Monkey - Tomtebo

Arlander AnnetteApinan vuosi 1-2Year of the Monkey 1-2

Screening

18

Arlander AnnetteHevosen vuosi (istun kivellä)Year of the Horse (Sitting on a Rock)

200300:12:28

Part 1. I am standing with a blue scarf on my shoulders close to the camera, obscur-ing part of the view from the cliff, on Harakka Island, 64 times, approximately once a week from January 2002 to January 2003.Part 2. I am sitting with a blue scarf on my shoulders on a rock in the landscape below the cliff, 64 times, on the same occasions.

Arlander AnnetteIstun kivellä (Rock with text) Sitting on a Rock (Rock with Text)

200300:06:20

A rock in the landscape on Harakka island fi lmed 13 times during a day and a night, with two-hour intervals, during Easter, April 20 noon to April 21 noon 2003.

Arlander AnnetteKukon vuorokausi 1-2Day and Night of the Rooster 1-2

200500:13:00

Part 1. I am sitting with a red scarf on my shoulders on a ledge on the northwestern shore of Harakka Island, during Midsummer, for a day and a night, with two hour intervals, from June 24 at 14:30 to June 25 at 12:30 in 2005. Part 2. The same situation fi lmed with anoth-er camera from a different position, on the same occasions.

Screening


200300:06:20

I am sitting with a blue scarf on my shoulders on a rock in the landscape, 13 times during a day and a night, with two-hour intervals, during Easter, April 20 noon to April 21 noon 2003.

200400:40:00

All three parts (each 13 min. 28 sec.) can also be shown separately.

Part 1. I am walking with a blue scarf on my shoulders from south to north (or left to right in the image) past the camera on Ha-rakka Island, 54 times, approximately once a week from March 2003 to March 2004.Part 2. I am walking with a blue scarf on my shoulders past the camera but a little fur-ther away from it on Harakka Island, on the same occasions.Part 3. I am standing with a blue scarf on my shoulders on the shore on Harakka Island and looking out to sea, on the same occa-sions.

200600:02:05

Generally, urban space is a place for arriv-als and departures, a fl ow of non-returnable moments. The notion of the Eternal City all too easily creates an image of a static, even massive and heavy, permanent place. In these works Rome appears light and unat-tainable, changing and amorphous. It is a city passing by and streaming around you, its fi xed points forever growing dim.

Arlander AnnetteVuohen vuorokausi – Pääsiäinen Day and Night of the Goat - Easter

Arlander AnnetteVuohen vuosi – Harakan ranta 1-3Year of the Goat – Harakka Shore 1-3

Astala LauriRome dérive I

Screening

20

Astala LauriRome dérive II

200600:02:15

Generally, urban space is a place for arrivals and departures, a fl ow of non-returnable mo-ments. The notion of the Eternal City all too easily creates an image of a static, even mas-sive and heavy, permanent place. In these works Rome appears light and unattainable, changing and amorphous. It is a city passing by and streaming around you, its fi xed points forever growing dim.

Blok Mauricegefl estBottled

200600:00:27

The artist sits facing the viewer. Two bottles enter the screen. One from the left and one from the right. This happens above the art-ist’s head. The bottles interfere, touch each other and the artist reacts but nothing hap-pens. In the second scene two bottles enter the screen again. They break on impact and scatter above the artist’s head.

Blok MauricemoordenaarKiller

200600:01:55

A silent environment appears. The artist walks from the horizon towards the viewer. He is wearing an overall and carries an axe. The snow makes walking extremely diffi cult and so it takes a while before he ends up close to the viewer. Then he stops in front of some small twigs, which stick out from the snowy landscape. He makes a statement about being an chainsaw murderer and not a sailor. He is apologizing to himself, then steps on the twigs and continues his way out of the screen. You now only see the trace he left behind.

Screening


200600:00:22

A mechanical object with a “slammer” seems to try to stuff the egg that the artist is hold-ing in his mouth further in. After a couple of slams it still does not succeed. The art-ist spits out the egg, starts coughing and it seems that the young man is about to throw up.

200600:03:58

Author: Pirjetta Brander, actors: Pia Mellin, Sade Mellin, Sebastian Mellin, Aino Ursula Mäki, Rex Mellin

A story about a woman who dreams of love and caring - and life as a horse.

Blok MauriceThe Egg

Brander PirjettaNurmiruusuRose of the Lawn

Screening

Blok MauriceThree Attempts To Break True

200600:00:36

You see two tables with a cardboard box in between. The artist tries to work his way up through the box with no success. In the second scene there appears to be an inci-sion made in the box so that now the artist can make his way up through the box, thus breaking the box in two. In the third scene he managed to bring his head through the box with help of several incisions. The video fades out.

22

Duncker MariaPotato Beat

200600:00:47

A potato having a beatbox gig in a cool bag.

Duncker MariaSpotter

200600:00:36

A ballhead spruce tree greets passers-by.

Screening

200600:04:06

Author: Maria Duncker, music: Tuomo Puranen

Bloom is a small effort to reach heavenly feel-ings by diving into a cherry tree in bloom.

Duncker MariaBloom


Duncker MariaStreet

200600:03:27

Author: Maria Duncker, music: Tuomo Puranen, funding: AVEK / Milla Moilanen

An array of markings on tree trunks along the streets of Barcelona in summer 2006.

200600:06:00

Author: Veli Granö, producer: Veli Granö, Filemo Ky, supported by: Finnish Cultural Foundation, VISEK, Pori Art Museum

Voitto Koskenvaara, an old Finnish inven-tor, has discovered how to purify everything hazardous at his home. He can clean food, objects and newspapers from additives. His strange device protects from all unhealthy things like, for example, radiation. His mes-sage could be: It is possible to fi nd solutions for all problems. And it is still possible to fi nd a peaceful place in the world. And what is best, you can still feel that you can rule your world.

200600:03:20

A woman attempts to squeeze her breasts into cantaloupe halves.

Granö VeliPuhdistusPurifi cation

Haikala Eeva-MariMeloniCantaloupe

Screening

24

Haikala Eeva-MariSpagettiSpaghetti

200600:03:20

A woman is pouring spaghetti out of a bucket onto her head

Haikala Eeva-MariWhat if you had a second chance with the one that got away?

200600:06:50

I had a crush on a boy in Paris in 1995. Apart from a phone number written with lipstick on a map there’s not much I remember of that boy. In spring 2005 I returned to Paris after a ten year break and tried to reach the crush of my past. My video is based on those experiences and the fi lms “Before Sunset” and “Before Sunrise”

Screening

200600:03:20

A woman attempts to fi t a large red beet into her underpants.

Haikala Eeva-MariPunajuuriRed Beet


Hukkataival HelinäPeilikulmaMirror Corner

200600:06:00

Six minutes on a busy street corner.

200600:01:11

Music: Rauschfactor: Aquarium: Äquator

“Silva Äquator” deals with the relationship of man and nature. It shows impressions from a winter forest where an occasional jogger merges as part of the nature.

200600:02:16

White fl uffy clouds, white wedding dress, white fl owers, white bed linen are all included in the daydream of Prince Charm-ing. The dancing couple is surrounded with shimmering glitter. Does the vow of eternal love live through grey working days? “A Day-dream” is a video work painted in shades of white.

Hukkataival HelinäSilva Äquator

Hukkataival HelinäUnelmaA Daydream

Screening

26

Ijäs JanSpektaakkeliSpectacle

200600:03:00

Director, script, camera: Jan Ijäs, producer: Paula Korva (TAIK), sound design: Svante Colérus, editing: Tuomas Kaila, in the picture: Mansour Khosnami

In 1963 in Teheran a young student saw Stan-ley Kubrick’s fi lm Spartacus.

van Ingen JuhaFlutter

200600:03:31

The beautiful image of tropical butterfl ies is accompanied by a low-frequency out-of sync fl uttering sound. The relationship between the image and sound creates a sense of inti-macy and a hint of suspense.

