Galleria Huuto » Jätkä 1
Downs and Ups

Anna-Kaisa Ant-Wuorinen
Downs and Ups
Galleria Huuto Jätkäsaari, Jätkä 1 ja Pikkujätkä

1–17 December, ARTag Gallery
9–29 December, Galleria Huuto Jätkäsaari, Jätkä 1 & Pikkujätkä

Anna-Kaisa Ant-Wuorinen (b. 1957) has created a two-part exhibition and both parts can be seen in Helsinki in December 2017. The name of the exhibition is Downs and Ups and the first part will be open to the public as of 1 December at ARTag Gallery in Hietalahti and the second part as of 9 December at Galleria Huuto in Jätkäsaari.

The exhibition was developed after the artist’s wooden house, which was built for her family and in which she lived for decades, burned down a few years ago. Ant-Wuorinen defines the exhibition as a sort of retrospective. After everything was destroyed, she was forced to consider what was left.

Four years before the fire, Ant-Wuorinen was widowed and paralyzed by grief. The fire changed everything. Everything that she had lived amidst for half of her life was gone. The fire destroyed all her belongings including books and art, also her own sculptures. Their traces were, however, left in the house.

“Books have always been very important to my family. Some 5,000 books were destroyed in the fire. I remember which books were on which shelves. When photographing the traces of the books, I realized how much they have influenced all of us,” Ant-Wuorinen says.

The fire brought back Ant-Wuorinen’s passion for her work. She is a material-oriented sculptor who has worked with, for example, plastic and steel. In her works, the material is part of the content and the working methods add a narrative element. Now her burnt home has served as a starting point for her work. The means of documentation have been varied as, due to the tragic event, charcoal, tar and soot replaced the previously used materials.

“After the initial shock, I forced myself to look at the devastation with new eyes. I forced myself to go through about half of my life. I also rediscovered great moments of happiness,” Ant-Wuorinen summarizes.

Anna-Kaisa Ant-Wuorinen earned a Master of Science (Tech.) degree from the Helsinki University of Technology in 1983 and completed her visual arts studies at Art School MAA in 1990. She has had several solo exhibitions, for example at Galleria Sculptor and Galleria Kari Kenetti in Helsinki. Her works are included in the collection of the Helsinki Art Museum and in the Finnish state art collection.

The exhibition has been supported by:
Arts Promotion Centre Finland | Arts Council of Uusimaa

Further information:
Anna-Kaisa Ant-Wuorinen, tel. +358 50 363 2257
ARTag Gallery / Veikko Halmetoja, tel. +358 44 215 3005
Galleria Huuto / Henni Oksman, tel. +358 400 653 461

Spirit and Emptiness

Tuomo Laakso
Spirit and Emptiness
Galleria Huuto Jätkäsaari, Jätkä 1
18.11. – 3.12.2017

The most soothing is a surface with a broken color, so dark that it is almost black. It is like silence or emptiness. I want to cover everything with it. I repeat the ritual in all my paintings. I cover and sweep away soft and hot colors, joys, hopes and passions. What remains is a fragile and quivering peace. Then, new colors and spaces begin to appear. Where there seemed to be nothing, it is where the most essential is.

The exhibition has been supported by the Arts Promotion Centre Finland.

Tuomo Laakso
tel. +35844 0805805

Holographic Realms

Lora Dimova
Holographic Realms
Galleria Huuto Jätkäsaari, Jätkä 1

Open as usual on All Saints Day 4.11.2017 at 12-5 pm.

Beyond vision

Under the current of a lost circle

Into the holographic realms

Of chimerically entangled dimensions

Silent shouts of exploding stars

Shattered crystalline structures

I see myself in a mirror of quartz

Hello Kitty!

Entering into the holographic realms is a way to see within. It is a connection to subtle level of perception, to alien realms and parallel worlds, to mystical experiences, to unexplained phenomena, to me, to you.

The exhibition includes works in various media from the past two years. The works gravitate towards each other, forming a constellation of sensations, experiences and momentums. Simulated visions of other worlds, generated patterns, hybrid humans, princesses and angels appear as holograms from otherworldly realms.

Lora Dimova (Bulgaria, 1981) is a visual artist, living and working in Helsinki. She uses photography, sculpture, collage, drawing, moving image, sound and writing to build subtle realities and experiences. She is interested in establishing a connection between the realms of the physical and the transcendental.

Dimova holds master degrees in Porcelain and Glass from the National Academy of Art, Bulgaria (2007) and in Fine Art from Aalto University, School of Art, Design and Architecture, Finland (2015). Her works have been presented internationally at exhibitions, festivals and biennials for contemporary art, such as the Moscow International Biennale for Young Art, Russia; Casablanca Biennale, Morocco; World Ceramic Biennale, South Korea, etc. In 2009 she was one of the recipients of the Young Artist Award in Bulgaria.

For more information:

Lora Dimova


Jussi Niskanen
Galleria Huuto Jätkäsaari, Jätkä 1

First I think of myself in an imaginary situation where I am a distinguished rock collector. In reality, the world of rocks is foreign to me, but in this fantasy I am a dilettante geologist – more than an amateur but spared from the curses of being a professional. In this fantasy, I am free to go from one place to another and my pants and jacket pockets are filled with different kinds of rare and unique rocks. Also, my backpack is full of rocks. The canvas bag I sometimes have with me and the fanny pack I just bought are, naturally, also totally full of rocks. I often place rocks that are very small and very special inside my socks, between my foot and the insole of my shoe. It is a good place for keeping important small items. In this fantasy, the stone collecting version of me thinks how much rocks could tell us if we could understand what they are saying. In real life, it seems impossible that rocks could talk or even if they did, we humans would hardly be able to understand their language. However, in my fantasy I think that even a dumb person would understand that rocks, which have been witnessing the world for thousands of years, would have so much more to tell and more interesting stories than humans who only spend a mere moment here in comparison to rocks. In my fantasy, I look at my rock collection and think how all the rocks in my imaginary collection rattle in the mill of the world, just like all the other rocks still outside of my collection. As long as the mill of the world keeps spinning them around, they will probably all face the same destiny – a perfectly round ball worn smooth in the mill. The imaginary version of me thinks about a giant washing machine with all the rocks of the world rattling inside and gradually becoming smoother. Oh, how much they rattle. Of course, we cannot hear that noise. Then I see my imaginary rock collection spread out on the floor of a space by the imaginary me. In my mind, I see the collection from above and I slowly move away from it so that the collection is further and further away below me. At first I can see individual rocks, their color differences and their outlines and unique shapes as only few of them have been ground into a perfect sphere by the mill. As I move further and further away from the imaginary rock collection, their outlines merge together and their colors blend with each other so that this first thought ends up in a situation where the rocks in the collection only look like a gray mess.

Then I think of myself again, but not as a rock collector. In this thought I am sitting in a room writing a text for my upcoming exhibition at Galleria Huuto in the autumn of 2017. In my thoughts, I am sitting in this room. I am trying to write the above-mentioned text but my mind is bouncing all over the place, hitting all other matters in the world but not the desired one, the exhibition text. My mind bounces on the room’s surfaces which I have imagined as bland, leaving behind swirling marks in my field of vision. I think about myself thinking about my mind and it bouncing around that room I lazily imagined. When bouncing around manically, my mind finally gets fixed on a ball on the floor and at that very moment my fantasy no longer concentrates on the room around the ball, which only had a very superficial role, or the imaginary me who in this thought only wandered around aimlessly with confused thoughts and without being able to carry out the task at hand. My mind is not able to focus on anything but the ball noticed by the imaginary me, its shape, color, possible feel, elasticity, thermal conductivity, weight, weight distribution, in other words its material evenness and so on. I imagine the ball bouncing, its trajectory in the air, the surface it hits, the physical properties of that surface and the sound the ball would make when hitting that surface. It must be so that if the ball has certain properties and if the surface hit by the ball has certain properties and if certain conditions prevail, then the sound made by the ball when hitting the surface can be described in the form of text, without such loss of information that often occurs when trying to express sounds in a written form, by writing as follows: boing!

This exhibition features my paintings that are pictures depicting the ball I thought about, its possible movement and sound as well as other things I have thought about.

Helsinki-based artist Jussi Niskanen (b. 1984) earned her Master of Fine Arts degree from the Academy of Fine Arts (University of the Arts Helsinki) in 2014.

Exhibition has been supported by Taiteen edistämiskeskus.

Jussi Niskanen
+358 40 7009584

Those that have run for long

Ninni Luhtasaari
Those that have run for long
Galleria Huuto Busholmen, Busen 1

Are you sitting? I am flowing on the bench right now. This wall is just a bluff, as behind it something is gurgling.
My mother thought it was annoying when I left tears on my cheeks for everyone to see. My fluids are sacred.
Your fluids reveal that you are just as confused about everything as I am. And liquid is running from all of your holes.

Ninni Luhtasaari’s ceramic fountain sculptures are confused and can’t help but flow. The Tampere-based artist and musician’s sculptures, embroidery and installations have been on display, for example, at solo exhibitions, the Mänttä Art Festival and Ars Auttoinen. Luhtasaari is also part of the Helsinki and Tampere-based Sexy Sexy Lover artist group. As a musician, she plays in the bands Maria ja Marsialaiset, Ninni Forever Band, Pintandwefall and Risto.

The exhibition has been supported by the Arts Promotion Centre Finland and the Alli and Allan Salo Fund.

Ninni Luhtasaari

Fold- fold- / -ing -ing

Milla Toukkari
Fold- fold- / -ing -ing
Galleria Huuto Jätkäsaari, Jätkä 1

– – unable to speak save in a child’s words of one syllable; without shelter from phrases – I who have made so many; unattended, I who have always gone with my kind; solitary, I who have always had someone to share the empty grate, or the cupboard with its hanging loop of gold.
‘But how describe the world without a self? There are no words. Blue, red – even they distract, even they hide with thickness instead of letting the light through. How describe or say anything in articulate words again? – save that it fades, save that it undergoes a gradual transformation, becomes, even in the course of one short walk, habitual – this scene also. Blindness returns as one moves and one leaf repeats another. Loveliness returns as one looks, with all its train of phantom phrases. One breathes in and out substantial breath; down in the valley the train draws across the fields lop-eared with smoke.
‘But for a moment I had sat on the turf somewhere high above the flow of the sea and the sound of the woods, had seen the house, the garden, and the waves breaking. The old nurse who turns the pages of the picture-book had stopped and had said, “Look. This is the truth.”

