Galleria Huuto » Jätkä 2

Gunzi Holmström
Galleria Huuto Jätkäsaari, Jätkä 2
9.12–29.12 2017

Saint Clare of Assisi.
Your name is a flower
eaten by a beautiful giraffe.
(Gunzi H., 2017)

“I work with oil paints. My theme is spiritual mysticism which I express through abstract and symbolic forms. I am inspired by the prophets and saints’ revelations, but the intention is not to illustrate their experiences. Instead, I use contemplation and prayer to reach my own inner visions. I combine universal structures and symbols when reflecting on the relationship between the visible and invisible world. It is about energies that cannot be seen with the naked eye but, nevertheless, they are part of our reality.

The exhibition also features some poems inspired by the poetry of the mystical branch of Islam, Sufism.

While working, I have studied different mystical traditions. I have familiarized myself with Christian saints such as Hildegard of Bingen and Saint Clare of Assisi, read writings by Simone Weil and Emmanuel Swedenborg and immersed myself in the visual world of medieval church art.”

Gunzi Holmström will be at Galleria Huuto on Sunday 10 December and Saturday 16 December. She lives and works in Helsinki and over the years she has showcased her works in about twenty countries. She earned her Master of Fine Arts degree from the Valand Academy in Gothenburg in 2006.

THANK YOU: Arts Promotion Centre Finland and Eugène, Elisabeth and Birgit Nygrén Foundation

Visual artist Gunzi Holmström


Laura Vainikka
Galleria Huuto Jätkäsaari, Jätkä 2
18 November – 3 December 2017

    “Cutie,” he said, “I’m going to try to explain something to you. You’re the first robot who’s ever exhibited curiosity as to his own existence – and I think the first that’s really intelligent enough to understand the world outside. Here, come with me.”
    The robot rose erect smoothly and his thickly sponge-rubber soled feet made no noise as he followed Powell. The Earthman touched a button and a square section of the wall flickered aside. The thick, clear glass revealed space – star-speckled.
    “I’ve seen that in the observation ports in the engine room,” said Cutie.
    “I know,” said Powell. “What do you think it is?”
    “Exactly what it seems – a black material just beyond this glass that is spotted with little gleaming dots. I know that our director sends out beams to some of these dots, always to the same ones – and also that these dots shift and that the beams shift with them. That is all.”

    Isaac Asimov: Reason (1941)

I have printed large dark surfaces on paper, oily layers of color piling up on top of each other. I have polished metal sheets to resemble mirrors, aiming to catch reflections of the reality arching over us. I have printed again paper burnt to a pile of ashes, letting it become visible in another order. I have taken a black soot mark as a sign of light.

I have cleared, filled, broken and combined surfaces and materials that react to light in different ways. I don’t know which one of them shows the most to a viewer and which one the least.

While working on the pieces for the exhibition, I was wondering if one could look at the world like the robot in the short story quoted above, thinking that everything is only exactly what it seems. The sky as black matter, stars as glowing dots receiving beams of light. Could one think that is all?

Laura Vainikka (b. 1979, Lappeenranta) is a visual artist and printmaker who lives and works in the Helsinki region. Vainikka works mainly with art which develops into spatial entities, examining those boundary conditions that light, image and observation may require. Vainikka earned her Master of Fine Arts degree at the Academy of Fine Arts (University of the Arts Helsinki) in 2013. Her works are included, for example, in the collections of the Pori and Jyväskylä art museums and the Finnish State Art Collection. In 2017 Vainikka was nominated for the Kjell Nupen Memorial Grant.

Laura Vainikka
+358 44 322 3303


Yassine Khaled
Galleria Huuto Jätkäsaari, Jätkä 2

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

ForHidden explores the concept of unseen and banality through a series of works including installations, drawings and paintings. ForHidden seeks multilayered connections between our times and Classical art. It also completes Yassine Khaled’s long-term project: A Territory Under MaMa (2017).

The main work of the exhibition, Love Me, is a 11-meter-long installation that a viewer can enter, and find him/herself disconnected from the surrounding exhibition space. In the end of the installation’s ”tunnel”, made of curtains, is a reproduction of the Statue of Eirene, the “Goddess of Peace”, carrying a child in her left arm – Plutus, the god of wealth from the ancient Greek religion. The original statue of Cephisodotus the Elder is an allegory for Plutus prospering under the protection of Peace; it once constituted a public appeal to good sense. The combination of the sculpture and the installation creates a surrealistic vision that opens up several multifaceted questions, specially when ”Eirene” of the installation is wearing a facial veil.

Yassine Khaled works interdisciplinary with making sculptures, installations, performances, paintings and videos. His work is mostly focused on the disparity between the power and wealth of some, and the powerlessness and poverty of others in our globalized world. Khaled aims to visualize power relations between individuals caused by, for instance, ever-increasing gaps in wealth, socio-cultural differences, labor conditions and educational opportunities — the conditions that determine one’s level of comfort and stability in society. Khaled was born and raised in Morocco. Currently he lives and works in Helsinki; this geographic and cultural shift has had an evident impact on his work.

The exhibition has been supported by Arts Promotion Centre Finland, as a support for the gallery rent.