Flutter: In electronics, rapid variation of sig-nal parameters, such as amplitude, phase, and frequency. In structures, rapid periodic motion caused by interaction of structural mass, stiffness, and aerodynamic forces. ...Wikipedia

Screening

200600:12:20

Director, script, camera: Aimo Hyvärinen, producer: Irma Silvenoinen, Actor: Heikki Mäntymaa, Tuula Linnusmäki, Linnusmäki children, Production: HiQ visual oy

“Divorce” is a video that puts the viewer inside men’s divorce experiences: sadness, madness, agony, regret, relief and loneli-ness. The video episodes are based on real interviews but the style is fi ctitious.

Hyvärinen AimoEroDivorce


van Ingen SamiThe Sequent Of Hanna Ave.

200600:05:00

Author: Sami van Ingen, producer: Sami van Ingen, Jinx Ltd.

“The Sequent Of Hanna Ave.” is the result of my reworkings of some experimental fi lm practices and my enquiries into the phenom-ena of the movement-illusionism in the fi lm form. By combining found footage, hand pro-cessing and high-end digital technology, I propose to elevate a few mundane gestures to a new perceptible wholeness, and give some small fi ngers and an audio-cassette all the attention, grace and drama they some-how deserve. This fi lm was produced partly during my residency in Liaison of Indepen-dent Filmmakers of Toronto in late 2005.

200601:04:00

Directors, script: Tellervo Kalleinen, Oliver Kochta-Kalleinen, producer: VIRTA productions, cinematography: Gotaru Ue-matsu, Alaksander Burov, sound: Tuomas Klaavo, editing: Kimmo, script in collaboration with Dharmananda, Moora Moora, Equilib-rium and Bodhi Farm. Music: Tuomo Puranen, Hans Christian, Jackalopes (thx to Magnatune Records)

The fi lm presents four Australian utopian communities that have survived for over 30 years. The communities of Moora Moora, Bodhi Farm, Dharmananda and Equilibrium responded to the invitation by directors Tellervo Kalleinen and Oliver Kochta-Kal-leinen to write a fi ctional short fi lm that would refl ect their principles, challenges and survival strategies. In “The Making of Uto-pia” the collectively written short fi lms, the workshops that led to them, and interviews of the inhabitants are intertwined into a unique portrait of the new challenges for old communities.

200600:09:00 Director, dancer, choreography, set design, editing: Mikko Kallinen, director, camera, editing, post production: Hannu-Pekka Viti-kainen, music: Girilail Baars, costumes: Paula Mirjami Malleus, production: Kallinen & The Company in co-operation Zone2 Pictures

The theme and the structure of “co-Rota-tion2” are derived from various aspects of ro-tation. The original stage choreography has been recreated for video in close co-ordina-tion with a moving camera. The dancer and the cinematographer – the second dancer – are striving for rhythmic coherence in their dialogue. The dancer’s movements explore the universality of the body’s rotational po-tential. The quality of movement reaches for the athletic, with a lot of limb-directed movements with some similarities to early futuristic art.

Kalleinen TellervoThe Making of Utopia

Kallinen Mikkoco-Rotation 2

Screening

28

Karjalainen HannuSinipaitainen miesMan In A Blue Shirt

200600:05:20

Author: Hannu Karjalainen, actor: John Cullen, camera: Jaime Feliu-Torres, producers: Jo Lan-yon, Lucy Byatt, production: Picture This, Spike Island, Watershed Media Centre, supported by: Finnish Embassy, AVEK, Finnish Institute in London, Creative Bristol, electrician: Colin Holloway, camera assistant: Heidi Morstang, documentation: Amy Feneck, editing: Andy Moss, assistant: Richard Haynes

A man in a blue shirt is facing the camera eyes closed. Suddenly a stream of thick paint starts falling from above in slow motion, smearing the man’s face and shirt. His every move is seen clearly and precisely, his strug-gle gaining monumental scale.

Karjula PasiTest Drive No.2: “Legoland”

200500:02:46

A pixeled vision into of a big city.

Screening

200600:02:18

The Hunter explores the relationship be-tween human and nature. The main charac-ter is a hunter for the modern age immersed in his hobby. His sense of nature is affected by technology. The act of shooting has be-come an end in itself.

Kangasmaa TuomoThe Hunter


Karvonen Liisa & Väätäinen UllaIlon pelkoFear of Joy

200600:03:05

Sound: Witchhead

A video poem about the shifts of fragile men-tal states in imaginary spaces of earth, light and water. The piece is accompanied by com-pelling music. How to read the moods that sway us and how to move ahead?

200600:17:00

Director, script, editing, set design, costumes: Tanja Koistila, cinematography: Ville Vainio, sound design: Mika Niinimaa, editing, as-sistant director: Timo Turunen, production assistant: Jussi Marjamäki, sound record-ist: Kimmo Vänttinen, lightning technician: Raine Toikkanen, assistant for set desing: Ari Pelkonen, graphic design: Tero Kontinen, still photography: Tomi Glad, cast: Jori Halttunen, Timo Ruuskanen, Hilkka Väre, Helena Laxén, Nelli, fi nancers: AVEK / Veli Granö, Milla Moi-lanen, Ministry of Education, Arts Council of Satakunta, Finnish Cultural Foundation, VISEK, ViSiO, YLE / Sari Volanen, production: Artists’ Association MUU, producer: Tuuli Penttinen-Lampisuo, ITU- Video Art Produc-tion Project

“Fishbones” is a description of the diffi culty of caring and being close. It is a story of a young woman’s, daughter’s, attempt to de-tach herself from her home and memories. The work deals with the inner roles of the family, seeking of a new form for the daugh-ter-father relationship. Dependence on the other and the independence are in confl ict. Abandoning is a part of vulnerability. The feeling of security is momentary.

200500:02:20

Author: Santtu Koivu, camera: Aki Tammisto,

camera: Santtu Koivu

Wings are beating the sky as the bird is try-ing to fl y. Flyers is a story of short fl ying per-formances.

Koistila TanjaRuodotFishbones

Koivu SanttuLentäjiäFlyers

Screening

30

Kokko JaanaNykyaika (litteraatti)Modern Times (transcription)

200600:11:50

Author, script, editing, video, sound: Jaana Kokko, interviewees: Taimi Kokko, Aaro Kokko, interviewers: Jaana Kokko, Kaisu Mäki, sound-script: Jaana Kokko, Kaisu Mäki, (Cacophony 1982), translations: Sakari Hantula, transcrip-tion: Vilma Martikainen, sound edit: Christer Nuutinen, fi nancial support: Arts Council Finland (Grant for residence)

Scene: Arthall Freiburg 2006.

What would you like to remember from your childhood? G2: What did you want to be when you grew up? G2: What does money mean to you? G2: What about love? In “Modern Times (transcription)” I use a compact audio cas-sette dating from 1982. At the time of making the tape I was 10 years old and interviewed my mother and father with my best friend. In the year 2006 I made a conceptual explora-tion into the structure of speech at the tape.

Screening

200500:04:50

Director, script, editing, cinematography: Jaana Kokko, translations: Elina Mikkilä,actor: Eeva Putro, voices: Ulla-Riikka Koskela, Alexander Lackmann, fi nancial sup-port: VISEK, Sleipnir

Place of cinematography: St. Petersburg, Russia. Edited in Helsinki, Finland 2005.

A single channel video about Romantic hero-ism. “As if it was (true)” consists of fi ve fragments. The fi rst fragment is a metaphor and an approach to explain the macroeco-nomic system of the society in both Eastern and Western Finland in the 1970’s. The next four parts operate in the microeconomic fi eld. The spoken text consists of a dialogue between a man and a woman. The woman speaks Finnish, the man repeats the text in Russian.