In 2013, while walking on the shores of the outer archipelago, I noticed a recurring feeling – a simultaneous feeling of fascination and disgust caused by the waves beating and withdrawing from the rocky seashore. The inevitable happening, two becoming the same and simultaneously diverging. The salty water and rock separating together, through each other. The Fold- fold- / -ing -ing exhibition examines, in particular, this feeling. Briefly and perhaps with too much explaining, I reveal that it is my personal uncanny valley. I examine on the one hand the fear of moving closer and on the other hand the irresistible desire to see it closer, to smell the seaweed and feel the slimy rocks. I am especially interested in the disgust and fear – where do they come from?

A molding surge. Gradual change. Interaction that cannot be seen but is uninterruptedly present. Subconsciously? I have had dreams of ending up in the water. Even in different states these minerals reflect each other and I see a desire to become something, something that the other one wants the most. To merge into the other one. This integration is an illusion, but a captivating one which promises much and provides, according to Lacan, the prototype for the ego.

In addition to writing and reading, I trace the origin of my experience through two sister exhibitions, the first of which is this Fold- fold- / -ing -ing. Separate, yet inseparably present is Seas which will open at Galleria Uusi kipinä in Lahti about a week after the closing of the Fold- fold- / -ing -ing exhibition.

Milla Toukkari is a Helsinki-based artist who graduated from the Academy of Fine Arts in 2015. Toukkari is one of the founding members of the Kellaripress workshop in Vallila where she has also worked for several years. At the center of her works are printed images and their meanings, especially uniform expression being questioned through the processes of printed art. The use of collages is a principle guiding Toukkari’s expression.

Woolf, Virginia: The Waves (1979)
Haapala, Johanna: Jakautunut minuus: Jacques Lacan ja ranskalainen psykoanalyysi (1991)
Glowinski, Marks & Murphy (eds.): A Compendium of Lacanian Terms (2001)


Man Yau
Galleria Huuto Jätkäsaari, Jätkä 1
5-20 August 2017

On becoming Delfu

Sisyphus was, as a punishment, forced to roll a huge boulder up a hill. After reaching the top, the boulder rolled down into the plain. His work continued day after day, endlessly, always starting all over again.

The process that has led to Delfu sounds like Sisyphus’ task. At first there was wood, a chain saw and an angle grinder. Both the material and the tools were new to the artist. Focused work produced shapes. The shapes produced a familiar figure that had to be recreated. Working produced an idea: an attempt to achieve a perfect sculpture in which the human touch is no longer visible.

At that moment when the boulder rolls down the hill, Sisyphus has to be aware of the impossibility and absurdity of his task – and still continue. He has to conquer the boulder. The creator of a perfect sculpture has the same fate. In order to create Delfu, one has to become Delfu.

A perfect sculpture does not show the hours worked, the versions created, the learning of the nature of the material, the experiments that have been rejected – the fallen boulders. Being sharp-eyed can be torturous, but only continuing one’s work will make one’s victory complete. Every time Sisyphus follows his boulder down into the plain, he becomes more powerful than the boulder.

This moment can be found in Man Yau’s diary entries: ​“The last phase that happens as a result of a few months of work is the most special – the smoothest but perhaps also the most dangerous. It is the moment when I solely focus on the actual piece of wood and the tools become an extension of my arms. I no longer pay attention to the physical movement, I just intently follow the work as it takes shape. In my head I am always a step ahead in terms of shape, I know where to remove more. I don’t usually have clear memories of the process during this phase, only feelings.”

When the work process is at its smoothest, one has to make choices as to what feels good. One has to keep cherishing the memory that is the dearest to oneself.

When everyday activities have intrinsic value, one can be happy in front of their task.

At the gallery, Delfu’s world seems to have gotten an end for the first time. The wooden figure has grown around itself into a complexity of materials, shapes and colors. The wood, ceramics, acrylic and their joints are combined, through their surfaces, into natural elements, into a whole world. Around Delfu, ​“each atom of that stone, each mineral flake of that night-filled mountain, in itself forms a world”​ ​– looking like its creator.

Man Yau (b. 1991) lives and works in Helsinki. She earned her Bachelor of Arts degree in 2013 from the degree program in ceramic and glass design at the Aalto University School of Arts, Design and Architecture.

The exhibition has been supported by Konstsamfundet and the Arts Promotion Centre Finland, the opening is sponsored by Brewdog and Vallilan Panimo.

Text: Lauri Alaviitala

Further information:
Man Yau
+358 45 203 1530

* ​Albert Camus: Le Mythe de Sisyphe, 1942


Anu Haapanen
Galleria Huuto Jätkäsaari – Jätkä 1
15-30 July 2017

The works in the exhibition depict made-up landscapes, places just before and after a change, future scenes and scenes that no longer exist. The landscapes in the paintings are mythical spaces and utopias with flashes of the story of an imaginary location or civilization. The spaces and landscapes created in the paintings serve as elements loaded with meanings or as a stage for a symbolic event or an undefined experience. The scenes give way to the laws of nature and on the surface of the paintings the reality is cut and blurred. The movement of the substance and elements arises, creating eruptions and covering, quiet and flowing disasters. There are no people visible in the landscapes, but the paintings show signs of human presence, references to humans as little passengers in the universe, drowning in the landscape. A human forces one’s way into the landscape, sometimes as a builder, sometimes as a conqueror and a destroyer: as a curious, not always very benevolent explorer.

Anu Haapanen (b. 1981) graduated from the Lahti Institute of Fine Arts in 2013. She lives and works in Helsinki.

Further information:
Anu Haapanen


Paula Saraste
Galleria Huuto Jätkäsaari – Jätkä 1
27 June – 9 July 2017

Paula Saraste’s exhibition Transitions at Galleria Huuto in Jätkäsaari approaches mixed feelings triggered by flying and traveling from different perspectives. The exhibition takes shape through thoughts and notes inspired by human fear and through the examination of its characteristics. The anxiety caused by flying also appears as a journey to an inexplicable area, as both feelings and accidents sometimes remain unexplained.

Fear of flying is the archetype of a modern phobia, consisting of different feelings, like fear of losing control or claustrophobia. Fear intertwines with death and flying can enable one to imagine and practice one’s own death. In the exhibition, the feeling is displayed as a physical and mental space in which Saraste also highlights some absurd elements. She has, for example, photographed items that help nervous passengers when flying. The exhibition features installations, videos and photographs that are notes of fear, its manifestations, attempts to free oneself from it and also links to the simultaneous presence and possibility of death.

Paula Saraste (b. 1981, Viitasaari) is an artist who lives and works in Helsinki and Berlin. Her main artistic tools are film, photography and performance. Her works often have a psychological starting point. She is fascinated by the states and layers of the human mind, their relationship with time as well as questions related to identity. She received her Master of Fine Arts degree from the Academy of Fine Arts, Helsinki, in 2016. She has taken part in exhibitions in Finland and abroad, most recently Save Our Souls at the 9th Ewha International Media Art Presentation in Seoul (2016), Kemal Can+Sara Kovamäki+Paula Saraste in Helsinki (2015) and Media Ambages in Berlin (2015).

Paula Saraste

The Mine

Jenni Yppärilä
The Mine
Galleria Huuto Jätkäsaari, Jätkä 1

The exhibition is based on the former mine village of Lampinsaari in Northern Ostrobothnia. Outokumpu Oy built the Lampinsaari village and all its services in the middle of a wetland area in the 1950s. In its heyday the village had over a thousand inhabitants and recreational activities from a bowling alley to a movie theater. The mine was closed during the 1990s recession, after which most of the services also disappeared. Currently the village has a population of less than 300. Many of the buildings are empty and the area around the mine has been fenced off due to the risk of collapse.

I have worked on this exhibition for two years, exploring written material about Lampinsaari and traveling to the location to take photographs. One of the aims has been to introduce this historical location that flourished for the duration of one generation’s working life. I examine structural change and its impact on the built environment. I focus on depicting abandonment and human traces through three-dimensional paintings and soundscapes. Musician Alpo Nummelin was in charge of sound design.

On a larger scale the exhibition depicts the change in Finnish society and rural areas becoming deserted. I reflect on the right to exist and the transfer of responsibility after the financial benefit disappeared.

Jenni Yppärilä (b. 1980) is a Tampere-based artist who mainly portrays the built environment through three-dimensional paintings. The Mine is Yppärilä’s second solo exhibition in Helsinki. Her works are included, for example, in the collections of Kiasma, Oulu Museum of Art, Pori Art Museum and Tampere Art Museum.

Thank you for the support:
Arts Promotion Centre Finland, Alfred Kordelin Foundation and Majaoja Foundation.

Further information:
Jenni Yppärilä
Tel. +358 45 635 6159

What remains

Vesa Hjort
What remains
13.5. – 28.5.2017
Galleria Huuto Jätkäsaari, Jätkä 1

All Galleria Huuto’s exhibitions are open also on Ascension Day Thursday 25th May 2017, welcome!

Through my exhibition, I explore a human’s image and its permanence. The paintings in the exhibition are based on sculptures from art history and focus on a human’s image and its destruction. The sculptures that I have painted are all, in one way or another, broken or destroyed images of a human. The original sculpture or image of an ideal human has become an image of violence in these paintings. The sculptures are targets of hate that someone has wanted to destroy for some reason.

I also see these paintings based on sculptures more broadly as images of a human. Through my exhibition I explore the permanence of our cultural history through images and also a more temporary aspect, a human’s image becoming a target of hate. From the perspective of art history, it is about the preservation and possible disappearance of our culture, but I also consider it to be, for example, about destroying a human’s image through online hate and identity theft. Attacking images by posing as someone else and through defamation.

Ancient sculptures represent an ideal image. They are works whose cultural value is not questioned, objects that are worth protecting. An attack on these objects targets something that is valuable and almost sacred to us. It is an attack on our culture and heritage. Similarly another person’s image is, in my opinion, sacred. It should not be attacked. If we do not respect each other, what do we respect?

The exhibition has been supported by Arts Promotion Centre Finland.

More information:
Vesa Hjort, puh./ tel. 040 505 5028 / email: hjortvesa(a)

The Museum of Imaginary Science

Brains on Art
The Museum of Imaginary Science
Galleria Huuto Jätkäsaari – Jätkä 1
22 April – 7 May 2017

All Galleria Huuto’s exhibitions are open also on Sunday 30th April.

Combining science with art, the Brains on Art collective’s new exhibition, The Museum of Imaginary Science, features a group of interactive devices that have been built on the basis of imaginary devices drawn by children and young people. The collective has built, for example, the Cockroach Squasher, the multisensory Candy and Rainbow Machine as well as the Light Machine that absorbs and produces light.