Contact information:

Yassine Khaled
tel. 044 910 7659

The Earth Is Not a Perfect Sphere

Crystal Bennes
The Earth Is Not A Perfect Sphere
Galleria Huuto Jätkäsaari, Jätkä 2
7 – 22 October, 2017

“Stuor-Oivi” (Stuorrahanoaivi) in Enontekiö (68°40’57”N 22°44’45”E)
“Avasaksa” (Aavasaksa) in Ylitornio (66°23’52”N 23°43’31”E)
“Torneå” (Alatornion kirkko) in Tornio (65°49’48”N 24°09’26”E)
“Puolakka” (Oravivuori) in Korpilahti (61°55’36”N 25°32’01”E)
“Porlom II” (Tornikallio) in Lapinjärvi (60°42’17”N 26°00’12”E)
“Svartvira” (Mustaviiri) in Pyhtää (60°16’35”N 26°36’12”E)

Since the first scientific estimation of the radius of the earth in c. 240 BC by the Greek mathematician Eratosthenes, scientists and mathematicians have sought ever-more accurate models for the figure of the Earth. As a lens with which to examine history’s changing conceptions of progress, The Earth Is Not A Perfect Sphere takes as its starting point one of these models, the Struve Geodetic Arc –
a chain of nineteenth-century survey triangulations stretching over 2,820km from Norway to the Black Sea. In Finland, the Arc partly retraced an earlier series of triangulations carried out in the 1730s by the mathematician Pierre Maupertuis,
sent by the French Academy of Sciences to conclusively determine the accurate shape of the earth.

While the original series of measurements for the Arc consisted of 258 main triangles, with 265 main station points, since becoming recognized as a UNESCO World Heritage site in 2005, only 34 of the original station points have been maintained.

Carried out between 1816 and 1855 by a team led by the German-born Russian astronomer, Friedrich Georg Wilhelm Struve, the survey represented the first accurate measuring of a long segment of a meridian. The measurements helped to establish – building upon the work done a century earlier by Maupertuis to confirm Newton’s hypothesis that the earth tapered at the poles in a spheroid shape, rather than an ellipsoid shape – the exact size and shape of the planet. Of course, today these measurements, which took nearly forty years in the nineteenth century, can
be replicated in a matter of months using modern GPS satellites, thus rendering the work of Struve and his team technologically redundant, even while its importance as a cultural artefact persists.

During 2015 – 2016, the artist journeyed to the six remaining Struve Arc measurement sites in Finland, from the far reaches of Lapland to a small island in the Gulf of Finland.

This exhibition includes analogue photographic documentation of these journeys, as well as the following works created in response:

The Earth is Not a Perfect Sphere – a series of ceramic globes that chart our changing imaginings of the shape of the Earth;

A Compendium of Progress– 14 lithographic prints that compile shifting arguments for progress in Western society from 570 BCE to 2011 CE;

Monuments to Anachronistic Progress – six models for sculptures in granite sourced from sites near Finland’s Struve points to commemorate the now-redundant achievements of the 39-year undertaking.

The creation of this exhibition has been supported by Taiteen edistämiskeskus & Suomen Taideyhdistys.


Ella Tahkolahti
Galleria Huuto Jätkäsaari, Jätkä 2

The Bird Catcher is a capturer, a conman and a killer. It is a researcher interested in all living things. It is a hunter that observes the prey, its reactions and movements, in the wild and in captivity. Is it on the inside or outside? Is it within all of us or is it something on the outside we cannot protect ourselves from?

Freedom is a feeling of spontaneity. It is the possibility to make one’s own choices in life and to move freely through the world. Sometimes the pursuit of freedom and new perspectives leads to a dead end. When this happens one becomes the bird catcher’s prey.

Ella Tahkolahti (b. 1981) is a Helsinki-based artist. She graduated from the Department of Time and Space Arts at the Finnish Academy of Fine Arts in 2010 and works with installations and performances. Tahkolahti is interested in the relationship between real and imaginary, a dream and reality, inside and outside. The conflict between perception and reality, or fantasy and its fulfillment. When a dream, once fulfilled, captures and kills. When the view from an observation tower is all wrong.

The exhibition has been supported by the Finnish Cultural Foundation, Arts Promotion Centre Finland, Svenska kulturfonden and Helsingin kuvataidelukio.

Further information:

The Essence of Koli – The National Landscape as a Concentrate

Harri Piispanen & Aleksi Jaakkola
The Essence of Koli – The National Landscape as a Concentrate
Galleria Huuto Jätkäsaari, Jätkä 2
26.8. – 10.9.2017

Two men wearing black suits and ties are hiking in the middle of Finland’s best-known national landscape. They are Harri Piispanen and Aleksi Jaakkola, the National Romantics. Under the name National Romantics, the two artists carry out, according to their own definition, performative explorations. They are carried out with the dignity the landscape deserves, without forgetting humor. The method used during these artistic explorations is several days of hiking in the forest wearing suits.

A landscape is concrete. A national landscape, on the other hand, exists in people’s minds. How can something immaterial be turned into a tangible form? What does it feel, smell or taste like? Can it be turned into a product? Can it be laughed at? And above all, who does it actually belong to?

The National Romantics have now visited Koli. During the exploration, a new description of the iconic national treasure was developed: The Essence of Koli. It is a concentrate of the national landscape, an extract, a miracle tincture and a luxurious elixir. The installation built in the gallery allows the visitors to learn about the exploration and to examine the national landscape that has been condensed into a bottle.

The creation of the exhibition has been supported by Mineraalilaboratorio Mila Oy and Lasismi.

Harri Piispanen
+358 50 592 9766

Aleksi Jaakkola
+358 40 577 9750

The Nightingale
and the Glass Tube

Henna Aho
The Nightingale and the Glass Tube
Galleria Huuto Jätkäsaari, Jätkä 2

Once a day an opening appeared in the wall and remained open for about an hour. Then I would step out and walk down the hill to the store. Afterwards I am not able to remember anything significant about going out and being there except the burning brightness of the sun and my uncertain steps back up the hill, back to the other side of the wall, to the cave… I now call it a cave. A damp and grey place dominated by endless corridors and fluorescent lights.