Kokko JaanaNiin kuin se olisi (totta)As If It Was (True)

Koivu, SanttuVapaauintiFreestyle Swimming

200600:01:17

Author: Santtu Koivu, actor: Aki Tammisto

Cloudy sky and a low horizon in the back-ground. A boy’s hands are moving faster and faster. At full speed for as long as he can.


Kuchka HetaMyötä- ja vastoinkäymisissäFor Better Or For Worse

200500:15:00

I proposed to fi ve men on the phone after my break up. The video records a conveyor belt like wedding photo shoot including a bride with fi ve different grooms. The behaviour be-tween the couples reveals they are not really lovers. They are only playing a role game, the results of which deceptively look like photos of authentic wedding pictures.

Kuittinen Sanna MaaritFilm Portraits PART 1

200600:02:47

Author: Sanna Maarit Kuittinen, sound: Adam Asnan, sound: Cate Shindler, music: Adam Asnan, cast: Petra Niemi

“Film Portraits PART 1” is the fi rst chapter of an ongoing fi lm project. The fi lm is made up of series of animated still images exploring the themes of age and character.

200500:03:50

Music: Jak Northover, Jono Hayes

A joyful and colourful exploration of a space. Squatters have now taken over an old Victori-an house in Marble Arch, central London. The building holds an extraordinary history as the fi rst women free masons lodge. The camera moves fl uidly through the space. Rooms and stairway echo the history, as if the ghosts of those characters that lived there before were present.

Kuittinen Sanna MaaritSilent Traces

Screening

32

Lampi MarraCreation Myth

200600:13:47

Director: Marra Lampi, music: Raoul Björken-heim, editing: Pirjetta Brander, camera: Silja Maaria Aronpuro

“A Creation Myth” referring to the concept of holy geometry in Islamic art. First there is a point, which grows into a line, which rotates into a circle. The plurality of our world grows from the repetition of the circle and the hexa-gon’s geometry.

Screening

200400:04:10

Music: Enrico Glerean

Thoughts on geographic displacement and the de-centred self. The nomad’s compul-sion - cultural or through necessity - is to keep moving and, view the passing land-scapes through the window frame of a mov-ing train. When there seems to be no sepa-ration between arrival and departure, then you mightbe on the right track.

200500:04:54

Music: Enrico Glerean

A group of Lithuanian and Russian artists have come together in a modern metropo-lis. Rarely apart, they live their lives moving from one place to another, squatting unused buildings and offi ce blocks. At the centre of the group there are three main characters who have become the leaders of this large family of Baltic artists. The fi lm follows the three characters as they move through dif-ferent environments at night. Even in the middle of the city they somehow seem to be outside of society.

Kuittinen Sanna MaaritThought Moves Surround

Kuittinen Sanna MaaritWalking City


Lampisuo MarkoAircraft Blast

200600:01:20

Author, camera, editing: Marko Lampisuo, sound design: Taito Kantomaa, animation: Rani Salminen, producer: Tuuli Penttinen-Lampisuo, supported by: Arts Council of Satakunta, Arts Council of Finland

“Aircraft Blast” is a tragedy of the criticism of fl ying. A small-scale catastrophe movie about a dramatic aircraft incident at the airport of Skiathos in Greece. In the video a passenger plane turns its tail towards the cameraman, who gets totally surprised by the power and heat of the aircraft blast.

Lampisuo MarkoPoriutuminenPorifi cation

200600:10:13

Author, script, cinematography, narrator: Marko Lampisuo, editing, sound design: Olli-Pekka Salli, graphics: Teppo Jäntti, photography: Tomi Glad, photography: Tuuli Penttinen-Lampisuo, translations: Michael Garner, fi nancers: Arts Council of Satakunta, AVEK / Veli Granö, Milla Moilanen, Ministry of Education, VISEK, ViSiO, YLE / Sari Volanen, producer: Tuuli Penttinen-Lampisuo, produc-tion: Artists’ Association MUU, ITU- Video Art Production Project

How does a strange town become home? How’ve you been getting on in Pori? “Porifi ca-tion” is a video work about moving, acclimati-sation, knowing and being known, and giving up things. It is divided into eight episodes. The images show a deserted town, an empty fl at, tranquil seashore, a festival ground once the party is over. There is only an expanse of fl at spaces. Nothing nor anyone familiar. The events are connected by the experience of a new living environment and of an altered so-cial network. The man suffers from the hypo-chondria of loneliness, but breathes a sigh of relief when he gets help for real pains.

200600:14:40

Author, producer: Harri Larjosto, music, sound: Ilari Larjosto, Harri Larjosto, supported by: AVEK

A poetic vision of a family bathing in sauna at the summer cottage in Finland.

Larjosto HarriSaunajazz

Screening

34

Mäki-Jussila JuhaRöntgenX-rayed

200600:02:40

I got my head X-rayed and nothing was found. “X-rayed” is a collection of people and talk. Through monologues it offers a metaphorical journey into the innermost part of a person.

Screening

200500:10:17

Author, animation: Rikard Lassenius, animation: Richard Lange

Part three in a series of experimental short fi lms based on modern poetry. “Elle” - based on Catharina Gripenberg’s text with the same name - is a story about the end of childhood and friendship between two young girls.

2006

00:02:05

“Nature Film” lists some human characteris-tics that are regarded as exceptional. These features are carried by the main fi gure of the fi lm. Strangely enough, his story seems to be quite ordinary.

Lassenius RikardElle

Mäki-Jussila JuhaLuontoelokuvaNature Film


Mäkipää TeaSolitude

200400:08:50

Cast: Antje Jandrig, Yoyo Jandrig

Mother and daughter alone in the winter for-est, looking for ways to survive. They build a small hut, look for food and drink, fi nd a dying soldier, steal a horse and spy a group of men by a campfi re.

Nauha TeroLuumupuun kukkia – ensi oksaPlum Blossoms - First Branch

200600:10:33

Author, camera: Tero Nauha, camera: Karolina Kucia, funding: Alfred Kordelin Foundation, AVEK, Arts Council of Finland, VISEK

This video work is the fi rst part of a series that will be fi nished in 2007. It is vaguely based on a poetic text called “Baika” (Plum blossoms) by a Zen master Dogen Zenji (1200-1253). An old plum tree is a represen-tation of the all-encompassing nature of buddhadharma. Narrative questions and the philosophies behind that are the base inquiries of these video works.

200600:03:00

Experiments to create depth in a moving im-age without narrative elements.

Oja MarjattaTests nros 5 & 6

Screening

36

Orenius MarikaPolkujaPaths

200500:07:17

Director, producer, camera: Marika Orenius, camera: Jesper Toss, sound desing: Johanna Storm, voice over: Marika Orenius, Ronja Parkkonen, fi nancial support: AVEK / Milla Moilanen, Svenska Kulturfonden

“Paths” is about societal, mental and psycho-logical structures that control life. It empha-sises the unconscious and dreams as coun-terweights to the parameters of society. This is seen through spaces without organized supervision like home, nature or sleep.

Screening

200600:03:00


200600:03:00





Palosaari SariShowerama

200600:02:54

Author: Sari Palosaari, music: Ilkka Olander, funding: AVEK / Milla Moilanen, VISEK

The video travels through architectonic land-scape constructed of soapboxes, toothbrush casings and ice cube moulds. The video cam-era takes the point of view of the spectator, gliding through city views, over and inside the constructions. The aesthetics of space ships, capsule hotels, modern megacities and historical future utopias has settled in everyday hygiene objects. The video is a part of an installation carrying the same title in which the hygienic sci-fi world of the video continues as a real size construction.

Pink TwinsGoth (Smooth)

200600:15:00

A spatial study, in which original images from a particle accelerator laboratory are fused into a steady, slowly transforming landscape. Distanced from its technical origins, through digital manipulation, the picture surface is dissolved and reformed into an earth-toned organic space, seemingly desolate, but swarming with life.