The Museum of Imaginary Science was inspired by the questions of who has the right to imagine new science and how the creativity related to science and technology can be addressed through the means of art.

The devices created by children highlight, for example, the popularity of Pokémon Go (e.g. the Pokémon Drill), 3D printers and their different variations (a cow cloning extinct animals using DNA) as well as solutions developed for children and young people’s everyday problems, including the Homework Doer and the Boyfriend Finding Machine. Recycling and ecological issues have also been in the children’s minds when designing the devices. The collective received almost 400 drawings from 3 to 15-year-old inventors for the exhibition. The ideas were collected through an open call and all of the source material is on display at the exhibition.

The Brains on Art collective consists of art educator Kasperi Mäki-Reinikka, cognitive scientists Aleksander Alafuzoff and Henri Kotkanen as well as Jari Torniainen, M.Sc. Designers Arto Kuusisto and Mikko Akkola and graphic designer Annukka Mäkijärvi have also assisted the collective throughout this exhibition. The exhibition has been supported by the Arts Promotion Centre Finland and the Finnish Cultural Foundation.

Brains on Art was established in 2010 and The Museum of Imaginary Science is the collective’s fourth solo exhibition. The collective has also taken part in several group exhibitions, including the Mänttä Art Festival in 2014. During the same year the collective’s poetry generator Brain Poetry was on display at the Frankfurt Book Fair as part of the Finnish Pavilion.

Further information:
Kasperi Mäki-Reinikka
+358 40 820 3791, kasperi.maki-reinikka(a)

Tap to tomato

Anna Broms
Tap to tomato
Galleria Huuto Jätkäsaari, Jätkä 1
1.- 16.4.2017

The exhibition is open as usual over the Easter holidays.

“I press the brush vigorously against the canvas, as if drawing with a marker at our summer cottage a long time ago. I don’t fix what I have painted. I walk directly towards the landscape. I see things near and far at the same level. I wrap myself in items and events. The cotton of the pillowcase has worn thin. Which one of the threads holds it together? The sad train curtains comfort me. Tap to tomato is my mobile, tomato-red core in the middle of the world surrounding me.”

I paint in a brutally straightforward manner based on a comprehensive observation. The thing I paint comes so close that vision disintegrates. The outlines and shape disappear and only the color remains. I eliminate the perspective. I experience change, demolition and building. I wrap myself in items and events that ask, remind and suggest.

The exhibition has been funded by the Arts Promotion Centre.

Anna Broms
050-341 9015

Anna Broms: Tap To Tomato | Galleria Huuto | Timelapse

On the Move – Young Adults in the Transforming Labor Market

Sami Perttilä
On the Move – Young Adults in the Transforming Labor Market
Galleria Huuto Jätkäsaari – Jätkä 1
11.3. – 26.3.2017

What is everyday life like for someone moving from one temporary job to another? What is one’s life like when work consists of assignments and gigs, entrepreneurship with chair rental and low-paid jobs?

The Ajolähtö project examines young adults from the Kymenlaakso region in the transforming labor market. Combining the methods of photography, journalism and ethnography, the research project sheds light on the life of those who live in Kymenlaakso or who have moved from there to Helsinki.

Each young adult’s story is unique, but what they all have in common is not only uncertainty with regard to employment, but also a strong faith in the future and trust that everything will work out. Changing employment situations provide a framework for everyday life both time-wise and financially. How to separate work from free time? Can one get by on their income? Photographer Sami Perttilä answers these questions by means of photography and a documentary. He has written the texts for the photographs together with journalist Terhi Hautamäki.

The exhibition On the Move – Young Adults in the Transforming Labor Market features photographs of people, work and abandoned business premises. The collection of everyday photos and life stories are accompanied by images of Kymenlaakso’s structural change as well as the changing of seasons. The exhibition shows that in the midst of news that seems hopeless, new possibilities and ways to get by emerge.

Photographer Sami Perttilä’s exhibition is part of the Ajolähtö research project funded by the Kone Foundation under the Is Finland Becoming Polarized? program. A total of 41 young adults have been interviewed between 2015 and 2017 and their lives have also been followed through diaries. Young people have to stay on the move and navigate the labor market that offers more and more people only self-employment and low-paid jobs.

As part of the Ajolähtö project, Sami Perttilä and Terhi Hautamäki’s collaborative articles have been published in Suomen Kuvalehti (2016–2017) and they are freely available online. The project also includes the Ajolähtö blog on the Suomen Kuvalehti website.

Contact person regarding the exhibition:
Sami Perttilä, perttila(a), tel. +358 50 544 7562

Contact persons regarding the Ajolähtö project:
Anu-Hanna Anttila, anantti(a)
Päivi Berg, paivi.berg(a)

The life of a building

Johanna Väisänen
The life of a building
Galleria Huuto Jätkäsaari – Jätkä 1

In my work buildings symbolize a human. Houses are places that memories are attached to, also in the collective unconscious. In dreams a human is often a building. I deal with the symbolism of buildings in the dream world and memories.

The starting point for the exhibition is my family’s history. My mother’s family is from Russian Karelia and the memories of life there only reach me through the stories I hear as well as a couple of old photographs. Many of the memories are related to war and in my mind they have become mythical stories where people ride through a frosty night on a sleigh pulled by my grandfather’s unstoppable stallion along a large open field between Kurkijoki and Parikkala to escape the bombers or hide from the bombing of evacuation trains in a culvert at the Elisenvaara station. Not everybody survived, of course.

I am a second-generation evacuee. In a couple of decades, Europe and its nearby areas will be full of people like me, rootless in one way or another.

The location where the exhibition material was shot is a house where my family was sent during the war. Now beyond repair, the house is a historical building as it was the first one inhabited in the area.

Through my work I explore a theme that I interpret to be Freudian, according to which buildings in dreams represent the mind of the dreamer. I reflect on the life cycle of buildings and the amount of tacit knowledge lost with buildings as well as home and losing one’s home.

My work has been inspired by Tallinn-based Tüüne-Kristin Vaikla’s work “How long is the life of a building?” in which she examines, for example, the life cycle of Tallinn’s Linnahall.

The character in my work portrays, at the same time, all the women in my family, including myself.

Many of my works are linked to the problems of memory. They explore remembering and the dynamics between the past and present from different perspectives. In recent years I have mainly been working with videos and media installations. My works create inner questions and their own microclimates and are often tied to local themes.

The exhibition has been supported by the Finnish Cultural Foundation / the the North Savo Regional Fund, and the Arts Promotion Centre of North Savo.

More information:
instagram: johannakvaisanen

Notes about water

Aleksi Martikainen
Notes about water
Galleria Huuto Jätkäsaari – Jätkä 1

Notes about water presents a body of work that combines traditional intaglio techniques with sculpture, sound and movement. The exhibition snoops around Finnish national romantic landscapes and explores details in and around nature that have grabbed my attention.

Water for me is a contradicting element. I feel calmer when there is water around. On the other hand, I am alienated from nature, I can hardly swim.

The last time I rowed a boat was two years ago. During the last five months I have been outside Helsinki city center about four times. I can only imagine how an endless journey on an icebreaker calms my mind and I am immersed in observing the coastline.

Notes about water – detailed observations on nature made in the artist’s studio.

More information:
Aleksi Martikainen

Generation Ö

Anna Leppä
Sukupolvi Ö
Galleria Huuto Jätkäsaari – Jätkä 1

The year 2016 has been record warm and climate change is advancing more rapidly than researchers have predicted. This is a critical time. The global temperature increase caused by humans is
taking our planet towards the sixth wave of mass extinction at a rapid pace. The flow of refugees and the dwindling of natural resources due to climate change will cause unprecedented problems and make the global political situation even more uncertain.

We know all this and yet we continue living our lives the way we always have – in a state of denial. And future generations will ask us why. Why did you not do anything?

This question haunts me. Generation Ö goes everywhere with me as a silent group. I feel their stare on my skin. It makes everything at this moment seem meaningless and sadly beautiful. New technological devices, traveling, constant economic growth, even occasionally art which has always given a meaning to my life, seem unnecessary and insane.

These paintings depict this generation Ö. I am attempting to expand the experience of empathy to future generations. To meet their eyes and also face our own acts. To examine our current choices from a future perspective.

“The ecological crisis can be traced to a more general crisis of the social, political and existential. The problem involves a type of revolution of mentalities whereby they cease investing in a certain kind of development, based on a productivism that has lost all human finality.”
-Félix Guattari, Chaosmosis

I hope that art could be on the front line in this mindset revolution as an important element.

More information:
Anna Leppä 041-7441329

The Laboratory of Presence

Riikka Latva-Somppi & Kristoffer
The Laboratory of Presence
Galleria Huuto Jätkäsaari – Jätkä 1

Come and toast for the Finnhorse on the Independence Day the 6th of December! The Jätkäsaari exhibitions are open and the artist Riikka Latva-Somppi is present.

Through the means of art, Latva-Somppi examines a horse as well as the social relationship and interactions between a human and a horse. Her partner in this project is Kristoffer, a 16-year-old Finnhorse. In her work she processes chance, spontaneity and being fascinated by experiences in the moment they occur. What is also inevitably part of this is a human’s power over an animal and responsibility for the animal.

For a year I have been processing the experience of presence with Kristoffer. I have put myself face to face with an insurmountable task. It is impossible to transfer the experience of presence to be presented elsewhere, in a concrete form. For Kristoffer this has been a lot simpler. A horse is satisfied with the present moment. He is able to sense a person’s behavior and state of mind – nervousness, hurry, fear, joy and calmness. Studies have shown that even a horse’s heart rate is affected by the rider’s heart rate.

The works in the exhibition deal with experiencing a horse and the feeling of shared presence. In the world of visual stimuli, seeing is given priority over other senses. In an experience of presence, visual sensations are not so dominating. With artworks experienced through the sense of hearing, smell, touch and balance, presence occurs in our own body.

Riikka Latva-Somppi (MA) is an artist, curator and educator working in various assignments involving expertise in the field. She works at the intersection of fine art and craft and has exhibited widely nationally and internationally. Her public art work Satakieli/Nightingale was awarded The Certificate of Environmental Art 2009 by The Foundation of Environmental Art (Finland), and her public art work commissioned by Vantaa Art Museum has recently been published in Tikkurila, Vantaa, Finland.

The exhibition is supported by The Finnish Cutural Foundation and The Arts Promotion Centre Finland.