My speech did not come out normally, I sang my own melodies. I told stories that did not have a believable order in this reality. The stories were, however, loaded with meanings and emotions, although unnamed, because my ability to perceive even a sentence was not yet sufficiently developed. Now, afterwards, my speech is still not perfect, not even close, but I am able to say “bird”, “flower” and “glass tube”.

After a few months, or perhaps years, I noticed that I can breathe through the wall. This happened when I found a glass tube embedded in the wall with one end on my side and the other open to the outside of the wall. At first I didn’t know how to use it but little by little I started to blow into it and then also inhale, which led to breathing.

In the end I also found a nightingale whose singing was even sweeter than my own melodies. It tempted me to say sentences in which the words were in the right order. Now that I think about it, my dwelling… How should I put it… it wasn’t healthy, but my basic needs were satisfied. Singing and breathing.

The cave is still at the top of the hill. I look at it wistfully from below, from the store, but it is no longer my cave. I have planted flowers around it to make it look like a regular hill. I have a daily habit of taking worms and snails up to the hill in order for the nightingale to have something to eat.

The exhibition is about the war between life and death and about life when one seems dead but is still alive. When one’s joy of life and hope have been given/taken away and one’s body – flesh and bone – continues its existence in reality. With age, questions have become simpler/more complicated, but still the fundamental question behind everything remains unchanged – will I go to hell when I die.

The theme becomes concrete through metaphorical depictions of life in a hospital. The exhibition consists of large paintings released from stretcher bars. They have been removed from the structure dominated by right angles. If I can’t release my own life from tight control, I can at least release my work. Long live freely hanging canvases. The works have mainly been painted using acrylic paints but also include collage techniques and ink drawings.

Henna Aho (b. 1977, Turku) is a painter and an art pedagogue. She has had exhibitions at various locations, including the Wäinö Aaltonen Museum of Art, Gallery Katariina, Mältinranta Art Center, Gallery Aarni and Gallery Kone. Her works are included in the state art collection as well as in the collection of the Wäinö Aaltonen Museum of Art. She is a graduate of the Turku Arts Academy and University of Art and Design Helsinki.

Henna Aho

Behave yourself

Virva Kanerva
Behave yourself
Galleria Huuto Jätkäsaari – Jätkä 2
15-30 July 2017

Last August I was looking at the still water and realized that the line between life and death is like the fabric surface of a trampoline that has been left outside for a couple of winters. If you’re lucky, you can jump for a long time and nothing happens. You may do a few somersaults and fall uncontrollably but you will always bounce back on your feet. However, at some point you will hit a worn spot and before you know it, you will be on the other side. My father had been jumping carelessly for a long time and the trampoline had also been sitting outside for years. It was pure luck that the fabric only gave way now.
The works in the exhibition can be divided into two categories. Some have been completed before and others after August. They all, however, depict the weirdness of humanity, truths behind clichés, love, fear, grief, anger and shame as well as death and survival. How can one be a real human and what does it look like? The works are based on kitsch-like nostalgia spiced up with influences from popular culture, religion, myths and fairy tales. In the background is an interest in what we consider cute and approachable and why.

Virva Kanerva (b. 1983) lives and works in Lahti. She aimlessly collects old toys, items and furniture and justifies it to herself by saying that she needs them for her art. She creates sculptures, installations and environmental art using a variety of materials. Recently she has created sculptures of human animals and drawn influences from the Virgin Mary image types.

Further information:
Virva Kanerva
+358 40 771 1694

2017 §

Ritva Larsson and Anne Lehtelä
2017 §
Galleria Huuto Jätkäsaari, Jätkä 2
27 June – 9 July 2017

Finland has gone through many phases on the way towards legal and social equality with regard to human rights related to sexuality and gender diversity. Homosexuality was decriminalized in 1971 and removed from the psychiatric disorder classification in 1981. However, the legal rights of transgender people are still not at an acceptable level. One big step forward in the continuum of human rights was the Equal Marriage Act that took effect on the 1st of March 2017. It has been sadly interesting to follow the process from a citizens’ initiative to the amendment of the old Marriage Act, including a repeal attempt along the way.

This joint exhibition pays homage to the progress of equality, all work done to promote equality and all those people who have worked tirelessly for the cause. Even though couples who love each other are now equal before the law irrespective of their gender, it is important to remember that the world is not yet complete in this respect. We also want our exhibition to serve as a reminder that there is still some way to go until we achieve real equality of all people.

Ritva Larsson:
In my 2011 exhibition Gray, I examined the theme of otherness connected to sexuality and gender by pointedly painting the models gray. The aim was to deal with the existence of hidden diversity, invisible otherness, by means of art. My works in this exhibition depict a variety of people through traditional oil paintings, different relationships between people and also the possible lack of relationships. The focus is on the achieved equal right to love or not to love. Progress with regard to human rights is also a very good reason for an artist to celebrate it by means of painting.

Anne Lehtelä:
Through my artistic work, I look for an answer to what it is like to be an individual in this world and society. Who makes the rules, who follows them and ultimately at what price. I work with conceptual art and textual installation art. Concepts, words and signs create unity within a group and exclude, value and label. I am interested in the realization of human rights among marginal groups at both a global and individual level. The same phenomena recur in society as a temporal continuum that does not only concern LGBT people but also all other minorities. Personal is political and it has been hard to work on this theme. For us this is so much more than just one exhibition.