200600:04:00

“Pulse” is a journey into the depths of a land-scape. It delves deeply into the secrets of ba-sic particles of digital moving image. A single satellite photo of a glacier is transformed into whirls of motion, resembling natural phenomena, blizzards, storms, and rain. All this is fi xed into a steady pulsing rhythm, al-lowing change and transformation be woven into a static continuity.

Pink TwinsPulse

Screening

38

Renvall MarkusKatso kuutaLooking at the Moon

200600:04:15

Author: Markus Renvall, cast: Sonja Renvall

I was looking at the moon and the street lights; a deep experience of how a light close by and another in the distance are refl ected in the same situation. Distant and close-by as equally large experiences on being.

Screening

200600:06:14

Pink Twins (author) Pink Twins

“Splitter” is a macrocosmos of interleaving streams of colour, a digital mass of endless-ly transforming surface. Created from sat-ellite photos and transformed into a richly detailed, multilayered landscape, the static motion of Splitter creates a sacramental space that carries the layers of our percep-tion and consciousness.

200600:10:00

“Splitter 2” as an abstract sci-fi epic in which satellite photos from the surface of planet Earth are reformed into a cosmic stream. “Splitter 2” shows a static, frozen, trans-forming and moving space in which matter, light and colour is interleaved with the dark-ness of the void to create a new universe.

Pink TwinsSplitter

Pink TwinsSplitter 2


200600:02:45

Based on the Planet of the Apes trailer. In-cludes three versions. Each 45 seconds long.

Renvall SeppoRiksamiesRikshaman

200500:07:00

music: Mika Suomi

Bangladesh streetlife.

200600:07:00

Authors: Seppo Renvall, Maija Saksman,cast: Maija Saksman, camera: Seppo Renvall, producer: Seppo Renvall, Kukkakino

A poetic vision of a night scientist.

Renvall SeppoYöntutkijaNight Scientist

Screening

Renvall SeppoApinoiden planeettaPlanet of The Apes

40

Rouhiainen SimoWhiteout

200600:01:53

Whiteout is a weather condition in which vis-ibility and contrast are reduced by snow and diffuse lighting from overcast clouds. Some-times it can turn out to be fatal.

Screening

200600:06:11

A middle-aged movie director travels to Mos-cow with a girl and tries to tell something about falling in love.

200600:03:48

The stock prices on the New York Stock Ex-change go down and generate sound.

Ripatti Mika J.Moskovalainen tyttöThe Girl From Moscow

Rouhiainen SimoOscillation


Ruscica JaniKontrapunktiContrapuntal

200500:21:10

Director, script, producer, editing: Jani Ruscica, cast: Antti Halonen, Juha Kiwano, Helsinki Chamber Choir cinematography: Anu Keränen, Matti Helariutta, composers: Antti Halonen, Olli Koskelin editing: Tiina Aarniala, still photography: Sini Pelkki, sound design, sound recording: Jenni Aarniala, sound recording: Kyösti Väntänen conducter: Esko Kallio, graphic design: Henri Tani, producer: Askel productions, supported by: AVEK / Milla Moilanen, in co-operation in co-operation: YLE / Sari Volanen

“Contrapuntal” consists of three fi lms cre-ated in reaction to one another; Sawdust theme, Fluctuation theme and Kiwano’s theme. The overall piece merges three differ-ent local musical expressions and locations. Between the surroundings of a man playing a saw in a forest and the urban world of a bus-ker, there is a composed choral work, which acts as an interlude to the other two parts and is set in a construction site, a landscape in a state of fl ux. Each of the three parts is self-contained, yet through their juxtaposi-tion the overall piece transfers the artistic expression of the individual into broader cul-tural layers and temporal perspectives.

Saloranta ElinaEi saa häiritäDo Not Disturb

200600:07:38

Director, script, camera, editing: Elina Saloran-ta, assistant director: Mari McAlester, sound design: Janne Jankeri, sound recordist: Salla Hämäläinen, foley artist: Kimmo Vänttinen, cast: Henna Hyttinen, Ari-Matti Hedman, Siiri Siltala, Inka Pohjonen, translation into English: Michael Garner, translation into French: Kristiina Haataja, Translation into Swedish: Marianne Saanila, graphic desing: Jorma Hinkka, still photography: Tomi Glad, fi -nancers: Arts Council of Satakunta, AVEK / Veli Granö, Milla Moilanen, Finnish Cultural Foun-dation, Finnish Cultural Foundation’s Uusimaa Foundation, Ministry of Education, VISEK, ViSiO, YLE / Sari Volanen, production: Artists’ Association MUU, producer: Tuuli Penttinen-Lampisuo, ITU- Video Art Production Project

The story is told by a woman who is having a relationship with a married man. She has never met the man’s wife and children, but she dreams about them. The wife dreams about her, too. Paradoxically, the wife is pleased that the woman has appeared on the scene, since it creates an opportunity for bringing an unsatisfactory marriage to an end. Only the man resists the change.

200600:13:12

Author: Elina Saloranta, sound, lights: Mika Niinimaa, translations: Michael Garner, graphic design: Jorma Hinkka, cast: Juhani Rajalin, Mayreth Söderholm, fi nanceers: AVEK, VISEK

An installation version also available.

“Kitchen Conversations” is a 13-minute dia-logue, in which a woman asks a man what love feels like. The image area is made up of two parallel scenes, with a common soundtrack. In the time space of the story the left-hand image represents the current moment, the present. The hugging scene on the right shot via the mirror indicates a hy-pothetical progression – what might happen. Its mood is conditional. In speech the con-ditional form is used to express hopes and daydreams. It is the tense of happy endings. In “Kitchen Conversations” the parallelism of the two screens is an attempt “to speak in the conditional” with the language of the moving image.

Saloranta ElinaKeittiökeskustelujaKitchen Conversations

Screening

42

Sassi PekkaCane

200500:05:10

A preacher is reading aloud the 20th chapter of Leviticus, in which the punishments for sexual crimes are listed.

Screening

200600:03:30

A visual poem from a construction site.

200600:02:18

A dramatization based on junk e-mail.

Salosmaa AarnoConga Groove

Sassi PekkaA Message From Mary Davis


Sassi PekkaEl Cappelin RossoLittle Red Riding Hood

200600:02:50

Old Italian version of the dear old fairytale.

Sassi PekkaIt’s All Around Us Now, Frank

200600:01:52

A short western about fear of the unknown.

200600:01:31

A spooky romantic tale, something to do with childhood.

Sassi PekkaOrg

Screening

44

Sassi PekkaSpin 1/2

200600:03:38

A poor man’s space horror story.

Screening

200600:02:11

A kinetic video according to painting series “Sik Sak”, by Perttu Näsänen 1968

200600:03:02

Clouds are important and beautiful. A short reminder of that, but don’t forget the birds.

Sassi PekkaSeven

Sassi PekkaSome Nice Clouds


Savolainen AlliEmbroidery

200600:01:25

Selected embroidery of Mother Earth.

Savolainen AlliMusic video

200600:02:30

Describing one piece of music.

200600:02:35

Music: Chelsea Park West: “Moneyball (Helsinki Kiosk Mix)”

Hi. My name is. And Yours?

Savolainen AlliPen Friends

Screening

46

Suomi-Väänänen MaaritSuolaista luntaSalty Snow

200700:08:000

script, camera, editing, directing: Maarit Suomi-Väänänen, composing, music: RADIO-TON Tapani Rinne&Verneri Lumi, sound design and mixing: Kyösti Väntänen, 5.1. music mixing: Pauli Saastamoinen, music recording: Jukka Viiri, online editing: Heikki Kotsalo, colour correction: Inka Ruohela, translations: Arja Kantele, grip, lights: Ville Väänänen, miniature soft scultures: Maarit Suomi-Väänänen, cast: Sanna Hedström, Ville Väänänen, producer: Maarit Suomi-Väänänen, executive producer: Auli Mantila, DO fi lms Oy, support: YLE Co-production / Sari Volanen, AVEK / Milla Moilanen, Finnish Cultural Foun-dation, Arts Council of Finland, VISEK, ITU - Script Writing Workshop 2004

SALTY SNOW thematises the yearning for a child. The fi lm refl ects both on the evanes-cence of being and the innate human need to breed, to create things new. As hopes, expectations and disappointments become interwoven, life feels fragile and vulnerable, and, at times, the shared sorrow is experi-enced separately. An installation version also available. In addition to the moving im-age with 5.1. multichannel audio, the instal-lation piece consists of backlit photography and miniature soft sculptures.