Riikka Latva-Somppi
Tel. +358 41 519 9181


Aleksi Tolonen
Galleria Huuto Jätkäsaari, Jätkä 1
12.11. – 27.11.2016

For this exhibition I collected trash and used it for my sculptures. The trash is linked to my immediate surroundings and my past. Aluminum cans run over by cars are a specialty of the area where my studio is, Jätkäsaari, thanks to the “beer-rally” from the Tallinn ferries and the American sodas sold at Verkkokauppa. VHS-videotapes are related to my recent past. They were once very valuable to me but now they are worthless. Trash is also a suitable analogy for our times. Trash is a by-product of our throwaway culture. It should be cleaned away but can no longer be just swept away. These days trash is everywhere, even in birds’ stomachs.

In addition to physical trash, this time of abundance also produces other types of trash. It is in our speech, in our media and in election campaigns. The internet is full of trash that many people do not even recognize as trash anymore. What is also trash is people’s indifference which causes this trash to just keep piling up. So how should we deal with this situation? For many this situation seems hopeless and they feel that their actions make no difference. As a result, hey stop taking anything seriously and start clowning around, turning everything into a circus. What would a circus be without clowns? It seems that clowns are everywhere now, even in serious and important positions, which in addition to trash says a lot about the times we are living in.

I have created the sculptures for the Trash exhibition with intuition and enthusiasm, by exploring and wondering. In the past I used to plan my exhibitions to form a coherent whole. Now it seems that I follow my instinct more and do what the material allows me to do. As I start something new I do know the what of what I ´m doing but I may not know the why. This is okay – I have done what felt right at the time.

P.S. On the opening night guests will be served grappa that I found in a dumpster.

This exhibition has been generously supported by Uudenmaan kulttuurirahasto, Uudenmaan Taidetoimikunta, Taiteen Keskustoimikunta and Greta and Wilhelm Lehtisen Säätiö

Aleksi Tolonen, 0415461042


Konsta Huusko
22 October – 6 November 2016
Galleria Huuto Jätkäsaari, Jätkä 1

My paintings are abstract spatial images reaching towards the three-dimensional world of objects by leaving the forms of a traditional canvas. Randomness, layers, folds and distortion of perspectives are methods I use to depict the experience of being on a journey. Often a visual representation includes an optical hub that puts it in an intermediate state, in motion. The works are, in other words, halted motion, relics. The trips I have experienced leave memory fragments that I objectify with these souvenirs.

I often use a bicycle to get around and for me that is also visual thinking. Moving forward, away from what is familiar and safe, gives a bike rider the feeling of being at home. The temporary roadside accommodation, the happenings along the way and the constant presence of the body’s limitations become the way to be.

In May 2016, I took a bike trip to my old home village of Pelso. My trip was almost cut short because my Achilles tendons got infected, but the helpfulness of the people I met and painkillers allowed me to reach my destination. Once there, I went to see my old house in the prison area – or what was left of it, a pile of stone. The neighbors’ houses had met the same fate. The community center where we kids used to spend time is waiting to be demolished. I also visited a section of a railway track running across a drained swamp because the place has been in my memory for 20 years.

Konsta Huusko (b. 1982, Sotkamo) earned his Master of Arts degree from the Aalto University School of Art and Design in 2010. He lives and works in Rovaniemi. “Piece of Motion” is Huusko’s first solo exhibition.

The exhibition has been supported by Arts Promotion Centre Finland and the Arts Council of Lapland.

Further information and press photos:
Konsta Huusko +358 45 121 7712

La Primavera

Pauliina Turakka Purhonen & Milja Viita
La Primavera
1.10. – 16.10.2016
Galleria Huuto Jätkäsaari – Jätkä 1 and Pikkujätkä

Turakka Purhonen and Viita’s joint exhibition has been inspired by Sandro Botticelli’s tempera painting (ca. 1482) named La Primavera by Giorgio Vasari. The exhibition includes Viita’s 16 mm film with its surface hand-painted with organic marks and Turakka Purhonen’s sewn and embroidered sculptures that almost turn into flesh.

The works in the exhibition deal with the idea of spring – growth, a child’s transformation into a fertile adult, the awakening of sexuality and finally independence. The process is often painful and aggressive but a necessary part of one’s life cycle. Botticelli’s La Primavera proves that growth is an age-old theme that has fascinated humankind during all eras. It includes a promise of continuity and emergence of new nations.

More information:
Pauliina Turakka Purhonen, t.urakka(at), 0400 965 699
Milja Viita, miljaviita(at),

Intimate Resistance

Edwina Goldstone
Intimate Resistance
Galleria Huuto Jätkäsaari, Jätkä 1

Welcome and come along to hear some traditional karelian songs and lullabies, with
ukulele & kantele instrumental accompaniment! Music event in exhibition “Lauluja Karjalan mailta”
is a solo performance by Silja Palomäki on Thursday 15.9. at 16.30 til 17.00.

72 years ago approximately 450,000 Finnish Karelians were forced by the ravages of war to leave their homes, land, possessions and way of life, entire communities and their sub-cultures wiped off the map.

“The most effective way to destroy people is to deny and obliterate their own understanding of their history.” – George Orwell

Among the most enduring scars left by war are the destroyed landscapes, architectural destruction damages far more than mere buildings and goes beyond “collateral damage,” but rather can be seen as calculated acts of cultural annihilation. At a time of great social change and global unrest, our history defines who and what we are, it is our identity and goes on to inform how future generations view us.

Through the discovery early in 2011 at a local flea-market of approximately 300-400 old photographic glass negatives, that records a small community Nurmi –Vahviala part of the Karelian Isthmus, (Luzhayka, Russian name)documenting an entire community; their everyday lives, industry, architecture, social culture and traditions between the years 1924 – 1940 prior to the mass evacuation. Both architecture and photographic materials are forever changing with time: eroding and moving towards futility. However, there is a sentient quality about both surfaces – a fragility that speak pleasurably of memory and the human condition. Maybe more than any other technology or art form, the photograph can provide us with tools to better perceive and respond to change. When viewers engage with a photograph, they see something that is not there. The photograph has the power to resurrect a mental image in the viewer’s mind, which allows it to take on a new existence. Life occurrences, desires and imaginings transform a memory into a new experience.

Like a century-old Facebook, the discovery of this 80 – 90 year old time capsule has brought these images to light – and if the faces, traditions and culture from the past can be restored and preserved, so too is the dignity of people long vanished.
Intimate Resistance exhibition features photographs, installations and video stories that reflect on forgetting history and how world history events displace entire communities and their microcultures, which then integrate with the majority culture and run the risk of ceasing to exist.

Edwina Goldstone (b. 1962. England) is a contemporary artist working across multiple disciplines, from sculptural installations to painting, drawing, live art and socially engaged art projects. Goldstone is known for the use of found objects in her work that are imbued with personal histories and cultural significance.

The exhibition has been supported by the Finnish Cultural Foundation, Häme Fund and made possible by the cooperation of the Karjalan Liitto : Vahviala-seura ry.

Part of Found & Lost II Project supported by SKR – Hämeen rahasto.

Edwina Goldstone / +358 520 8312 / edwina_goldstone(at) /

Gouache paintings and Drawings

Jaakko Rönkkö
Gouache paintings and Drawings
Galleria Huuto Jätkäsaari, Jätkä 2
20.8. – 4.9.2016

On the Night of the Arts the 25th of August, the artist keeps the exhibition open until 11 pm.

The themes of my works are drawing and space. Creating both separate drawing objects and spatial drawings, which alter a three-dimensional space, gets me going every time. A new empty exhibition space or a clean sheet of paper offers me an endless number of possible interpretations.

Drawing is a typical basic function for humans, also for me. It is close to writing and as the scale grows, the gesture world and bodiliness of drawing becomes more and more obvious. Moving in a space, whether two or three-dimensional, large or small, also always involves analyzing the scope and functioning of my own machine that produces images.

My tools are a silverpoint and a pencil. I paint with gouache paints. My works form a series as I create variations of a theme until it has been fully exhausted. In my latest artworks, drawing and color exist side by side. The possibilities of color variations are endless.

My exhibition at Galleria Huuto’s Jätkä 1 space in Jätkäsaari includes one large pencil drawing and one large gouache painting as well as some thirty smaller pencil drawings and gouache paintings. A spatial drawing created during the setting up of the exhibition is among the exhibits.

Jaakko Rönkkö
050 3709026

I Feel It All

Heidi Anniina Mattila
I Feel It All
Galleria Huuto Jätkäsaari, Jätkä 1
30.7.-14.8. 2016

I Feel It All painting exhibition at Galleria Huuto in Jätkäsaari
Heidi Anniina Mattila’s paintings are based on light. They depict moments and observations that seem to sum up something essential – what it feels like when the last rays of light on a winter day turn the sky red, when the sun reflects patterns on the surface of the water only for a split second and when the city is dark and quiet in the rain but the asphalt is glistening. The abstract paintings are dominated by strong colors and ruggedness.

The exhibition will be open from 30 July until 14 August 2016, Tue-Sun 12 pm – 5 pm. The opening will be held on 29 July from 6 pm until 8 pm at Galleria Huuto Jätkäsaari, Makasiini L3, Tyynenmerenkatu 6, Helsinki.

Heidi Anniina Mattila (b. 1983) lives and works in Helsinki. She completed a degree in fine arts at the Arts Academy of Turku University of Applied Sciences. Her works have been on display at various solo and group exhibitions in Finland and abroad.

Further information:
Heidi Anniina Mattila
+358 45 630 6643 or /

Beer, Salt Water and Relationships

Jesse Avdeikov
Beer, Salt Water and Relationships
Galleria Huuto Jätkäsaari, Jätkä 1
9.7.–24.7. 2016

When I was a toddler my mom left me home alone. Sometimes I wonder whether being alone was a good or bad thing for me.

I am curious but at the same time I am a loner, a globetrotter and a reclusive coward. Sometimes I love life and other times I get frustrated with it. This is how I feel about many things, like my friends for instance. I couldn’t live without those annoying objects of time wasting. Wasting time is important to me. It makes me feel I have power, power to use my time any way I wish to.

The sea was flowing before humans existed and will continue to do so after we have all died. It is salty and basically unfit for drinking, but still it is so full of life. The sea is the best metaphor for life. It is like a father who, in spite of his love, accidentally hurts everyone – only because it is in his nature, a weakness or a strength, either or both.