Ritva Larsson

Anne Lehtelä


Thomas Rydberg
Galleria Huuto Jätkäsaari, Jätkä 2

The story is as follows….
The artist calls a television fortuneteller to acquire personal information for month June.
The fortuneteller ‘reads’ his request as an amalgamated projection of his frustration, his hesitations and unspoken ambitions; she ‘sees’ him as a maker in flux. Her response is a paradoxical alignment of words with a broken narrative; an intuitive blurb for a future.
That answer becomes the title of this exhibition.

And yet this anecdote –as peculiar as it might appear– sheds a light on Thomas Rydberg’s appropriation of mechanisms of intuition and contextual abstraction; mechanisms which have become prominent characteristics in his recent body of work.
Rough, almost abrupt painterly gestures, scratches and tactical additions of wool construct a vibrant chaos that in some occasions appears to morph into cannibal-like figures with somewhat voyeuristic attributes. Those paintings seem to propose a violent unmasking, bringing to the foreground screams and disorder. A plurality of forms and aesthetic mannerisms object all minimalistic tendencies and flirt with a long expressionistic tradition.

Rydberg’s intuitive art making is nothing more and nothing less than a direct, uncensored, unsolicited interpretation of a disembodied, deranged and frantic world; an abstraction of a raptured universe. And like the fortuneteller, the viewer is called upon to subjectively interpret it as a fragmented, discontinuous narrative.

With special mention to Ishtar Maria, charging 2,95€ per minute.

Text: Nikos Doulos

More information:
Thomas Rydberg
puh: 040 700 99 88

These Foolish Things Remind Me Of You

Niina Lehtonen Braun
These Foolish Things Remind Me Of You
13.5. -28.5.2017
Galleria Huuto Jätkäsaari – Jätkä 2

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

Artist Talk with Niina Lehtonen Braun and Elina Suoyrjö on Sunday 28th May 2 pm.

Question Love Answer

A room full of answers and boxes full of spells. A word on each box to help you remember and fill the boxes. Words to unlock your memories. Words that let us share knots entangling a memory, an emotion, things, scent, landscapes, alcohol, songs, creatures, Jesus, situations, vegetables, scarves, places. In the boxes you can sometimes leave answers to charming questions, and it is then very likely you already gave an answer. Being charming is a practice for exploring subjectivities. Asking questions is a way to find truth. You will quickly notice, that there is no trick nor trap. You won’t ever be blamed once exposed. There is no morality to hit you once naked. You can feel free and you can be free to feel how it feels to feel.

This exhibition is an opera engaging multiple means and instruments. It’s an operating place where acknowledging emotional conditions shall bring relief, maybe even courage and comfort. Niina said, because everything is so absurd; Because loved ones can be so down that they destroy everything, so they can’t owe a thing to anybody. And it doesn’t need to be this way. Niina refuses this, works against it, revolts: with art and with confidence. Anger becomes resistance, happiness a rebellion: “Happiness is not something of the intellectual mind, but of the corporeal mind, of the emotion that opens the body to a caress. Neither faith nor hope, but charity, to say it in a style that is not mine. It is not the desperate consciousness that makes us unhappy, but the depressing effect that it has on our empathetic body. Social suffering turns itself into depression when it dulls the capacity of being caressed. And the openness of receiving a caress is not only the condition for individual happiness, but also that of rebellion, of collective autonomy and of emancipation from the salaried work.” (Bifo, ‘How do we explain depression to ourselves?’). In times where debts have become the evil per se, where everyone is an austere accountant of his life, acknowledging to whom and what you owe the meaning of your life is a risky operation, a moment of nakedness and shameful truth. This show is a place where you can do that. The artist is giving relief to herself and everyone that comes and sees. At openings the artist will be next to you, and make you a co-author of the show. The show will open your body to a caress.

The show will portray Niina, Leonard, Marnie, Tuomas, Kirsi, you, me… Portraits of people are hanging all over, and you may recognize your own inner states. Lived situations. Lived emotions. There is never an emotion alone. They are not surgically pinned down for a curiosity cabinet. There is always a story, a context, a reality. Emotions are not lived in a conceptual space. Take a look at the spaces in which they are summoned: what started on thin ruled filofax paper, inherent to self-administration, meandered into to great open spaces beyond any euclidian reason. I mean it: take a close and attentive look at the bigger watercolor paintings. Figure these spaces. The spaces in which the figures, the objects, the words are dwelling. They remind me of the spiritual spaces in which Gauguin’s figures are dwelling, where the real and the now is contaminated and blurred by the unspoken, unexplicited reality of memories and traumas that spontaneously affect daily life and disrupt our sense of autonomy. We’re emotional bums and this is a space where one can become emotionally intelligent, where the complex interplay of emotions and reality becomes intelligible.

And the painter explores recklessly these unfathomable spaces. The paintings are snapshots from these journeys, relieving postcards sent us from uneasy, cheesy, naive, sad, fragile, shameful, evil, foolish situations we all went through over the course of life. It’s an art of redemption that dwells in the artist’s practice. All along the way the work confronts many christian values (love, redemption, guilt, forgiveness, compassion, humility, shame, passion, mercy, gratefulness), and in many works one can read how entangled these values are in daily situations. It appears that there can’t be a clear line drawn between values and actions, which makes it simply impossible to turn away from that cultural heritage. The artist’s attitude isn’t one of critical bravery, engaging in a distant analysis. It is one of exploring the ongoing composition of these values with one’s life in society. Rather than looking for an ablation, it is about observing how that meaning-making organ operates; rather than displaying atheism, she looks at how she believes – believing is a practice – and found out that she believes by believing in meaning.