Screening

2007

Director, script, editing: Lena Séraphin, pho-tography: Tuomo Hutri, sound design: Pelle Venetjoki, AD: Bo Haglund, editing: Samu Kuukka, Hannu Kärenlampi, cast: Mikko Kouki, Marita Parkkomäki, Rabbe Smedlund, in co-operation: YLE Co-production / Sari Volanen, Arts Council of Satakunta, supported by: AVEK, Ministry of Education, Finnish Cul-tural Foundation’s Uusimaa Foundation, Arts Council of Finland, Foundation for Swedish Culture in Finland, Alfred Kordelin Founda-tion, VISEK, ViSiO, Arts Council Finland, YLE Co-production / Sari Volanen, producer: Tuuli Penttinen-Lampisuo, production: Artists’ Association MUU, ITU- Video Art Production Project

A crime causes a crime. A watchmaker’s shop is robbed and the shopkeeper is beaten up. A robbery causes another robbery, which in turn causes another robbery. The limping watchmaker with emotional traumas, the immoral con man Erik and Alisa who walks a poodle, each empty the shop’s safe and the gold-fi lled drawers in their own way. The fre-quent robberies at the watchmaker’s make a criminal a victim and a victim a criminal who returns to the scene of the crime.

200600:02:40

Author: Cecilia Stenbom, camera, photography: Paul Moss

“Search & Destroy” is a fi rst person account of experiences as a US marine in the Vietnam War. Filmed at Druridge Bay in the North East of England, a female soldier is on guard on the sand dunes by the sea. A voiceover tells the story. At fi rst the narrator takes a role as third person but as the story unfolds the narrator is the voice of the soldier, she is talking about her own experiences in the Vietnam War. Are they her own experiences though, or has she just seen one to many dramatizations? The narrators monologue is a collage of quotes from popular fi lms about the American confl ict in Vietnam.

Séraphin LenaKello & KultaWatchmakers

Stenbom CeciliaSearch & Destroy


200600:04:50

Author: Minna Suoniemi, actors: Petri Ala-Maunus, Minna Suoniemi

“Duel” shows a man and a woman wrestling on a grass fi eld. Physically strained to the ex-treme, they resemble animals: desire to win becomes a basic instinct.

200600:03:10

In “Hit” I asked someone to hit me in the face. The slow motion image reveals every hint of a facial expression and the slowed-down sound resembles the sound of a tennis match.

200500:03:05

Directors: Minna Suoniemi, Terhi Heino, Maiju Salmenkivi, camera: Sami Lukkarinen, actors: Minna Suoniemi, Terhi Heino, Johanna Leck-lin, Eeva-Leena Eklund, Katriina Lankinen, production: Lauantai-ryhmä: Suoniemi, Salmenkivi

In “Egg War” a group of nicely dressed wom-en throw eggs at each other. The war takes place in a wasteland. Their screams and giggles mixed with aggressive gasps create a sense of irritation, joy and violence.

Suoniemi MinnaDuel

Suoniemi MinnaHit

Suoniemi MinnaMunahaukatEgg War

Screening

48

Takala PilviEasy Rider

200600:04:25

Author: Pilvi Takala, cast: Oscar Haffmans, Andreas Bachmair, camera: Juha Laatikainen, assistant: Siri Baggerman, production: SKOR/PARADISO, Amsterdam

A young man in a tram is asking a bit too much from a stranger.

Takala PilviSeinäruusuWallfl ower

200600:10:37

Author: Pilvi Takala, camera: Juha Laatikai-nen, Hans Rosenström, commissioned by: Rael Artel Gallery Non Profi t Project Space, sup-port: Academy of Fine Arts, Finnish Institute in Estonia, Estonian Cultural Endowment

An overdressed girl tries her luck in dance events that are for Finnish tourists in a small Estonian health resort town, Pärnu.

Screening

Tervaniemi SariTrailer You Kill Me

200600:01:33

Director, script, editing: Sari Tervaniemi, actors: Juha-Pekka Mikkola, Jonna Kinnunen, Arttu Merimaa, Tytti Viljakainen, Saara Suojoki, cinematography: Heikki Färm, sound design: Juri Seppä / Humina, gaffer: Pentti Päl-lijeff, camera assistant: Marita Hällfors, lighting assistant: Ilmari Aho, sound assis-tant: Antti Haikkonen, production assistance: Arttu Merimaa, stills: Tanja Koponen, graph-ics: Sami Haartemo, supported by: AVEK / Milla Moilanen, VISEK, Alfred Kordelin Foundation, Niilo Helander Foundation, Arts Council of Finland, Finnish Cultural Foundation

“You Kill Me” is a video work made in the for-mat of a trailer. It tells a vampire story in a very condensed form. In the blink of an eye it gives a lot of information leaving the viewer thinking about violence and love.


TJADER-KNIGHT inc.Mechanisms of Exposure ~ SceneSetting

200600:24:42

Eradicating the perspective confi ning the space-time continuum of natural percep-tion. Creating a perfect mirror of elongated distance. In this manner the spectator is also brought within the scene, within the very ac-tion.

200600:07:56

author: Halldor Ulfarsson, contributors: Timothy Page, Atle Nielsen, Bö›var Yngi Jakobsson, Esther Manas, Arashi Moor, Örn Helgason, Rene Gita, Daniel Rovira, Violin PD patch: Milton Pucket

An installation version with sculptural ele-ments also available.

“HRARKI” is a narrative that is continuously in stylistic motion. The progression of events is centres around a shape repeated in many forms. The content of the fi lmed material is secondary, the materials and movements are chosen for the purpose of capturing or recap-turing the viewer’s attention, to keep his or her attention focused on the shape. The work has an element of spatial depth if surround audio is available and is best viewed as such.

Ulfarsson HalldorHRARKI

Screening

Tervaniemi SariYou Kill Me

200600:07:23

Director, script, editing: Sari Tervaniemi, actors: Juha-Pekka Mikkola, Jonna Kinnunen, Arttu Merimaa, Tytti Viljakainen, Saara Suojoki, cinematography: Heikki Färm, sound design: Juri Seppä / Humina, gaffer: Pentti Pällijeff, camera assistant: Marita Hällfors, lighting assistant: Ilmari Aho, sound assis-tant: Antti Haikkonen, production assistance: Arttu Merimaa, stills: Tanja Koponen, graph-ics: Sami Haartemo, supported by: AVEK / Mil-la Moilanen, VISEK, Alfred Kordelin Founda-tion, Niilo Helander Foundation, Arts Council of Finland, Finnish Cultural Foundation

“You Kill Me” is a love story dressed as a vampire tale. My short fi lm is at the same time both playful and sad. It reports on mental violence inherent in the refusal to communicate. The locations are romantic, like The Smiths’ rock videos from the eight-ies. There is no dialogue but the sound world is a physical presence as well as one of the performers. The style is indebted to fi lm noir but with a sense of humour.

50

Viita MiljaTarina kuolleesta miehestäA Tale of a Dead Man

200600:05:00

This video work forms a sort of video letter to NASA. There is a female voice telling about the dream she had: there was a grey stone in her hands from which she accidentally cre-ated the planet Earth. She is facing diffi cult moral issues after discovering that there’s life on the surface of the stone.