For the past ten years I have been learning different kinds of knots, different uses and techniques. I regret that I never learned sailing skills from my grandfather or anything else useful for that matter. I really only learned one thing from him – you can fix everything by yourself. I guess that’s important too and can be applied to anything. I once tried to fix my old boat with sausages and dough.

A person is not just one thing at a time, which is exciting. When I say “I am very funny and crazy”, I leave out all the other things that I am, was and will be. “Everything in moderation” is an annoying saying, although it is very much true. In our world there are pleasures that are divinely good.

Behind my questions I sense slight ambiguity, a big question.

The question could actually be as huge as “does anything have any meaning?” I love those people the most who don’t know that question or those who would answer “why?”

The Beer, Salt Water and Relationships exhibition features acrylic and oil paintings as well as an animation created using the stop motion technique.

Jesse Avdeikov (b. 1986) is an artist who lives and works in Helsinki. In his works he deals with everyday life, how hard and enjoyable it is. By mixing unnecessary things with important things, Avdeikov tries to find out what is noteworthy in life.

The exhibition has been supported by the Finnish Cultural Foundation and the City of Helsinki.

Jesse Avdeikov
+358 50 308 2164

The dead walk side by side with the living

Maria Ångerman
The dead walk side by side with the living
Galleria Huuto Jätkäsaari, Jätkä 1
18.6.-3.7. 2016

Galleria Huuto is closed during Midsummer 24-26 June.

Dependent upon which screen of The Dead Walk Side by Side with the Living a visitor first fixates upon the installation invites immersion in parallel but distinct worlds. The three screens depict, in no particular order: the closely observed accumulation of the details of human/animal life; the more languorous details of two chimpanzees grooming one another and themselves; and the combination of oblique, accidental poetic voice over in an apparent disjunction with close up images of human/animal world details in another. The territories marked out by the installation are delineated by distinct markers and pathways elaborated through binary divisions that become intertwined opposites.

Primary amongst these is the human/animal binary but the installation also brings into play related antinomies. These include those between language and silence, much of the installation being subsumed in natural sound until the outbreak of disjointed, involuntarily poetic language on one screen. Then there is the antinomy between boredom and absorption, played out between the tension stricken humans on one screen and the contented, grooming chimpanzees on another. Another is that between the experience of tactility and intimacy with the world and a more mediated or alienated distance and separation. Additionally, there is the most awful binary division: death and life. This inheres in the status of life as such, elaborated throughout the installation as consistently subject to biopolitical management, human and animal environments merging and juxtaposed.

Emergent in the installation is that humanity and animality rest upon one another, and while defined against one another can also become entwined to the point of indistinguishability. Central to the way the human/animal binary is problematised is the way Ångerman utilizes the video form to upset the notion of an untouched nature. The chimpanzees seem a tactile parody of the broken separation of the human couple on the adjacent screen, a mirror image of affective animality. The camera places tactility at a distance but also emphasises that it is often only through such that something like the truth of tactile intimacy can be glimpsed.

The disjointed intimacy of the human/animal binary is glimpsed in the domestic sphere, the home, as well as the analogies drawn between human body and animal body. In one screen the camera lingers over the juxtaposition of human traces and animal traces. Animal marks on sand and ground and the shape of a human body upon the bed; the scaled stasis of lizard skin placed proximate with the smooth vulnerability of domesticated human skin. In the correspondences drawn in this screen be-tween animal and human bodies there are more than purely visual analogies at stake. Through such juxtapositions of humanity and animality The Dead Walk Side by Side with the Living inscribes a much more mobile and essentially problematic border between the two.

John Cunningham
Writer and researcher



Juha Okko
Galleria Huuto Jätkäsaari, Jätkä 1

HYBRID is a compilation of the past year. My works are portraits of heroes of our time: fragmented, desperate and convincing. This is because one has to be real and exist for anyone who asks – whatever, whenever.

Hybrid was supposed to combine elements that don’t belong together in an incompatible manner. At the beginning I assumed that my figures would be more robot-like, weirder, representatives of an alternative human species. The outcome, however, is a recognizable group of weak and thus human figures who have become known through the media.

The exhibition features acrylic and oil paintings, temporary paintings on the walls of the gallery and an installation.

The exhibition would not have been possible without the excellent photographers’ fantastic photographs published, for example, by Yle, MTV, Helsingin Sanomat, Iltalehti, Iltasanomat, Hufvudstadsbladet, BBC, Guardian etc. Each work has, on average, nine different people’s features.

Juha Okko
+358 50 525 8029


Robin Lindqvist
Galleria Huuto Jätkäsaari – Jätkä 1

Reserved for Politics and Poetics

In his new solo exhibition at Gallery Huuto, Robin Lindqvist makes an attempt to bridge politics and poetics. The show reflects Lindqvist’s contemplations on how technology and information interact in our lives.

Technology has the power to extend our senses, while at the same time imposing restrictions. Our understanding of time and space is now set by ultra-precise apparatuses. The concept of global warming, for instance, is supported by scientific research and is consequently altering our perception and our ability to see beyond the naked eye. Technology brings with it wonderful merits but also awful complications. The Internet enables us to see more and gain more at an unprecedented speed, while at the same time, we are also seen and measured by the unknowns. How do we find balance between the advantages and disadvantages?

For Lindqvist, this correlation between technology and our lives is a subject to be opened up and unpacked in artistic ways. Referring to images from artistic works by e.g. Katsuhika Hokusai and Pablo Picasso, his oil painting, charcoal drawings and photographs in this exhibition have resulted from his playfulness and complex thinking. Despite the variety of media employed, all his works pronounce minimalistic appearances; no drama, spatial illusions or shocks. These are common, accessible images—moons, snow-capped mountains, a light bulb, geometric symbols and patterns—all of them presented with simple manners. Lindqvist, however, carefully distills and highlights the associative contexts of such images, and boldly translates them into the means of imagination with the power of poetry.

To illustrate, Thirty-Six Views of Mount Kilimanjaro is a series of 36 black and white photographs installed in a 9-meter row. This work refers to the Thirty-Six Views of Mount Fuji by Katsushika Hokusai and to the sequence pictures of Edward Muybridge, capturing the movement of bodies in motion. Lindqvist’s work shows us multiple time-flows with this sequence of a moving cloud in front of Kilimanjaro, but also the impossibility of seeing the ultra-slow motion by which the mountain rises and falls or the glacier melting away at its top due to climate change.

Another work, Bombilla, is an oil painting with rich painterly texture, of which the motif, a light bulb, is borrowed from Picasso’s painting Guernica (1937). Extending Picasso’s double message in his monumental work—the Spanish word bombilla, meaning light bulb, also relates to bomba, the Spanish word for bomb — Lindqvist copies the light bulb and then blows it up, not as a bomb, but in scale on a canvas.

The other works too are finely balanced, so they all seem to remain ambivalent. They quietly exist independent of particular explanation. But they are arranged in such a way that they simultaneously communicate with each other. Violence, enlightenment, life, death, the future of the planet, time, agony, logic, universe, light, hope… different themes can unfold and interplay. It is rather an unusual situation where knowledge and judgment alone become quite inadequate. The uncertainty may make us reserved but in turn allows more space for introspection and empathy, so that our imagination can connect to that which we have not yet related to.

Shoji Kato

The exhibition has been kindly supported by:
Svenska Kulturfonden / Swedish Cultural Foundation in Finland
Taiteen Edistämiskeskus / Arts Promotion Centre Finland

Time Matter

Saija Kivikangas
Time Matter
14 April – 1 May 2016
Galleria Huuto Jätkäsaari – Jätkä 1

Gallery is open also on Mondays 12-17 until first of May!
The exhibition is open also on 30 April and 1 May.
Artist meeting 1 May from 3 until 5 pm


Humanity is about being aware of awareness.
The birth of the concept of time, chronology and measurement of time are part of the emergence of the modern human and high culture. Understanding an expression of time is, thus, essential in the development of human consciousness.

Time does not exist without change.
Time measures change.
Change is something that happens in space.
When we talk about time, we always talk about space. Distance and time are defined with the help of each other. One second is a specific amount of vibration and one meter is a distance in space traveled by light in a time determined by a second.

When we look far into space, we look back in time. When looking deep into the Big Bang, cosmologists have noticed that the universe is getting smaller and smaller. Based on the laws of nature, we can say that at the time of the Big Bang the universe was in a very dense space that was smaller than a proton. It could be described as something like a black hole. Time emerged at the time of the Big Bang. Before the Big Bang there was no time.

Time is not just something that is physically measured, but it is also in a human’s emotional awareness. When we talk about time, I believe we should not contrast physically measured time with experienced time, but we should rather deal with them together. Asking what time feels like may not have anything to do with what time actually is, but asking how I feel is typical of humanity.

The theory of relativity proves that real, absolute time does not exist.
What actually is time? No one knows, but it is something that concerns all of us. We all have a place and time in this universe.

Could time have a structure just like it has laws?
How could this immaterial thing be depicted by means of painting?

People perceive and feel differently about time. For one person time awareness may take shape as a timeline and for another as a pendulum, spiral, cycle, mass, circle, four-dimensional cube or perhaps as arcs or as a combination thereof. The exhibition consists of various charts of possible physical structures of time. As the universe has no physical or locatable center, we could all think that the center is, for example, located at our navel. It is thus not wrong to think that these subjective experiences of time are also not universal.

The exhibition is based on and has been inspired by Roger Penrose’s theory of space-time singularities, Kari Enqvist and Eero Ojanen’s time-related lectures, subjective perceptions of time learned about through interviews as well as Radioateljee’s radio play Linnunradan rakastavaiset.

“The distance between two points is the length of a thought.”

SAIJA KIVIKANGAS, saija.kivikangas(at), tel. 050-303 6030

Blind Stream + Paper Mirror

Saku Soukka
Blind Stream + Paper Mirror
26 March – 10 April 2016
Galleria Huuto Jätkäsaari – Jätkä 1 and Pikkujätkä

During Easter the gallery has usual opening hours (closed on Monday as usual).

My Blind Stream exhibition, which was on display last winter at the Northern Photographic Centre in Oulu and at Titanik Gallery in Turku, has been updated and it is now coming to Galleria Huuto in Jätkäsaari, Helsinki. My collection of photographs and poems called Paperipeili (Paper Mirror) will also be launched in the exhibition opening.

The Blind Stream + Paper Mirror exhibition deals with various themes such as darkness, light, love, sexuality and death. Dialogues between movement and rest as well as exterior and interior are often essential in my works. My works depict many characters and even in a first person narrative (both visual and textual) the first person character contains many different people. To bring up different phenomena and juxtaposition thereof is the most important issue.