Thus, every depicted situation becomes a kind of icon, and there is a parallel between Lehtonen Braun’s shows and the richly decorated orthodox, and also formerly, catholic churches. But while all want to celebrate life and have the wish to live together, the churches draw their beliefs from a single book from unquestionable and transcendent origin, whereas the material on which the painter’s iconography is based are the stories you told her, thus an immanent source of truth. In response to her questions, any answer is true. Every answer is a testimonial of a personal experience gifted, shared with her. Every answer is a bump in the course of our lives. Every answer becomes a source of belief. “There is in Christianity a germ of quiet atheism which will feed painting: the painter can easily get indifferent to the religious subject he’s in charge to represent. […] Modern painting starts when man lives itself no more as an essence, but rather as an accident. There is always a fall, the risk of a fall; the form begins to tell the accident, no more the essence” (Gilles Deleuze, ‘Francis Bacon, The Logic of Sensation’). The artist’s original question fades away, blurs towards a more general sense for the space in which that question lives, an abstract realm of meaning and sensation.

To obtain her endless nuances and shades, the painter corrupts the watercolor planes with inks, acryl, gouaches. Combined with the sharpness of photography collages, text and figures dwell like stones and glass splitters on the grounds of a limitless marsh, eroding or sharpening, getting covered and reemerging sometimes later. The painter handles her material not like an archive she’d want to control. She talks about compost. And listening to this, one cannot get around the deep and sweet irony that exudes from many single pieces, ripping any fake feeling into pieces, exposing any indulgence with a hearty laughter. This irony keeps every single truth real, anchoring the feelings in our bodies, while every answer becomes more open, merges with another, until the wall becomes that universe of accidents we are, we share and we question.

Yves Mettler

The exhibition was kindly supported by Arts Promotion Centre Finland & Kone Foundation

contact: info(a)

Ich bin

Ich bin
Siiri Haarla
Galleria Huuto Jätkäsaari – Jätkä 2

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

Wer ins Ausland geht profitiert in jedem Fall,
aber wer so lang im Ausland gewesen ist wie wir,
darf nicht zurück gehen.

– Thomas Bernhard / Heldenplatz

– Thomas Bernhard / Heldenplatz

The exhibition is about fear wearing off, surpassing oneself and the unavoidable subsequent feeling of emptiness. If life is obstacles on the way to satisfaction, that is also what art is. To want final, complete works is analogous with a desire to die. Creating images is acceptance of the reality, seeing the comic side of things, black laughter at the seriousness of life.

Painting is about revealing oneself and it is about revealing the reality, while it is also about changing the reality. Could it also be about changing oneself? Painting in the moment is complexity that arises from the accumulation of experiences, crashing into the simplifying clarity of the end looming ahead. I would like my paintings to compete with encountering a living person. I would like them to show what can be, what can be thought but what cannot be seen. Paintings drive me into crisis every day, their unlimited meanings and insignificance, which makes them individuals and for each of them their own existence is everything. An opportunity to exceed what has been done before and to change the world and a constantly available opportunity not to do that and its obvious unimportance…

Experiencing is about leaving time behind, passing it. Spending time abroad sharpens the passing of time, loss and the presence of death. When you leave, everything is new except the familiar left behind. When you come back, you will lose the new home and everything there only to find out that the old life no longer exists. No one remembers it the way you do, it has moved on along the tracks, past so many stops that even trees have become gray. Your life waits for you like a moldy oven mitt in the basement. Returning to what you left behind, a trip to your old life is like an opportunity to rise from your grave for one more week to see everything that used to be your life.

Painting is to see your life flash like a film of dreams amidst the clouds as the jet engines roar.

Siiri Haarla


Maija Tammi
Galleria Huuto Jätkäsaari – Jätkä 2
1st-16th April 2017

The exhibition is open as usual over the Easter holidays.

Hydra is a beginning. The exhibition is a part of a larger, ongoing body of work by Finnish artist Maija Tammi (b.1985).

“Volunteer 4 died – maybe. I mean Robert saw it die on the microscope slide, but the hydra somehow disappeared. It is nowhere to be seen or found, neither with a microscope or a macro lens.” (Extract from Tammi’s laboratory notes.)¬

The exhibition presents the first outcome of the collaboration between Tammi and Robert B. Silver, a professor of biology at Syracuse University. Hydras are small, around 5–15 mm, fresh-water polyps; they’re superstars of regeneration that can regrow into a full animal from just a group of cells, and they do not age. The framework of the exhibition pivots around the failed and successful attempts at keeping the hydras alive and examining their regeneration.

Hydra also presents another view on immortality, or rather on the human escapologist desire of cheating death, through portraits of human-looking android robots. A series of four portraits titled One of them is a human presents three androids and one plausible human.

With Hydra, Tammi embraces tangible possibilities of eternal life and our contemporary attempts to obtain it. The exhibition is a continuation to Tammi’s obsession in the themes of life, death and immortality, which she approached in her previous body of work, White Rabbit Fever.

The exhibition is curated by Niccolò Fano, director of Matèria Gallery in Rome.

Hydra is supported by Finnish Cultural Foundation.