Screening

200600:13:00

Author: Ingrid Ung, editing: Tomas Kulistak, sound: Pertti Venetjoki

A biographic video work depicting on an in-timate level a transsexual gender change from male to female through issues like work, love, dreams and hopes, and how to fi nd your own way and place in life. Work articulates the whole picture of the process, both comical and tragic. Trans Am is a bio-graphic research into the constructions of gender, sexual orientation and identity. In the video the artist also stages/refl ects ste-reotyped visual identifi cation codes, which still are based on the determination of gen-der and sexual orientation with humour and self-irony.

200600:05:42

Author: Milja Viita, translations: Erja Holmström-Stockton

A woman is telling about her work in the bomb factory during the World War II.

Ung IngridTrans Am

Viita MiljaPommitehtaan tyttöThe Bomb Factory Girl


Virkajärvi SampsaElina

200500:17:25

Director, script, editing, cinematography, sound desing: Sampsa Virkajärvi, Music: Jani Kuivajärvi, Cast: Aili Perho, Anneli Perho, Sampsa Virkajärvi, translation: Anna-Kaisa Saarela

The main character in my fi lm is an unmar-ried daughter called Elina. She lived on a farm and worked her whole life for the farm, for her brother and for God. The fi lm explores what is left of her and her environment now, and how to interpret the things that are found. The farm is empty and the life of Elina is detected by means of some pictures, few objects and stories told by others. The fi lm is as much about Elina as it is about forgetting and losing a way of life. Some old photos, an interview and the old farmhouse have been used as visual material for the fi lm. There-fore, the work is situated somewhere be-tween an art fi lm and a documentary.

Virkajärvi SampsaKeväälläIn The Spring

200500:04:40

A man returns to his home farm to help with the spring chores. He discovers the combina-tion of physical labour and poetry and experi-ences a little, unexpected miracle. Author: Sampsa Virkajärvi, second camera: Sari Aaltonen, translation: Anna-Kaisa Saa-rela

200500:04:45

The colours of words are changing with am-biguous, deep sounding echoes.

Whitehead OliverIn Color

Screening

52

200400:03:00

This work is a collection of anonymous Super 8 mm home movies. Modifi ed sequences are rhythmically edited and accompanied with sounds found from home movies.

200600:03:25

A skating teacher is explaining a movement on the ice by demonstrating it himself. Doc-tors from a TV series are discussing different interpretations of an X-ray image. “Kleck - kleck” sound is evoked by a loose manhole cover and vehicles driving over it. Three events representing different ways of com-munication.

Whitehead OliverUnearth

Ziegler DeniseTalk To Me

Screening


Abidin AdelAbidin Travels

2006

A video installation, consisting of two moni-tors, two DVD players, posters, print of a trav-eling world map, and brochures (Tourist Guide 2006)

A travel agency promotes vacation trips to Baghdad, showing the life that the Iraqis are living at this very moment in Iraq.

Abidin AdelCold Interrogation

2005

Consists of: a refrigerator, a monitor, a DVD player and a door eye. The monitor and the DVD player are situated in a large-sized refrig-erator. The viewer can listen to the loud audio of the questions coming from inside the fridge, and see the video through a door eye fi xed on the fridge door.“Cold Interrogation” is a video installation dealing with the dilemma of being an Arab, Muslim and Iraqi individual living in a west-ern society of today. Since I left Iraq in 2000, I deal daily with different questions about my identity. How did you end up in Finland? What do you think of suicide bombers or the Americans? And so on. At fi rst, I was happy to answer those questions, and satisfi ed with the answers. Since two years, these questions have started to take the shape of an interroga-tion. “Cold Interrogation” creates an interac-tive atmosphere, by inviting the viewer to take part in the interrogation.

Abidin AdelVacuum

200600:08:55

Having suffered enough of the interminably harsh winter in Finland, I fi nally decided to act. With a waterproof vacuum cleaner and a video camera, I went to the frozen sea...

Installation

54

200400:13:28

The work can be presented as an installation for two screens or two monitors, part 1 to the left, part 2 to the right.

Part 1. I am standing with a blue scarf on my shoulders on a cliff on Harakka Island and looking out to sea, for a day and a night during Easter, 12 times, with two-hour intervals, from April 10 at 19:00 to April 11 at 17:00 in 2004. Part 2. The same shore fi lmed 12 times, on the same occasions.

200300:12:48

The installation consists of two works, Year of the Horse on the left screen, Day and Night of the Monkey on the right screen.

Year of the Horse (left image)Part 1. I am standing with a blue scarf on my shoulders close to the camera, obscuring part of the view from the cliff, on Harakka Island, 64 times, approximately once a week from January 2002 to January 2003.Part 2. I am sitting with a blue scarf on my shoulders on a rock in the landscape below the cliff, 64 times, on the same occasions.

Day and Night of the Goat (right image)Part 1. I am sitting with a blue scarf on my shoulders on a rock in the landscape, 13 times during a day and a night, with two-hour inter-vals, during Easter, April 20 noon to April 21 noon 2003.Part 2. The rock in the landscape fi lmed 13 times, on the same occasions.

Arlander AnnetteApinan vuorokausiDay and Night of the Monkey

Arlander AnnetteHevosen vuosi - Vuohen vuorokausiYear of the Horse – Day and Night of the Goat

Arlander AnnetteApinan vuosiYear of the Monkey

2005

Duration (3 x) 3 min. 40 sec. (loop). The work can be shown as an installation for one screen (part 1), two screens (parts 1 and 2) or three screens (parts 1, 2 and 3).

Part 1. I am sitting with a red scarf on my shoulders on a ledge on the northwestern shore of Harakka Island, 43 times, approxi-mately once a week from April 11, 2004 to March 20, 2005. Part 2. I am standing with a red scarf on my shoulders on a cliff on the northwestern shore of Harakka Island and looking out to sea, 43 times, on the same occasions. Part 3. The same cliff on the northwestern shore of Harakka Island fi lmed 43 times, on the same occasions.

Installation


2005

Duration (2 x) 6 min. (loop) or (4 x) 1 min. 30 sec. (loop) The work can be presented as an installation for two screens (2 x 6 min.) or as an installation for four monitors (4 x 1 min. 30 sec.)

Part 1. I am sitting with a red scarf on my shoulders on a ledge on the northwestern shore of Harakka Island, for a day and a night, with two hour intervals, during Midsummer, from June 24 at 14:30 to June 25 at 12:30 in 2005.Part 2. The same ledge fi lmed, on the same oc-casions. Part 3. The same situation, sitting with a red scarf, fi lmed with another camera from a dif-ferent position, simultaneously, on the same occasions.Part 4. The same ledge fi lmed with another camera from a different position, simultane-ously, on the same occasions.

Arlander AnnetteKukon vuorokausi Day and Night of the Rooster

Arlander AnnetteVuohen vuosi – Harakan ranta Year of the Goat – Harakka Shore

2004

Duration (3 or 4 x) 13 min. 28 sec. (loop). The work can be presented can be presented as a three-screen or monitor installation (parts 1,2,3) or as a four-screen or monitor installa-tion (parts 1,2,3,4).

Part 1. I am walking with a blue scarf on my shoulders from south to north (or left to right in the image) past the camera on Harakka Island, 54 times, approximately once a week from March 2003 to March 2004.Part 2. I am walking with a blue scarf on my shoulders past the camera but a little further away from it on Harakka Island, on the same occasions.Part 3. I am standing with a blue scarf on my shoulders on the shore on Harakka Island and looking out to sea, on the same occasions.Part 4. The same shore on Harakka Island video fi lmed 54 times on the same occasions.

Astala LauriPieni spektaakkeli keveydestäSmall Spectacle about Lightness

200500:05:00

The work is a single channel video projected on a back wall of a corridor-like space. The video shows a room that is slowly but constantly changing its shape: images of different rooms are morphed non-linearly through each other. The spectator identifi es himself with the “real” scale of the video image, and the slow move-ment creates a fl oating, amoebic and halluci-natory feeling of an unstable space.

