ANU RAATIKAINEN – CONSCIOUSNESS SCREEN
Tue–Fri 12–5 pm, Sat–Sun 12–4 pm
Consciousness screen is an exhibition that merges light, drawing and sculpture through LED lights, light boxes and drawings made with oil paint medium.
Anu Raatikainen makes drawings with oil paint medium. Unlike paint, which would bleed along the fibres, the medium retains its shape on the paper. Areas saturated with it become translucent compared with the untreated opaque paper, and the drawn marks become visible when seen against light. Instead of being reflected from the surface, light in these works passes through the substrate. Filtering through the marks made with the painting medium, light itself becomes a material. The passage of light through the paper is determined by the marks drawn on it, not unlike the human mind that with its definitions and conceptual thinking delimits the endless possibilities of the world into a specific shape.
Treading the borderline between the abstract and the figurative, Raatikainen combines visual references that range from science fiction to archaic forms of expression, plants and biological imageries. The drawings come to life under the gaze of LED lights mounted on steel tubing stands.
Anu Raatikainen is a Helsinki-based visual artist who uses light in her work. She received an MFA from the Academy of Fine Arts in December 2017, and has exhibited in solo and group shows in Finland and internationally. Although Raatikainen works in a range of different media, the connecting thread in her art is light – as a material, a theme, even a metaphor.
Some of the works in the exhibition were created in Studio Kura residency in Fukuoka, Japan, in April 2019.
Thanks to Finnish Cultural Foundation, Arts Promotion Centre Finland and Helsinki Hacklab!
TIMO BREDENBERG – WITHOUT FRICTION
Tue–Fri 12–5 pm, Sat–Sun 12–4 pm
Without Friction is a fictional video about the ideology, history and demise of network capitalism. Its narrator is an imaginary artificial intelligence that explores the virtual ruins of Wall Street in order to understand the events that led to the rise and fall of network economy.
The video is divided into episodes that explore the evolution of the network economy and the changing status of human labour in conditions of ever-increasing technological automation. The title is a reference to an idea presented by Bill Gates in the 1990s, of the Internet as a technology that would remove friction from capitalism. The work is based on documents from the archives of the Museum of American Finance and on video interviews with finance technology professionals provided by the New York Historical Society. The 3D photogrammetry models are created from photographs Bredenberg took of buildings related to finance and technology in New York in January–February 2018.
Timo Bredenberg (b. 1984) is a visual artists from Tampere who works with digital media. His most recent works have addressed the ongoing changes in work and economy through speculative fiction.
Bredenberg’s artistic work is supported by Arts Promotion Centre Finland and Finnish Cultural Institute in New York.
NIKKI JÄÄSKELÄINEN – PAPER WALLS, CHIFONET DREAMS
Kaapelitehdas, Tallberginkatu 1 C
Mon–Fri 10 am–7 pm, Sat–Sun 12–4 pm
I stare at splashes on tiles, looking for answers.
I dream of clear lines and regular patterns of gentle waves. I try to draw a straight line, but it turns into something else.
It stumbles, blurs and twists unexpectedly. In the studio, the unstable motion of the hand and the unpredictability of materials transform into meanings and riddles – unlike in the toilet. As the paper becomes wet, it dries out and alters its shape. The line refuses to cohere, the rectangle to stay put. The smudge spreads, looking for a way out. Something unexpected that has the appearance of narrativity happens between the rectangles but never leads anywhere. It is like a sudden mood change or a hallucination after an protracted afternoon nap.
I work with toilet paper. It is an inexpensive and versatile material, available in white, pale yellow and light grey. When dry, it is soft but sturdy, when wet it becomes mushy. Slightly moistened it is almost transparent, and when it is pasted on a wall it reveals the textures and patterns underneath, yet becomes hard and rustling once it dries out. As a drawing surface it is unforgiving. All the works in the exhibition were made with toilet paper, charcoal and bleach directly onto the surfaces of the gallery.
– Nikki Jääskeläinen
Jääskeläinen’s artistic work is supported by the Uusimaa Regional Fund of the Finnish Cultural Foundation.