My methods of expression are photography, video, poetry and installations. When I think about my working processes as a whole I have noticed that, irrespective of the medium, I intuitively collect visions and thoughts and through elimination, editing and different working methods they later turn into pieces of work.

Saku Soukka (b. 1982, Oulunsalo) will soon complete his studies at the Academy of Fine Arts. In addition to some solo exhibitions, his works have previously been on display as part of various group exhibitions, for example at the Espoo Museum of Modern Art (EMMA), Finnish Museum of Photography, Tent Academy Awards in Rotterdam, Netherlands, and at the Studi Aperti Festival in Ameno, Italy. The photograph and poem collection Paperipeili is his first book and it will be published by Noxboox.

sakusoukka(a) / +358 40 726 8118

Group OOO

Group OOO
Kaarina Haka, Tapani Hyypiä, Maaria Märkälä, Maaria Oikarinen, Matti Rantanen, Panu Ruotsalo, Mia Saharla
5.3. – 20.3.2016
Galleria Huuto Jätkäsaari – Jätkä 1 and Jätkä 2

We paint with all our senses, memories and emotions. A painting is a free space, a room, a continent and a galaxy. Anything can happen. The abstract eliminates the boundaries and laws of the visible world. The color explodes. We create harmonies and compositions. A painting speaks in tongues, we run across the canvases. We write depictions of moments with thin and thick paint. We carve the color and we scrape it off. We let wide movements lead us. We are accurate down to the smallest detail and manically wild.

The impulse to paint may come from the fluorescent yellow color of a traffic sign, the serpentine tapes of old cassettes, a construction site, a storm or a breakfast avocado or from snow blindness or from the millennia of art history.

The Group OOO was created on the basis of painting discussions, around painting, focusing on the abstract and its meaning to each painter. Each of the group’s artists has an individual approach to painting, circulating on the edges and at the core of abstract painting, bringing together the necessity of painting and the ability of a painting to speak without words. As the visual reference disappears, the painting emphasizes gestures, colors and emotions. This has to be done. This is important. Painting doesn’t end and what is painted doesn’t end. What one sees, what one doesn’t see. What one feels, breathes and tastes. What colors there are.

Kaarina Haka
“My work is an installation that plays with lines. It consists of nets, wire and shadows.”

Tapani Hyypiä
“The wandering of an exhausted mind, the experience offered by an old painting or observations about nature give the initial stimulus, as if by chance. Often it is enough that there is a desire to spread the color and wonder how two together are more than those two.”

Maaria Märkälä
“I test the boundaries of abstract art in the spirit of Georg Baselitz.”

Maaria Oikarinen
“My large paintings refer to the Holocaust as well as the conflict between Israel and Palestine. These themes emerged when I was studying in Jerusalem during the summer of 2015.”

Panu Ruotsalo
“In my works I build a bridge between figurative and abstract forms of expression, attempting to explain why abstract is a more accurate way to tell about something than figurative – for me.”

Mia Saharla
“My paintings are collages of observations and sketches. My aim is to approach painting without strict rules and frameworks, to go beyond a clear visual reference.

Matti Rantanen
“With my paintings I wanted to create an illusion of a three-dimensional appearance on a two-dimensional surface by means of abstract imagery.”


Tanja Koljonen & Anne Yli-Ikkelä
13 – 28 February 2016
Galleria Huuto Jätkäsaari – Jätkä 1

Tanja Koljonen and Anne Yli-Ikkelä’s exhibition Päätäntähäntä is a combination of images and moving objects. The works are fragmented depictions of encounters between opposing forces.

Lightness and weight, stagnation and movement, sense and instinct, they all form a tense relationship between one another but do not exclude each other. Various forces guide us and we act in the midst of hopes, facts and chances. An uncontrollable hammer strikes its blows and a tail wags as a hello. The works act as pauses and punctuation marks between events, as observations from somewhere between opposites.

In her novel Mehiläispaviljonki, Leena Krohn writes the following:

    “To what extent the acts of humans are their own choices and to what extent they are forced, this should be determined on a case by case basis. How would it be possible because we will never know all the aspects that affect the sequence of events and make them happen? Anatole France said that chance is God’s pseudonym that he uses when he does not want to sign. Would God then be an anonymous pseudonym, a coward, a fraud? How can you distinguish chance from fate, divine providence from Satan’s tricks or mind from non-mind? There are only three options: 1) you can’t, 2) life will show you the difference, 3) you can choose.”

The term “sensible” is often used as a synonym for control that will swallow the value of human fragility and unpredictability. Koljonen and Yli-Ikkelä’s work is based on starting points where computational facts are watered down and the relativity of things is emphasized.

Tanja Koljonen (b. 1981) and Anne Yli-Ikkelä (b. 1980) both have a Master of Arts degree in photography from the Aalto University School of Arts, Design and Architecture. Their artistic work consists of words, images and objects. Koljonen and Yli-Ikkelä have taken part in exhibitions in both Finland and abroad. They are also members of the artist group called Maanantai Collective.

Tanja Koljonen

Anne Yli-Ikkelä

Thank you:
Kiitos: Laitilan wirvoitusjuomatehdas

A Night between Years

Eveliina Hämäläinen
A Night Between Years
21 January – 7 February 2016
Galleria Huuto Jätkäsaari, Jätkä 1

My works deal with moments, disappearance, change and remembering. The images contain recurring simultaneous events, overlapping landscapes as well as reflections and emptiness. The repetition, numerous horizons and internal paths within the paintings form temporal dimensions and narrative features. The themes depicted are like symbols and they are constantly changing. The themes are created from compilations of observations altered by imagination and references to real events, together forming a weave where absurd becomes possible.
The works have been created using tempera and oil on canvas and ink on paper.

Eveliina Hämäläinen (b. 1984) earned her Master of Fine Arts degree from the Finnish Academy of Fine Arts in 2013. Her art has been on display at various exhibitions, including Goodbye Ladies at Helsinki Art Museum’s Kluuvi Gallery (2014), T-Gallery in Bratislava (2013), FAFA Gallery in Helsinki (2013) as well as DDessin at Atelier Richelieu in Paris (2013). She has also taken part in set design and visualization projects as part of theater and contemporary circus productions, including Circo Aereo’s Mandarin & Désertée (2015) and Maracat Caravan’s Clunker Circus: Wonderfully Much of Everything (2014).

The exhibition is supported by Arts Promotion Centre Finland.


Kristiina Koskentola
Galleria Huuto Jätkäsaari, Jätkä 1

Artist’s talk Saturday 16 January 2016 at 3 pm
On Epiphany the 6th of January the gallery is open.

In Coalworks Koskentola reflects on the ubiquitous nature and generative potentials of the material (coal) as a daily necessity that keeps one alive (while simultaneously killing one), as currency of global capital games, as a cause of disasters, as a basic element of the human body, as a pollutant and as an intrinsic body in the universe.

The installations in the exhibition unfold from the shifting realities of daily life in migrant worker villages in Beijing and in a forgotten Buddhist temple in Chongqing. These marginalized spaces and conditions – not as opposite to those of the modern centres of our world but rather as the other side of the same coin – are opening up a critical inquiry into tensions between differentiation and equality, and conditions for mutuality.

In the 4-channel video installation Rituals to Mutations, imagery and soundscapes of coal invested landscapes in suburban Beijing, a ritual of incense-burning, the cleaning of the holy furnaces and burning rubbish in them coexist with actions of making balls out of the deposits of coal piles in a migrant worker village (to be used for heating and cooking). In the spatial installation Blackballing these coal balls suggest an imaginary game (that might be on or has taken place).

Koskentola’s installations address how aesthetic production might have the potential to unite terms and conditions that are traditionally seen as opposite. How might meaning propagate beyond its context of origin, across (cultural) geographies and into other realms? Her work explores dialogical and inclusive relationships between multiple co-actors, more ethical, material and spiritual connections between the human and its others. They challenge the viewer to consider his or her position.

Kristiina Koskentola is a visual artist, lecturer and a PhD candidate at Chelsea College, University of the Arts London. She currently divides her time between Amsterdam and Beijing. She is critically engaged with concepts of nomadic subjectivity and post-human condition. Her multisensory/mixed media installations are constellations of materials, media, stories and objects. Her praxis involves different levels of collaboration.

She has shown her work in various museums, institutions and galleries in Europe, Asia and the Middle East, including the Three Shadows Photography Art Centre as well as the Star Gallery in Beijing, the Zendai MoMA in Shanghai, the Skaftfell Centre of Visual Art in Iceland, Gallery Lumen Travo in Amsterdam as well as the Museum De Lakenhal/Scheltema in Leiden, Saari Manor in Finland and the 4th Baku Biennial of Conceptual Art in Azerbaijan. She has conducted talks, lectures, workshops and other academic work in different institutions and contexts, including the Dutch Art Institute, the Central Academy in Beijing, Academy of Fine Arts in Helsinki, University of the Arts London, the Himalayas Art Museum in Shanghai and the Dushanbe Art Ground in Tajikistan, General Public in Berlin and the Smart Project Space in Amsterdam. She has published several articles and her artist books have been presented at many art book fairs in Europe and the US.

The project has been supported by:

Arts Promotion Centre in Finland


Galleria Huuto – Jätkäsaari
5.12.2015 – 20.12.2015
On Independence day Dec 6th Huuto Jätkäsaari is open normally from 12 to 5pm.


Wunderkammer is a group exhibition by curator Ville Laaksonen, organized at Galleria Huuto Jätkäsaari in the spaces Jätkä 1, Jätkä 2 and Pikkujätkä 5.12. – 20.12. 2015. The exhibition focuses on experiencing the sensation of miracle on contemporary art. 13 artists presented are selected through an open call out of more than 150 applicants. Artist’s works form Cabinet of curiosities.

Wunderkammer is a study of a microcosm in a human mind. It acts as a key to multi-sensory experience between the imaginary and real world.

Galleria Huuto – Jätkäsaari
Tyynenmerenkatu 6 (ent. Hietasaarenkuja 6), 00220, Helsinki

Ville Laaksonen


Kalle Turakka Purhonen
Galleria Huuto Jätkäsaari, together with Pauliina Turakka Purhonen

About Drawing:

“That guy just draws what he sees… Fuck, I’m jealous.”

The comment above from an incoherent passenger on a tram is a good characterization of the works in this exhibition. I can even accept the jealousy as I feel satisfied after having found a good working method.