Installation

56

2005

The work dissolves the border between space and image. It creates a sensation of instabil-ity and uncertainty, a faltering sense of pres-ence. The work consists of a stereogram video animation projected on three walls of a cubi-cal space and a text stretched on a steel wire in the middle of the space. While reading and focusing on the text, the spectator’s eyes are adjusted perfectly matching the stereographic pattern on the video. The stereographic video is causing the walls to undulate. The room is thus perceived as an unstable and hallucina-tory space. The text is quoted from Jorge Luis Borges.

Astala LauriPieni spektaakkeli kuvankaltaisuudestaSmall Spectacle about Image-Semblance

Astala LauriPieni spektaakkeli kohtaamisestaSmall Spectacle about Encountering

200500:09:00

The work places the spectator on the verge be-tween image and actuality. It dissolves the bor-der between present and absent, and examines the notions of scenic and of displacement, and how they relate to spatial experience. Further-more, the installation literally shifts the gaze from the artwork towards the spectator himself as he enters the “stage”. By mirroring his own image as part of the work and simultaneously superimposing his refl ection with that of a nar-rator on the video, the work baffl es the sense of the spectator’s self – the border between the self and the other becomes perplexed. The nar-rated monologue is composed of quotations from Maurice Blanchot’s book The Last Man.

Astala LauriPieni spektaakkeli läheisyydestäSmall Spectacle about Nearness

2005

A semi-transparent mirror hangs in the middle of a long space, and two chairs are mounted symmetrically on both sides of the mirror. A pendulum lamp swings just above the mirror thus alternating the view through the mirror from side to side. Because of the symmetry of the space and mounting of the chairs, the spectator perceives only the people on the view disappearing and reappearing. While seated symmetrically on both chairs, both spectators can perceive a short glimpse of a hybrid fi gure of themselves when the pendulum swings over the mirror.

Installation


2003

A diagonal wall (covered with black velvet) divides a square room into two parts, one of which is accessible to the spectator. In the center point of this wall is mounted a lens that produces a camera obscura -image of the other side. The image fi ts exactly on the oppo-site surfaces on the spectator’s side (fl oor to ceiling, wall to opposite wall). The space one enters is therefore an (up-side-down) image of the other side. In addition, on small holes in the dividing wall are attached sandblasted plastic balls with lenses that focus and refl ect camera obscura -images of the other side on their surfaces. A couple of these balls refl ect a real-time video image of the spectator’s side, and because this side is an image of the other side, on these balls the spectator thus sees himself simultaneously “being in the other side.”

200200:08:47

An installation of three video channels.

The triptych of Cries and Whispers depicts the last movements of three oysters before their lives end. The work is defi ned by the contem-plation of living and limited nature of life; the interconnected processes of life and death.

Astala LauriPieni spektaakkeli saavuttamattomastaSmall Spectacle about Unattainable

Ekström SaaraCries and Whispers

Ekström SaaraDomestic Nature Morte

2004

An arrangement of ripe tomatoes -stilleben - turns into a living painting in this time-lapse video. A month-long fi lming period is com-pressed into minutes, during which the to-matoes undergo a true metamorphosis. First, the fruits turn into a dishful of rotting juice, in order to turn back into being as perfect as they were at the beginning of the video. A lin-ear time concept turns out to be a construction when the same event is reeled backwards and forwards over and over again.

Installation

58

200500:08:24

“Grotesque & Arabesque” is a series of works dealing with micro- and macrocosmic events, small storms in a teacup. The works illustrate the events that hover on the perimeters of our observational capacity or remain totally invis-ible. Large projections change the proportions of microscopic scenes and give new meanings to the events described in them. A drop of cream falling in the water quivers like a fragile medusa. The boundary between animate and inanimate is moving in many ways.

Ekström SaaraGrotesque & Arabesque (cream)

Ekström SaaraGrotesque & Arabesque (blood)

200500:13:09

“Grotesque & Arabesque” is a series of works dealing with micro- and macrocosmic events, small storms in a teacup. The works illustrate the events that hover on the perimeters of our observational capacity or remain totally invis-ible. Large projections change the proportions of microscopic scenes and give new mean-ings to the events described in them. A drop of blood or milk dissolving in a glass or water creates captivating illusions - smoky scener-ies and cosmic nebulas - which pull us to their slowly-swinging dance.

Ekström SaaraGrotesque & Arabesque (calla)

2005

“Grotesque & Arabesque” is a series of works dealing with micro- and macrocosmic events, small storms in a teacup. The works illustrate the events that hover on the perimeters of our observational capacity or remain totally invis-ible. Large projections change the proportions of microscopic scenes and give new meanings to the events described in them. The works of “Grotesque & Arabesque” are inspired by ev-eryday materials like souring milk, cream and fl owers. The decorative mystique connected with them is fractal ornamentation, created by the laws of nature.

Installation


200500:07:23

“Grotesque & Arabesque” is a series of works dealing with micro- and macrocosmic events, small storms in a teacup. The works illustrate the events that hover on the perimeters of our observational capacity or remain totally invis-ible. Large projections change the proportions of microscopic scenes and give new mean-ings to the events described in them. A drop of blood or milk dissolving in a glass or water creates captivating illusions - smoky scener-ies and cosmic nebulas - which pull us to their slowly-swinging dance.

200500:00:42

An installation of two video channels.“Grotesque & Arabesque” is a series of works dealing with micro- and macrocosmic events, small storms in a teacup. The works illustrate the events that hover on the perimeters of our observational capacity or remain totally invis-ible. Large projections change the proportions of microscopic scenes and give new meanings to the events described in them. A plastic bag containing colour-changing and souring milk moves in a strange way.

Ekström SaaraGrotesque & Arabesque (milk)

Ekström SaaraGrotesque & Arabesque (two bags)

Ekström SaaraTaste Me

2004

The tomato arrangement in “Taste Me” video is like a bowlful of fruits from the Tree of Knowl-edge of Good and Evil; they burn but still stay unchanged. The surrounding eternal fl ame sig-nals the danger that knowledge hides within itself and how we are still protected from too much knowledge and hunger for information.

Installation

60

2004

director: Veli Granö, producer: Veli Granö, Filemo Ky, supported by: Finnish Cultural Foundation, VISEK, Pori Art Museum

An Installation with three videos and furniture, English subtitles.

Voitto Koskenvaara, an old Finnish inventor, has discovered how to purify everything haz-ardous at his home. He can clean food, objects and newspapers from additives. His strange device protects from all unhealthy things like, for example, radiation. His message could be: It is possible to fi nd solutions for all problems. It is still possible to fi nd a peaceful place in the world. And what is best, you can still feel that you can rule your world.

Granö VeliPuhdistusPurifi cation

Ekström SaaraThe First Sigh

200300:04:38

This video shows a bunch of lilies ascending and descending as if it follows the rhythm of slow breathing. White fl owers unhurriedly ab-sorb black colour, the bunch descends and gets dyed, in order to ascend back to the starting point maidenly pure and untouched. In front of the fl ower arrangement there is a running text in which 4-7 year old children tell stories about their lives, and like the darkening and lightening cycle of fl owers, also the stories of the children move from shadow to light.

Ekström SaaraUnconsuming Flame

2004

“Unconsuming Flame” is a video in which a split apple in fl ames is similar to a fruit from the enchanted tree on the sixth terrace in Dante’s Purgatory. The tree growing upside down offers the fruits of paradise with a won-derful fragrant but a penitent, in the name of his salvation, must refuse the fruits as they will not quench one’s thirst or hunger but only add to the penitence.

Installation


2006

Videos presented on fl at screen LCD monitors next to each other or as projections. Can also be presented individually or grouped in differ-ent ways.

“Tableaux Vivants” is a video performance se-ries, recorded with a Super 8 cine camera. Very little takes place in these small performances: a woman steps in front of the camera, takes a pose and stays still, just breathing and con-centrating on being. The twelve parts “Fruits”, “Apples”, Balcony”, Chewing Gum”, “ Gerani-um”, “Cigarette”, “Artichoke”, “Crab”, “Table”, “Anne’s TV”, “Crown” and “Red Skirt” can be shown together or separately.

