┐ Terike Haapoja – mind over matter over mind └

MG_3413-640x400MG_3419-640x400© Terike Haapoja, Anatomy of Landscape, Durational images, 2 parts, 2008 Glass, plywood, live plants, light, electronic, water, 150 cm x 90 cm x 20 cm

When one stands before a landscape, two lines of thought appear. One treats the landscape as a framed fragment of our field of vision, distanced plane of forms and tones, structured by our viewpoint. The other, in contrast, follows the grass from underneath our feet to the distance, hears the resonance of the wind in our ears, smells the soil, synchronizes the pulses of the body with the life inside the view. Abstractions, mathematization and objectification of nature emerge from the first line of thought, just as theories of perception, duration and experience from the second. But still they exist as parts of the same view.


It has been estimated, that if we would have to build all that which the earth provides for us now for free, the number would exceed all measurements. The great machine is, it seems, economic by nature.


ANATOMY OF LANDSCAPE consists of two large, painting-like landscape images. As the viewer comes closer to the painting, it becomes visible that the image consists of live plants and real soil. Automatic watering-, ventilation-, heating- and light system, necessary for sustaining life inside the painting, is visible from the other side of the frame. The lights change accoording to the daytime from sunrise to sunset.

databaseworks2WC3000L2jpg-700x400-11_15_13© Terike Haapoja, In and Out of Time, 2005. Video diptych, duration 4,5h, mute. Size of the projection 180x4000cm.

When a creature dies, it’s inner time ceases. It does not experience time, but becomes an object in the flows of the other’s times. This is why photographic time is always ponting out to the viewer: the absence of the other, revealed by photography, makes the viewer painfully concious of her or his own presence. Photographing a dead body, as the early photographers did on battlefields and graveyeards, doubles this absence. The other is dead, and in the photograph even the death itself has passed away.


Still, death as absence of time is just one point of view. Time does not cease – instead, vivid life continues inside the corpse. The community of microbes live on, interaction with the surrounding world continues as gazes and organic compounds are relesead from the body. The transition from subjectivity to an object is a proces much longer then the moment of dying. The ritual of a wake besides the dead body has served as a way to live thought this phase of transition.


The video installation IN AND OUT OF TIME shows a diptych of a calf, that has just passed away. The image on the left shows a recording of the calf as seen with an ordinary video camera. The image on the right shows the same calf, as seen with an infrared camera. The video’s are in synchrony: as the body of the calf cools down, it’s image slowly vanishes from the infrared image. The original recording time of 7 hours is visible as a time code in the video. The duration of the projection is 4,5 hours

3COMMUNITY2COMMUNITY© Terike Haapoja, Community, 2007. 5-channel video installation, 5-channel sound

Terike’s amazing body of work can be “seen” here

┐ Minna Pöllänen └

© Minna Pöllänen, Hiltop, from the project Attempts, 2010

© Minna Pöllänen, Water, from the project Attempts, 2011

© Minna Pöllänen, Ice, from the project Attempts, 2010

“Made on an undeveloped 0.75-hectare piece of family land, Attempts maps out a survey into the notion of landownership. Through collecting, containing and marking different pieces of the landscape the project explores the various geographical and topographical elements found within the lot. The apparently futile constructions depicted in the photographs aim to visualise and question the often illogical commodification of nature and the ownership of something that exists in a constant state of flux.”

Minna’s statement

More of her work here

┐ Helga Härenstam └

© Helga Härenstam, The Gap, from the series The Society, 2006-2008

© Helga Härenstam, Jesus, from the series The Society, 2006-2008

The Society is a fictious documentary, trough which Helga Härenstam has been looking for and/or constructing environments, scenes and events, that are based on memories from the small society where she grew up. The people photographed in these series are Härenstam herself, her family and other people that she is close to.


The series is a puzzle of pictures dealing with the borders between documentary and staged, the real and the unreal and the past and the present. The title The Society, is inspired by a place, where Helga Härenstam partly grew up. This place does have a name, but is simply called ”the society”. Härenstam found the ambiguousness of the word society interesting though it refers to a context of world politics and states that shut in and shut out citizens depending on where they are considered to belong. At the same time it refers to this small community, which basically functions in the same way, just on a minor scale.


The Society tells several stories about growing up in a rural area that slowly becomes abandoned. A transitional place is formed between the past and the present ways of how the society functions and between the past and the present way ones memory functions.

taken from HIPPOLYTE STUDIO

more of Helga’s work here

┐ Iiu Susiraja └

@ Iiu Susiraja, Näytös, from the series Älä nyt suutu, 2008/09

@ Iiu Susiraja, Kannel, from the series Syömään, pöytä on katettu, 2010

“In Susiraja’s esthetics, an image does not remain an image; rather, it requires an entire life. Although Susiraja has focused on photography, her art genre is more comprehensive: to shape a work of art from life. Usually, the salesmen of this genre rely on the American smile, non-sense polished with first-class product phraseology, but Susiraja doesn’t work that way. She scavenges ultimate experiences and the most dismal version of reality, although sometimes the imaginative possibilities for light-hearted gliding on the surface. However, without the history of long-term exclusion and bullying, the pictures would be something entirely different.


The history of exclusion and feigned betterment repeats itself from one society and community to another. There is supposed to be a mold, into which everyone should fit and get stuck. There is still space for one more, ridiculed and excluded, who helps those feigning betterment to recognize their excellence. Susiraja becomes a sacrifice on the cross, saying: “Spit more”; except Susiraja doesn’t climb all the way to the cross, because there is bench closer, and a handy hostess can make a cross from the handle of the broom faster.