During the autumn of 2014 and the spring of 2015, I drew all over Helsinki, in public spaces, in Merihaka and on public transportation, depending on the weather. I drew from observation and from memory, on the spot, and then continued in a café or by the kitchen table. Perhaps I should call it painting as I worked with brushes, ink and water. The transition from the mere use of ink and lines to the wash technique occurred so recently that in my mind I still think about drawing.

There are many reasons why a person wants to depict their surrounding environment and the reasons have been discussed on many occasions, so I won’t do it again here. Beauty and ugliness are in the eye of the beholder (although also partly the artist’s responsibility in case of an exhibition), and so are politics and epochs.

I can’t think of a more original word, so I would have to describe my working method as meditative. In the hustle and bustle of the city, sitting on an ice fishing chair one has to find a firm and comfortable position. The surrounding action has to be ignored as a disturbance and explored as the target of curious eyes. One has to understand why they want to draw in a particular location and what it consists of. Without rushing but in a determined manner one has to start applying diluted ink to the paper, without worrying about one’s inadequate skills to depict all the richness.

Well, it didn’t always go that well but the formation of an ideal is half the battle. The most challenging aspect is the people because they are the most interesting – without them the city is nothing – but as subjects they are timid and restless. Fortunately smartphones slow down their pace and help them forget about the possible outside observers.

I was not interested in relying on photographs as it would have ruined the magic of being in a moment when drawing. I also wanted to develop my willpower in terms of pictures and be able to finish them irrespective of the observation. I wanted to develop a croquis-like ruthlessness and visual memory that allows one to recall essential details. This, of course, also applies to depicting cars and light situations.

Drawing landscapes is a great tradition and I know that with my on-off focus I will hardly become as good as David Hockney or Bruegel the Elder. But it does not worry me when I am able to sit down peacefully with everything going on around me and pictures keep appearing. I just wonder with satisfaction how I have been able to absorb the idea of a trade where in the morning one just goes out to look around.

Exhibition supported by:
Greta and William Lehtinen Foundation
Alfred Kordelin Foundation
Arts Promotion Centre Finland

Photo: Pasi Mälkiä

Happy Garden

Happy Garden
Galleria Huuto Jätkäsaari 1
24.10.2015 – 8.11.2015

Cover me like a couch so that we will never wear.

Swaddle me like a baby so that we will never become dirty.

Veil me like those women who worship God so that I could also worship you.
Jesus broke the bread, my husband broke his rib which he threw to me like a dog. “Pull yourself together,” he said.
I don’t only share my bed with you, I also share my bowel and its movements with you. Every morning I give you a tapeworm to go down your throat and they move through us like the stream of life, ready to suck us dry.
This was a paradise when I came here. Now it’s filled with slippery bills that have fallen from the tree of knowledge of good and evil. I stumble and would like to fall into your arms, but I fall just like everyone else – alone and unknown to each other.


Pics or it didn’t happen.

Tuukka Haapakorpi & Kaarlo Stauffer:
Pics or it didn’t happen
Galleria Huuto Jätkäsaari – Jätkä 1

Pics or it didn’t happen.

Stauffer and Haapakorpi’s joint exhibition focuses on friends as well as social circles and events within them. The works by the two artists build thematic and spatial perspectives on the actual themes which are identity and different categories of being seen. The exhibition explores the private and the collective, the nooks and crannies of one’s social body that becomes visible through friendship. The exhibition is based on the dialogue between Stauffer’s photograph-based drawings and Haapakorpi’s photographs as well as videos filmed with a camera phone.

Stauffer’s works are dominated by seeming randomness and choice. A social act that has occurred during the taking of a photo has been reinterpreted in a drawing. Sometimes the interaction may have appeared right from the beginning as a promise of a new motif, while other times there have been shots with motifs that fall outside the scope of the artistic interests.

A camera phone as a piece of technology available to almost everyone to produce, file and publish photographs is the starting point for Haapakorpi’s videos. As an individual can always have their cellphone with them, the moments recorded with its camera form an archive and looking at its contents brings up questions about memory, about the significance of the recorded situations and their relationship to remembering and to the event of looking at them again.


Erik Creutziger
Galleria Huuto Jätkä 1
12 – 27 September 2015

Go-away-bird and other celebrations of painting

Erik Creutziger’s solo exhibition Go-away-bird at Galleria Huuto (Jätkäsaari 1) features some of the latest paintings by this versatile contemporary artist. The artist created the title painting when he became interested in birds. Birds have fascinated Creutziger both visually and because of their symbolism. The artist has been intrigued by the mobility of birds as well as their ability to move to a more pleasant environment whenever necessary. Longing and other feelings of freedom associated with birds have been important to the artist, forming the required foundation of work motivation. It has, after all, taken months to complete the painting as it is so rich in detail.

I believe that as an artist Creutziger is a romantic fantasist. Color and dreaminess are a defining characteristic of his work, which is further reinforced by the humorous nature of his paintings. The artist himself talks about how he is fascinated by paradise and in general the longing for another reality. In Creutziger’s paintings the longing for another place is a characteristic of real art. His paintings show us how art can open doors to other realities and how we can move to entirely different worlds by following Creutziger’s fantasies.

Go-away-bird, the title piece of the exhibition, is the result of Creutziger’s desire to explore what happens when you paint one bird after another as if it was a pattern. The birds will maintain their bird characteristics in this process, but the repeated ornamentation makes the differences between them surprising. We see the birds in a new way and individual species become independent visual worlds. Creutziger also points out that the birds go well with his basic themes, humans and landscapes. The birds are fantastic, decorative and full of symbolism. What more could we need?

The Hulda’s house painting is related to the artist’s own experiences. When he was a child, he visited a deserted house where everything was still in place even though no one lived there anymore. Creutziger remembers dreaming and fantasizing about the resident of the house, Hulda, and her life. The strangeness of the house made a great impression on him and now it has taken shape as a painting. The charm of Erik Creutziger’s art is based on its rich fantasies and ability to turn even the most mundane things into a fantastic surprise party. It’s like ending up at the Mad Hatter’s nonstop tea party after going to the local supermarket to buy your daily groceries. His art allows celebrations to occur in the middle of everyday life and he opens up a view to the landscapes of a broader mindset.

Erik Creutziger (b. 1982) is a Helsinki-based artist and Go-away-bird is his seventh solo exhibition. He earned his master’s degree in fine arts from the Academy of Fine Arts in 2013. His artworks are included, for example, in the collections of the Helsinki Art Museum and the Academy of Fine Arts as well as private Finnish collections. Creutziger is a member of the Finnish Painters’ Union.

Juha-Heikki Tihinen, PhD


Heidi Lampenius
Galleria Huuto Jätkä 1
21 August – 6 September 2015

Opening on the Nights of Art, Thursday 20.8. starting at 6 pm, welcome!

Palm trees, a red hammock and occasional pleasures. Goals and dreams. We dwell on the past and worry about the future. We plan our future, but in reality we cannot predict what will happen. We chase memories, but what do we remember about our fulfilled dreams/moments?

My paintings are a form of memory archeology. I look for the signs and marks that, without being defining, are enough to trigger a memory or a representation of a place. In this exhibition I draw a parallel between a memory and an afterimage, a visual sensation that continues after the stimulus that caused it has ceased.

By exploring what is subjectively real in each moment, we can perhaps experience a moment before the thought of it. I also believe that this is how the best paintings are created. What I also want to say through my works is that what we see is always more than the sum of its parts and not necessarily as stable as it seems.
+358 50 567 7502

Like the Earth

Anu Haapanen, Virva Kanerva, Anna Leppä and Janika Salonen
Like the Earth
Galleria Huuto Jätkäsaari – Jätkä 1
1 – 16 August 2015

The artists behind the Like the Earth exhibition are sculptor Virva Kanerva and printmaker Janika Salonen as well as painters Anu Haapanen and Anna Leppä. Their works explore the earth and its residents, creating pictorial parallel universes, earth-like spaces.

Each artist has their own surreal imagery that explores reality. The works of the four artists form an exhibition that dives into a world that has been built with elements reminiscent of the everyday reality and our living environment, playing with them and bending the laws of the earth. In the imagery of the exhibition, the boundaries between humans and animals becomes blurred, human-like creatures form between themselves mental spaces that live in emptiness and imaginary landscapes serve as a stage for various events or stories. The four perspectives form an entity in which the works created using different techniques are linked to each other and communicate with each other.

Anu Haapanen’s paintings are landscape examinations, mythical spaces or utopias which have been invaded by traces of human presence or indicative traces of the story of an imaginary civilization. The spaces and landscapes built in the paintings serve as elements loaded with meanings or as a stage for a symbolic event or an undefined experience.

Virva Kanerva’s sculptures fall somewhere between realism and fantasy, playing with the imagery of popular culture and mystique. Kanerva uses animal figures when dealing with being a human and the surrounding world. An animal is easy to identify with and an animal can be free of the symbols that define humans but still animals are able to represent the emotions and other things experienced by humans.

Anna Leppä’s paintings explore the psychological spaces between people. The paintings contain subtle and ambiguous references to the social existence of humans, how societies are built and what it feels like. The paintings are flashes to a moment where the concepts have not yet been formed and they return to the original picture, to an obscure moment at the core of humanity.

Janika Salonen’s works are post-apocalyptic portrayals of a place where humans have left the stage and a few clear shapes play the leading role. Salonen projects human characteristics onto the inanimate geometric shapes, thus making them something the audience can identify with. Through the shapes the works portray the story of building a new form of life.

Where do you get your inspiration?

Iidu Tikkanen
Galleria Huuto – Jätkä 1
11.7. – 26.7.2015

“An artist’s criterion should be, in addition to making a living, creating more pleasant feelings and the viewer’s own innovativeness. That kind of art is successful today, not some self-evident facts and sharing of gloom.”

“I am learning to see. I don’t know why it is, but everything enters me more deeply and doesn’t stop where it once used to. I have an interior that I never knew of. Everything passes into it now. I don’t know what happens there… Have I said it before? I am learning to see. Yes, I am beginning. It’s still going badly. However, I intend to make the most of my time.”
(Rainer Maria Rilke)

“Do or do not. There is no try.”

Iidu Tikkanen has got her inspiration for her new paintings from chandeliers and masking tape. Tikkanen has painted chandeliers before, but in her latest pieces she plays with the theme more freely. The history of painting is full of portrayals of chandeliers, but almost always they have the role of a mere extra. Tikkanen has turned the focus on them, making them the main subject of her paintings.