200600:30:30

authors: Tellervo Kalleinen, Oliver Kochta-Kalleinen

An installation of four video projections and eight audio channels.

Kalleinen & Kochta-Kalleinen invite people to complain about anything they want and sing their complaints out as a choir. The proj-ect has been made in Birmimgham, Helsinki, St.Petersburg and Hamburg-Wilhelmsburg.

Haikala Eeva-MariTableaux Vivants

Kalleinen TellervoValituskuoroComplaints Choir

Kangasmaa TuomoTuulivoimaaWind Power

200500:20:00

This video installation is composed of two video channels: a windmill and a sine graph. The soundtrack is created using the authentic sound of a running windmill. Wind and electric-ity are both phenomena that are hard to detect without any observational aids. In the installa-tion the windmill image visualizes the blowing wind and the sine graph creates a visual refl ec-tion of electricity. Together these images create a simple model of power production - how wind is transformed into an everyday commodity.

Installation

62

Installation

200600:07:30

Firefl ies slowly fi ll the landscape as the night falls in my aunt’s back yard.

Kuchka HetaLapsuusmuistoChildhood Memory

Koistila TanjaRuodotFishbones

200600:05:35

Director, script, editing, set design, costumes: Tanja Koistila, cinematography: Ville Vainio, sound design: Mika Niinimaa, editing, as-sistant director: Timo Turunen, production assistant: Jussi Marjamäki, sound recordist: Kimmo Vänttinen, lightning technician: Raine Toikkanen, assistant for set desing: Ari Pel-konen, graphic design: Tero Kontinen, still pho-tography: Tomi Glad, cast: Jori Halttunen, Timo Ruuskanen, Hilkka Väre, Helena Laxén, Nelli, fi nancers: AVEK / Veli Granö, Milla Moilanen, Ministry of Education, Arts Council of Sa-takunta, Finnish Cultural Foundation, VISEK, ViSiO, YLE / Sari Volanen, production: Artists’ Association MUU, producer: Tuuli Penttinen-Lampisuo, ITU- Video Art Production

“Fishbones” is a description of the diffi culty of caring and being close. It is a story of a young woman’s, daughter’s, attempt to de-tach herself from her home and memories. The work deals with the inner roles of the family, seeking of a new form for the daugh-ter-father relationship. Dependence on the other and the independence are in confl ict. Abandoning is a part of vulnerability. The feeling of security is momentary.

Koponen TanjaNimetönUntitled

2006

An installation of two video channels and two audio channels. A large video image is project-ed slanted onto the wall. We see a car, parked on a motorway shoulder at night. The other video track is shown on a monitor. We see the interior space of the car, shot from the back seat. A person is sitting passively in the driver’s seat and the car’s motor is not running. The traffi c passing by creates a heavy audioscape. A low frequency noise has been added to the soundtrack.


200600:20:00

Consists of fi ve parts that can be show togeth-er or in different combinations.

I shot improvised video interviews with strangers in New York and Pennsylvania. They shared their everyday stories with me and just added me in their lives. This way I ended up with their childhood friends, a nanny, nosy uncles and aunts from the neighbourhood, and so on; in other words the alternative life of Heta, which could have been true.

2006

Author, script, cinematography, narrator: Marko Lampisuo, editing: Olli-Pekka Salli, sound design: Olli-Pekka Salli, graphics: Teppo Jäntti, photography: Tomi Glad, photography: Tuuli Penttinen-Lampisuo, translations: Michael Garner, fi nancers: Arts Council of Satakunta, AVEK / Veli Granö, Milla Moilanen, Ministry of Education, VISEK, ViSiO, YLE / Sari Volanen, producer: Tuuli Penttinen-Lampisuo, production: Artists’ Association MUU, ITU- Video Art Production Project

An installation of fi ve synchronized video pro-jections and ten audio channels.

How does a strange town become home? How’ve you been getting on in Pori? “Porifi ca-tion” is a video work about moving, acclima-tisation, knowing and being known, and giv-ing up things. It is divided into eight episodes. The images show a deserted town, an empty fl at, tranquil seashore, a festival ground once the party is over. There is only an expanse of fl at spaces. Nothing nor anyone familiar. The events are connected by the experience of a new living environment and of an altered so-cial network. The man suffers from the hypo-chondria of loneliness, but breathes a sigh of relief when he gets help for real pains.

Kuchka HetaMitä jos...What If...

Lampisuo MarkoPoriutuminen Porifi cation

Installation

Långström MinnaUnilaboratorioThe Sleep Lab

2006

author: Minna Långström, programming: Juha Vehviläinen, programming: Jussi Virkkala, production: VIRTA productions, supported by: ResMed / Jussi Vuorela, supported by: Finlay-son, supported by: Ambu OY, funding: AVEK / Milla Moilanen ,funding: Finnish Cultural Foundation

Built to resemble an expo stand, this installa-tion invites viewers to closely monitor the sleep stages and sleeping rhythms of people sleep-ing in a fully functional sleeping laboratory. But this sleep lab offers an unusual feature: it shows the sleepers’ dreams on a video screen. The “dreams” are based on the video diaries recorded by the sleepers themselves prior to sleep sessions. In the installation a video mix-ing program is connected to a real time sleep stage detector. Using the state-of-the-art sleep analysis technology, the signals received from the sleeper’s brain directly affect the nature of the dream video.

64

200600:01:20

Author: Tea Mäkipää, editing: Henri Tani, camera: Alfred Becker

Driving on a countryside road: front, back and side views fi lmed simultaneously.

Mäkipää TeaRoadmovie

Mäki-Jussila JuhaTV-suckers

2006

A slightly manipulated image of a kissing cou-ple on a TV-monitor. Suction cups attached to the TV-screen.

Mäkipää TeaCatwalk

00:20:00

Author: Tea Mäkipää, camera: Felix Novo de Olivier, lights: Sven O. Heinze, set design: Rodney La Tourelle, camera assistant: Kristiina Ahlgren

Catwalk is a permanent public video work in the facade of VTT, (Technical Research Center, Finland) in Espoo. There shown with fi ve video projectors as 18 meters wide projection.

Various creatures move from left to right.

Installation

200600:11:20

Author: Maria Ylikoski, music: Veljeni Valas, sound mixing: Janne Jankeri

“Tuula” is a video about the role of memory, narrative and interpretation in the building of biography. A Finnish woman in her sixties tells us how she met her ex-husband and moved to the United States 35 years ago. Tuula’s story is presented in a series of transitions: she moves from one place to another, grows from a per-son blindly following chance and the needs of others into someone who makes conscious choices, follows her own will and takes respon-sibility for her own life. Shot in Albany, New York, in July 2005, the video portrait follows, supports and subtly interprets the process of narrating a biography, of constructing coher-ence, turning points and development curves.

Ylikoski MariaTuula

Installation

KANSAINVÄLISESSÄ JAKOTIMAISESSA KILPAILUSSAUUDEN ELOKUVAN PARHAIMMISTO

ERIKOISOHJELMISTOSSA:MUSTA AFRIKKA– Itä-afrikkalainen uusi elokuvaSAAMELAISKULTTUURI– Elokuvia, musiikkia, näyttelyitäMEGAPOLIS– Jättikaupunkien elävät kuvatKARABASZ & KIESLOWSKI – Puolan elokuvakoulujen mestaritJONAS MEKAS – Elokuvantekijä, visionääri, avantgardistiRYTMI & MUSIIKKI – Kangas svengaaJEAN-GABRIEL PERIOT– Dokumentteja musavideoestetiikallaAKI KAURISMÄKI– Carte blanche ja retrospektiivi

T A M P E R E E N E L O K U V A J U H L A T 7.-11.3.2007

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