More information:

Niccolò Fano
+39 333 524 7410

Maija Tammi
+358 40 542 4655

Pilvi Ojala

Pilvi Ojala
11th-26th March 2017
Galleria Huuto Jätkäsaari, Jätkä 2

My exhibition features three types of works. Even though the works have been created using very diverse techniques, the exhibition forms a coherent whole in terms of the underlying way of thinking and experiences. I have also worked on the pieces in turns and side by side. While working, I noticed that I reflected a lot on my life, myself and, for example, the feeling of shame, guilt and having a bad conscience. I also thought about different roles that we build to protect ourselves or that we are expected to take.
First, I began to try to create three-dimensional images. These works developed into events, stages, scenery and spaces illustrated by imagination. The works have been created with cardboard and paper and colored using watercolors and colored pencils.

I also felt like drawing with a pencil. I began to create a drawing that borrowed its themes from medieval church art, for example from the tympanum sculptures of Romanesque churches. The drawing wouldn’t fit on one sheet so I kept increasing its size, one sheet at a time. The final drawing is two and a half meters high and two meters wide.

The third part of my exhibition is a series of ten self-portraits. I have used the same expression and angle on purpose in order for the works to be as descriptive as possible. The process was interesting because one’s own face is very familiar and still, after examining it for a while, you become more distant from it and in a way it becomes an unfamiliar mask.

I wish to thank the Alfred Kordelin Foundation for supporting the exhibition.

More information:

Natural Art Collection

Ulla-Mari Lindström
Natural Art Collection
Galleria Huuto Jätkäsaari – Jätkä 2

One of the most puzzling questions in evolutionary biology is to do with the fact that there are hardly any crossbreeds, in other words hybrids, among fossils. However, hybrids are encountered in nature from time to time and hybridization is known to be an important force driving evolution. Evolution does not have a direction or destination, instead natural selection is considered to ensure that the most viable individuals thrive and are at some point able to reproduce. As speciation progresses, individuals are only able to breed with those that are similar and thus a new species is created.

Hybrids are, however, often sterile and unable to reproduce. They are also rare and thus often particularly interesting. They change our views on nature and species and make us question our old fixed ideas about what is possible or impossible. Our own species, Homo sapiens, has most likely evolved through hybridization.

According to the intermediate disturbance hypothesis, species diversity is maximized when ecological disturbance is neither too rare nor too frequent. Disturbances alter the conditions and may promote the possibility for hybrids to exist. Natural selection works best when individuals are different. And hybrids are. They are often bigger, stronger, smarter and more resourceful than their ancestors. That is why they do better.

Crossbreeding, hybridization or mixing is not just an evolutionary freak of nature produced by chance but the foundation of cultural evolution. The ability to combine, mix and confuse is creativity and innovation at its best and a mess at its worst. Even if most of the mixes were an unviable mess, the disorder may enable conditions where things are combined in a new and unconventional way. It is something we are afraid of and at the same time desire.

Natural Art Collection is a study created with the help of natural science and visual arts, a fictional hybrid herbarium. It depicts the possible structures of new potential species randomly generated using parts of plants and animals collected in nature. The works have been created using plant and animal parts, by printing on porous thick paper with a press, combining mixed media and by photographing initial situations and proposals that have arisen. With the impressions the artist mimics the structure and shape of fossils and thus includes temporal dimensions.

Ulla-Mari Lindström is a Kuopio-based artist. She studied painting and photography at the Gerrit Rietveld Academie in Amsterdam and graduated in 1998. She has also studied photography at the University of Art and Design, Helsinki. After living in Amsterdam for 12 years she moved to Kuopio in 2004. Lindström has had solo exhibitions and taken part in group exhibitions in Finland and abroad. She works with photography, video and most recently printmaking methods as well as painting. Humor is often a common factor in her works.

The exhibition has been supported by the North Savo Fund.

Ulla-Mari Lindström
+358 50 911 7518

After Act On

Suvi Sysi, Roma Auskalnyte, Inma Herrera
After Act On
28.1. – 12.2.2017
Galleria Huuto Jätkäsaari – Jätkä 2


I often hear artists saying that for them the creation process itself is important and significant. There is no reason to question this. One could assume that the process enabling the creation of an image is the very reason why they continue in their profession, creating images. However, from a viewer’s perspective the process is largely insignificant. When we look at sculptures, paintings or, for example, a video, we are interested in the end result and what it tells us or what it asks us. If the process is hidden in the end result, it will not open up to the viewer and its value as an element enriching the work will only remain important to the artist.

There is also art where the process is the theme of the works. In this case the artist focuses on opening up those psychological and physical paths that lead to the creation of the work. After Act On at Galleria Huuto is a joint exhibition by three artists. Its main idea is to highlight the process leading to the creation of an image and meanings, to make it visible and open. At the same time the exhibition questions the boundary between a complete and incomplete work. The exhibition strongly conveys a message that incomplete is complete.

After Act On is actually a series of installations. The various elements from materials to seemingly complete works are intertwined in a way that makes it difficult and unnecessary to identify individual works. What is essential is what the combination of works tells you. The artists themselves have said that they want to highlight the physical challenges related to the creation process. They ask whether it makes sense to use traditional slow techniques in the era of technology and answer the question through their exhibition. Slowness becomes part of the
content, as does the physical challenge posed by the technique.

Suvi Sysi has printed monochromatic color surfaces. A lot of paper has been used in connection with the printing. Various protective, cleaning and test papers repeat the colors and tell about the different phases. Esthetic trash gets new value as Sysi puts it in the position of an artwork. In another work, prints of the same size have been stacked so that the actual prints cannot be seen, but the sides of the paper pile form an enjoyable surface. Her conceptual works have a strong esthetic charge.