Susiraja shows how the crappiest experiences can mold an artistic counter-weapon: cripplingly mundane and fatally ridiculous all at once.”

More of Iiu’s work here

┐ Katharina Bosse └

© Katharina Bosse, Untitled, from the series A Portrait of the Artist as a Young Mother, 2004-2009

© Katharina Bosse, Untitled, from the series A Portrait of the Artist as a Young Mother, 2004-2009

“After living in New York for six years, I moved to Germany and became pregnant. Nothing in my career as a photographer and artist had prepared me for this experience. Not only were the physical demands of carrying and caring for the babies demanding. It was a forced change from everything I had learned so far: individuality, ambition and workaholism. I felt like a teenager again, changing rapidly into a new person, not knowing the outcome. I started to look for articles, and images about this process and found lots of advice, but very few actual descriptions of the unsettling shift in identity I was experiencing. And so, over the course of four years, I brought to life two children and eight photographs. I felt compelled to undress (or dress up) and create images of motherhood I had not seen before. I gave up control of the shutter release, and got in front of the camera to extract a knowledge only my body could tell.”

More of Katharina’s work here

║ Wilma Hurskainen ║

karitsa

© Wilma Hurskainen, Untitled, from the series No Name, 2007 –

leikkimokki

© Wilma Hurskainen, Untitled, from the series No Name, 2007 –

perheet

© Wilma Hurskainen, Untitled, from the series No Name, 2007 –

“In my new series No Name I go further with the themes of childhood and memory. This time childhood and adulthood, like layers, are present in the same photograph. I re-create my memories, some of which are false or invented, and continue the visual representation of these memories by loosely attaching texts to the pictures. By doing this I try to find out and question the means a text and a photograph use to mediate a story(memory. A text seems a lot more straightforward in its narration; and yet it is the photograph that has an indexical relation to the past. The reader/spectator takes a different position towards the text than the photograph. I hope that looking at the series could resemble the actual, complex process of remembering and the constant re-writing of a memoru. At the same time, the texts comment on the photographic representations and the posssibilities of posing for a photograph.”

Wilma Hurskainen

To see ore of Wilma’s work click here

║ Eva Persson ║

© Eva Persson, Untitled, from the series Jokela, 2007

© Eva Persson, Untitled, from the series Jokela, 2007

“On November 7, 2007 occured what has come to be called the Jokela School shooting. At lunch time Pekka-Eric Auvinen had went to the school in Jokela and shot eight people and then himself.I was watching the news on tv in the early evening when I got a call from an agency. They wanted me to do a personal series on the tradgedy during the next couple of days. I drove to Jokela and started to photograph. The next day I went back and then again a few days later.”

Eva Personn

To see more of Eva’s work click here

║ Deirdre Donoghue ║

© Deirdre Donoghue, Untitled #2, from the series Infantocracy, 2003


© Deirdre Donoghue, Untitled #3, from the series Infantocracy, 2003


“Infantocracy is a series of large photographic prints addressing ideas on childhood and power through the investigation of space and displacement. The series focuses on spatial relationships between the surrounding social environment, its cultural landscapes and the ‘child’, who like an explorer is in the process of learning how to negotiate and occupy the given space/s.”
Deirdre Donoghue

More of Deirdre’s work can be seen here

║ Sanna Kannisto ║

© Sanna Kannisto, 2006
© Sanna Kannisto, 2001
© Sanna Kannisto, 1998

“My work explores the relationship between nature and culture. In my artistic work I aim to study the methods, theories and concepts through which we approach nature in art and in science. As an artist I am attracted by the idea that when I am working in a rain forest I am a ‘visual researcher’. In my series Private Collection and Field Studies I was interested in borrowing methods of representation, as well as working methods, from the natural sciences, from anthropological and archaeological practices and from still-life painting tradition to use in my photographic work.”
Sanna Kannisto

To see more of her work click here.

║ Elina Brotherus ║

© Elina Brotherus, Le Printemps, from the series The New Painting, 2001

© Elina Brotherus, Scène Domestique, from the series The New Painting, 2001

“Elina Brotherus begins from her own experience: herself, those close to her, and the landscapes she knows. For her, photography’s ‘decisive moment’ is not a split second alignment of people and light, but a passage of time lasting anything from a few minutes to a few weeks. Her self-portraits tend to be made in moments of vulnerability, such as in the aftermath or low-ebb of a love affair. Although carefully staged in domestic settings flooded with cool white light, they remain intensely personal, the artist sometimes appearing naked or in tears. […]

Brotherus describes the relationship between her portraits and landscapes as follows: “I want to provide a perspective on the human being’s emotional landscape, to explore the relationship of an individual to space as well as to other people. The wide open space also functions as a resting place for the viewer, providing room for thought”.”

To see more of her work click here
.

║ Esko Manniko ║

© Esko Mannikko, Kuivaniemi, 1993
© Esko Mannikko, Aldo, Batesville, 1997
Himself a 36-year-old northern Finn who lives in Oulu, Mannikko knows his people. He visits and often stays with them for a day or two to achieve the images that say what can be said about them. His portraits are overwhelmingly fact-filled and naked, delivering more truth more suddenly than can be absorbed, no matter how long you look at them. With allowance for the greater formality of his photographs, he reminds me of Nan Goldin, who similarly causes pictures to happen like congested freeze-frames within achingly intimate, dark flows of life.
Also like Goldin, Mannikko knows how kicked-up color can function analytically, drawing almost tactile attention to the quiddities of things.
Peter Schjedahl