Tikkanen combines the graphic marks left by tape with the random pouring and splashing of paint, resulting in layered images wavering between abstract and figurative. Tikkanen’s new works are also inspired from the artist’s youth. The color schemes are, in particular, based on the visual culture of the 80s and 90s.

Iidu Tikkanen (b. 1983) is a Helsinki-based artist who graduated from the Finnish Academy of Fine Arts in 2014. Tikkanen has had exhibitions, for example, at Tm-Gallery and Gallery Jangva in Helsinki and she has taken part in the Young Artists 2013 exhibition as well as group exhibitions in Berlin and New York. Her works are included in the collections of the Finnish State and Kuntsi Museum of Modern Art.

iidu.tikkanen at, +358405892021,


Kirsi Jokelainen & Johannes Kangas
Left and right
Galleria Huuto Jätkäsaari, Jätkä 1 & Jätkä 2
17 June – 5 July 2015

A back, a bird cage, black, blue, blueberry, a brush, a car, a chaffinch, chocolate, Christmas lights, a Christmas tree, a cloud, a cone, a couch, a cypress, a dandelion, a festive tree, a forest, a funnel chanterelle, a heart, a house, a human, a hyacinth, a lake, landscape, lips, lipstick, a mouth, a pine, pink, red, a ribbon, a rowan tree, the sky, a stone pine, a sunset, a T-shirt, a twig, vendace, wallpaper, yellow.

A tree, a mountain, an appearance, beautiful men, colors, cardboard, forward, Fellini, Bach, UK Subs, Cucchi, the Aiai world, a painting, a sculpture, a cowboy, Tarzan, peace, an orange, east, a plastic bag, wire, a couch, yellow, red, the Savanna bird, the red Phantom, blue and white, Erkki, the Renaissance, pink, tolerance, good/bad, nature.

These are the things our paintings are based on. We hope that they have something left and something right about them.

Kirsi Jokelainen & Johannes Kangas

Kirsi Jokelainen (b. 1970) and Johannes Kangas (b. 1967) are artists who graduated from the Finnish Academy of Fine Arts in 1996 and 1997.

Thank you: Public Display Grants to Visual Artists

At Midsummer 19 June – 21 June closed!

Further information:
Kirsi Jokelainen: kirsi.m.jokelainen (at)
Johannes Kangas: kangasjohannes (at)



Riikka Wesamaa
Galleria Huuto Jätkäsaari, Jätkä 1
30 May –14 June 2015

I wanted to go outside and see nature, feel the open space and the movement in everything, in the wind and in the earth. and draw myself as part of it all.

I wanted to bring the spaciousness and air of the outside to my studio and work feeling the freshness of wandering, observing and sketching around the painting.

I think about touching the world and about the silences, spaces and dreams that are in us. I think about color, its light, touch and feel of vividness. I work in an atmosphere accompanied by a memory of being in nature and closeness to its material character, approaching the animate and inanimate shapes in nature as creatures. I think about the profound sensitivity of looking, the experience of something sacred as well as nature as a home.

I wish to thank the Kone Foundation for a working period at the Saari Residence in 2013 and the Finnish Bioart Society (Ars Bioarctica Initiative) for a possibility to work in Kilpisjärvi 2013.

Further information:
Riikka Wesamaa
050 3715386

The Loneliness of the Traveller

Michal Czinege
The Loneliness of the Traveller
Galleria Huuto Jätkäsaari, Jätkä 1
9 – 24 May 2015

The Loneliness of the Traveller is about solitude and travelling, but most of all about discovering. The subjects of Michal Czinege’s examination are typically photographs of various origins or anything else convertible into a digital image, such as a drawing or text. Travel journals from the 1950s and 60s that Czinege was given by his parents and family friends when he was small are crucial in his work, and he keeps collecting them until now. He was always fascinated by their all but perfect illustrations, in which one could see all and nothing at the same time. The magazines were saturated by socialist propaganda common in Czechoslovakia at the time, the texts filled with fantastic absurdity. An article from the 1960s about a German explorer who went missing with his troupe in the 19th century became an important impulse for The Loneliness of the Traveller. There have been several attempts to trace the expedition’s final whereabouts, but the mystery remains unsolved.

Solitude has many faces. For Michal Czinege seeing is the most significant form of loneliness, as well as a recurring subject matter in his paintings. Perception is at the heart of the series of “Heads”, larger than life-size portraits sprayed on canvases. The anonymous, ‘blown-up’ portraits raise a paradox: approaching the painting takes the viewer only further from decoding it. The figures are of people in the background of a photograph, usually no bigger than the head of a pin, and the computer becomes a sort of a microscope to explore and analyse the scanned images. Only by painting the figures do they turn into a recognizable form to Czinege himself.

Czinege compares the loneliness a traveller often experiences with the solitude of painting, the hours spent in front of a canvas and the painter’s gaze wandering on its surface. The presence of the studio, most perceptible as fragments in Czinege’s artists books, gains importance within the lonesome journey.

Efficiency is essential for the survival of an expedition. Just as an explorer has a function for every item he chooses to take with him, so does the artist choose every object he exhibits with careful deliberation. Bearing this in mind, even the transport box of The Loneliness of the Traveller has its own purpose at Galleria Huuto.

Michal Czinege (1980, Bratislava, Slovakia) is a Slovak painter, who currently teaches painting at the Academy of Fine Arts and Design in Bratislava. The Loneliness of the Traveller is his first exhibition in Helsinki.

Exhibition is supported by Ministry of Culture of the Slovak Republic and Embassy of Slovakia in Finland.

Standing alone


Standing alone
Galleria Huuto Jätkä 1

Videokaffe is an international and interdisciplinary art collective whose art explores the intersection of sculpture, social engagement and hardware hacking. Drawing from engineering, science, technology, crafts and art, Videokaffe creates work that fosters discussion and interaction.

During the last two years Videokaffe has produced exhibitions by working as a team, both individual and collaborative works have been built and displayed side by side.

For 2015, Videokaffe has two exhibitions with a theme of distance and closeness – Standing Alone and Hand Shake.

In Galleria Huuto Jätkä 1 in Helsinki we will exhibit Standing Alone that features curated works from members of the collaborative. The pieces will be standing alone, self-contained artworks created by each of the individual members.

Next we will present a handshake of the works at Titanik gallery, Turku. The artworks are brought together allowing for collaborative experimentation and improvisation among the group.

videokaffe (at)

In the Borderlands of Civilization


Marika Markström
In the Borderlands of Civilization
Galleria Huuto Jätkäsaari

Galleria Huuto Jätkäsaari is open during Easter holidays 3.-6.4.2015 at 12-5 pm., exceptionally on Monday also!

A character from beyond
Grey, Austere
Fragments of an ancient presence
Silent, forgotten

S/he is here. Now
To say something about
absence and madness

The accumulation of images
Exponential acceleration
of new materials
Toxic. Tempo

Deprived of their substance
Former organic bodies
filled with artificials
Unreal, without connections
STUFFED animals

Lack of function
Lack of Life

Collective mourning

It’s time to transform
To find something genuine
Perhaps even within the synthetic

A dynamic outcome
of amalgams
New, ephemeral forms,
yet timeless, immaterial

Further information:
Marika Markström
+358 40 8100075
+46 73 8422299


Outi Koivisto: Appearance

Outi Koivisto
Galleria Huuto Jätkäsaari 1

The word appearance has many meanings including look, presence, arrival and emergence.

Outi Koivisto’s works explore the experience of observing. The works refer to observations, but they are not from defined places even though they are often based on a certain place or image. Just like dreams often leave no image in your mind but rather an atmosphere that may follow you all day until your next dream. Printing woodcut marks with ink and rubbing surfaces with a pencil adds randomness to the process. The works are, however, only seemingly uncontrolled. The unpredictability of ink is combined with more deliberate wood carving that requires slowness and care.

The works do not depict an observation of an internal world, the subconscious, landscapes or the artist’s feelings, and yet they are all those things. The works have been formed as the artist’s thoughts, actions and desires have become intertwined during the process, creating a mark on the surface. The marks create a new place that carries the history of the previous marks. Appearance is not attached to a body, gesture or sign but rather somewhere in between.

Koivisto works with various printmaking and drawing methods. The works included in this exhibition are mainly variations of woodcut and frottage techniques. Her works have been previously on display at the Hyvinkää Art Museum as part of the Miniprint 2014 exhibition held in the spring of 2014. She has also created temporary artworks in urban spaces, including the Seeing Hand and Thinking Eye project in Kalasatama, Helsinki in the summer of 2014.

Further information:
Outi Koivisto
tel. +358 40 828 4232

Related to Glory


Anna Estarriola
Galleria Huuto Jätkäsaari

Humans search ways to reach some kind of renown, praise, honor and immortality, through their physical and intellectual achievements. The affection for glory can be strong, and in order to obtain it, many can undertake tasks with great effort, risk and sacrifice.

This exhibition of media installations includes visionary contemplations, and speculations on how some divine things could work, in both hyper realistic and altered proportions. The installations reflect on how intimate and universal topics are perceived and categorized, on mankind’s desires to embrace and conduct reality, as well as on one’s limited power and helplessness.

As a collection of short stories, Related to Glory is composed by a set of self contained scenes, which wonder and react to timeless concerns such as the search for ultimate meaning, the pursuit of gratification, the sense of curiosity, the inevitability of isolation and the inescapability of death.

Anna Estarriola was born in Catalonia, and has lived and worked in Helsinki since 2004. She has a Master of Fine Arts degrees from both the University of Barcelona, sculpture department (2004) and the Finnish Academy of Fine Arts, Time and Space department (2009). In addition, she has done studies on contemporary dance. The themes of her work often revolve around perception, individual and communal behavior and communication. Her work has been showed in galleries and theaters, both in Finland and abroad.

The exhibition has been kindly supported by The Arts Promotion Centre Finland, The Finnish Cultural Foundation, Helsinki City and Frame.
anna.estarriola (at)

Outdoor paintings


Tiina Kaisa Leppänen
Galleria Huuto Jätkä 1
24 January – 8 February 2015

Tiina Kaisa Leppänen creates outdoor paintings at different times of the year using oil paints on birch plywood. The starting point for her work is figurative such as a jungle-like thicket by the water, a street in the evening or shadows on the painting surface in a summer forest. As she proceeds, her paintings become less figurative and little by little more abstract and expressive. The feel of the material is an essential part of painting. The place, presence and way of painting become intertwined. The works have been completely painted outdoors by Lake Pyhäjärvi and in the Pyynikki forest, Tampere.

Further information:

Tiina Kaisa Leppänen
050 5737958