Roma Auskalnyte will carry out a performance at the exhibition opening. A performative video installation repeating the themes of the performance will be on display throughout the exhibition. In her performance Auskalnyte prints text on the soles of her feet with lithographic stones, using her own weight as the press. As she moves, the image is reproduced with her steps. Gradually the marks fade away. Her other work consists of three large lithographic prints that depict the physical
nature of her work. Auskalnyte problematizes both being an artist and the creation of an artwork as a physical performance.

Inma Herrera’s installation consists of small individual works in which hands are presented as a medium for an experience and sensations. How is the sense of touch different from the sense of sight and what are all the things that our hands can tell us that we are not able to see? The copper plate floating on the floor is like a mirror smudged with fingerprints. It is just the right size that a grown-up is able to carry it with their arms spread out. Herrera’s works highlight the artist’s role as one’s own tool, material and medium.

Veikko Halmetoja





Documentation of Roma Auskalnyte’s performance “Unsolid Ground” at the opening on Jan 27th:

Life As It Flees

Rita Jokiranta
Life As It Flees
Galleria Huuto Jätkäsaari – Jätkä 2

Life as It Flees is a video art work comprising a site-specific multi-screen installation that explores the dynamic between image, event and interpretation. The short story The Adventure of a Photographer (L’avventura di un fotografo, 1970) by the Italian writer Italo Calvino has also been used for inspiration. The title of the work is a quotation from the short story and refers to the difficulty to catch the real life in images.

…he too was one of those who pursue life as it flees, a hunter of the unattainable, like the takers of snapshots.
Perhaps true, total photography, he thought, is a pile of fragments of private images…

The work was built like a puzzle. The video may carry a story but it can only be seen as episodic fragments of simultaneously shown different events. The images are transient reflections and momentary observations from the
world in which we are traveling, but they may also represent a state of mind.

The technical solutions of the exhibition are provided by Jorma Saarikko/Pro AV Art Oy.

Rita Jokiranta is a visual artist who mainly works with video, photography and installations, but also with light and sound. Her work has been shown in several solo shows, screening events, film festivals and other contemporary art exhibitions in Finland, Nordic countries and widely elsewhere in Europe.

The production of the art work has been supported by AVEK/Tuuli Penttinen-Lampisuo.
The artist’s work has been supported by Svenska kulturfonden (2015, 2016) and Cité Internationale des Arts (2014).

More information:
Rita Jokiranta +358 400 722669

* Italo Calvino © Giulio Einaudi editore s.p.a.
Translation William Weaver © Martin Secker & Warburg Ltd 1983

Rita Jokiranta: LIFE AS IT FLEES

Love Never Fails

Mammu and Pasi Rauhala
Love Never Fails
Galleria Huuto Jätkäsaari – Jätkä 2

Galleria Huuto Jätkäsaari is open on Independence Day 6th December.

As time passes, routines and behaviors become safe ways to act. Year after year we read the same paper in the same position in the morning. We eat, we fight, we get offended and laugh like we always do. Although we are very different from each other, we also have many similarities. We share some of the same values and attitudes. Sometimes it is difficult to tell the difference between your own and another person’s opinion. Is this how I feel or has my relationship with this person altered my opinions, altered me? Somewhere else I may behave differently. In a long relationship the boundary between me and you is blurred. Does this, in a way, lead to the creation of a new person, us?

The Rauhalas utilize symbolism related to Finnish wedding traditions. The name of the exhibition, Love Never Fails, refers to the First Epistle to the Corinthians, a text often read at weddings. It refers to the permanence of love, to love that always exists. Love between people does, however, seem incomplete and sometimes even transient. One has to work hard to keep it alive. So what is love and what is becoming accustomed to something because it feels safe? Is it love that we trust this new person called “us” when our own boundaries seem to be blurred and when we are the furthest away from each other?

Love Never Fails is part of the extensive Bears All Things project which the Rauhalas have been working on since 2013. Bears All Things documents everyday life and the renovation of an old house in wedding outfits. It includes a series of videos and photographs, installations as well as performances and recordings thereof. Different parts of the project have previously been on display at the Paikkari Performance Festival (2013), Forum Box (2014), Riga Art Space in Latvia (2016) and Galleria Lapinlahti (2016).

Pasi Rauhala is a media artist whose works are often spatial and only come into existence with the viewer’s presence utilizing various types of sensors and modern technology. He earned a master’s degree from the Department of Time and Space Arts at the Finnish Academy of Fine Arts in 2009 and from the Aalto University School of Art, Design and Architecture in 2012. Recently he has worked with space, ready-made objects, video, photography, installations and performances.

Mammu Rauhala is a performing arts professional who graduated from Metropolia University of Applied Sciences in 2014. She has extensive experience working with people in social services, which adds a distinctive touch and social criticism to her art. She creates performance art as well as urban art both independently and as part of the Parasta Ennen collective.

Mammu Rauhala, , mammu(at), tel. 0442605234
Pasi Rauhala,, pasi(at), tel. 0456705236

Rule The World

Minna Suoniemi
Rule the World
Galleria Huuto Jätkäsaari, Jätkä 2
12 – 27 November 2016

So I’m 15… I feel so old, three more years and I’ll be 18.

Three years is like nothing. 🙁

Rule the World is an attempt to examine what it’s like to be 15 in the 2010s. I worked together with 13- and 15-year-old sisters on three new video pieces Rule the World, Frozen and Ariel. I was fascinated by the characters created with makeup and masks by the 15-year-old. They are violent and romantic, beautiful horror characters and Disney princesses. Makeup allows her to reach beyond the everyday rules and expectations to something meaningful, terrifyingly beautiful and admired. What remains behind the mask is the insecurity and daily life within boundaries, which previous generations recorded in private diaries. Instagram pictures show a confident, admired and somehow frightening young girl, who draws attention on social media and rules the world. It is a fairy tale, yet true, a self-made identity built and controlled by the 15-year-old.

I’ve done this makeup thing for a year now. I want to say thanks to @mykie_ and @ellimacssfx. Because of their youtube videos I’ve found my way to do art. A year ago I was drawing on paper and I didn’t like it ‘cause I was bad at it. Now I’m only drawing on my face and I love it. And finally I can be proud and say #nofilter.

(Quotations: Elsa, 15, on Instagram)

Minna Suoniemi (b. 1972) is a Helsinki-based artist working with moving image and video installation. She’s interested in how disruption and failure can make normative structures and models visible and has worked on very loaded subjects such as gender roles, motherhood and power relations. Her works have been exhibited extensively in Finland and abroad, including EMMA, Kiasma, Moscow Museum of Modern Art and Preus Museum of Photography in Norway. Suoniemi is a member of the National Council for Audiovisual Art and works as a lecturer at the Aalto University Department of Art. | | +358 50 363 0449 | +358 50 411 1906

Landscape Machine

Pia Männikkö
Galleria Huuto Jätkäsaari – Jätkä 2
22.10. – 6.11.2016.

The starting point for my work is often the movement and dimensions of the human body.
I am interested in an individual’s personal space and how we observe our environment. Natural phenomena and varying scales also inspire me. Recording the passing of time as well as the growth and change of my works are core elements in my work process. Physical connections between the viewer and my works are also important to me.

The Landscape Machine is related to a horizontally rotating theater backdrop and early animation film backgrounds, with the same landscape repeated over and over. Constantly moving forward, the Landscape Machine pursues some kind of non-place, a space that could be anywhere in the world.

Pia Männikkö earned her BA degree in Fine Art from the Department of Sculpture and Environmental Art at Glasgow School of Art in 2010 and her Master of Fine Arts degree from the Department of Sculpture at the Finnish Academy of Fine Arts in 2014. Männikkö’s materials and tools range from everyday items, textiles and clay to photographs and video. Her sculptures and installations have been on display at exhibitions and art events in Finland and abroad, including the Mänttä Art Festival, Örebro OpenART Biennial, Rovaniemi and Lahti Art Museums, Armory Gallery in Sydney, Australia, and the Royal Scottish Academy in Edinburgh.

Thank you for support: The Arts Promotion Centre Finland (Taike)

More information:
Pia Männikkö


Jonna Salonen
Galleria Huuto Jätkäsaari – Jätkä 2

Words flow on the edge of a field, while fishing at a lake or in a dark spruce forest where I sit listening to a tawny owl’s song. I carry speech and words with me in nature, whether it is a Daubenton’s bat, an aspen or a perch caught on a fish hook. A forest path is covered in conifer needles and tree roots and in the evening moths fly against the window forming words. I know there’s a roach underwater even though I don’t see it and a pond always has a bottom.

For me words are strong and therefore language, words and speech are very much present when creating images. Through nature I deal with and perceive the meaning of words, speaking, writing, understanding of words and naming.

Things that grow and exist in nature, the flora and fauna, have always interested me and have thus formed their own artistic background and content of work. I often find pieces of wood in nature and the original material is turned into a visual form by whittling and carving the wood with a knife and a chisel.

More information:
Jonna Salonen, jonnamarika.salonen(at)


Johanna Sipilä
Galleria Huuto Jätkäsaari, Jätkä 2

The ideas for the works featured in the exhibition were developed while traveling and during residency periods. I came up with themes and ideas in Benin, Togo, Catalonia, Mexico and Budapest and while driving across North America and along the Balkan Peninsula coast. The themes are related to encounters, being on the move, situations, visual wonderment and admiration. I have often had Arthur Rimbaud’s book Illuminations with me when traveling and my exhibition has also been named after the book. The name of the book is based on the concept of painted plates. It can also refer to enlightenment. Away from everyday life, when on the move one often gains little new insights that one can keep in their mind and use as a guiding principle at least for a little while. Traveling without fear and compulsion increases one’s love for the world and other people and some people encountered while traveling leave a strong impression.

The exhibition features drawings and paintings based on my memories and notes. The works have been created during residency periods and later at my studio. I have wanted my paintings to preserve a sketch-like nature, a limited palette and lightness of material as, due to practical reasons, these aspects are required when traveling.


Enough seen. The vision has been encountered in all
Enough had. Sounds of cities, in the evening, and in
sunlight, and always.
Enough known. The stations of life. –O Sounds and
Departure amid new noise and affection!

(Arthur Rimbaud,
English translation by John Ashbury)

Desirable Movement

Merja Hannikainen
Desirable Movement
Galleria Huuto Jätkäsaari, Jätkä 2

Videoinstallation, text-based works

Desirable Movement

“How do you throw a brick through the window of a bank if you can’t get out of bed?”
Johanna Hedva, Sick Woman Theory

A public demonstration requires participants that can get out of bed. Such participation isn’t an act all can afford. Some protests, and experiences that do matter politically, take therefore place elsewhere, in private.

The installation consist of a two-channel video work and texts that deal with the topic. The target of the protest – the enemy – is encountered in a text based on Jean Genet’s writings.

The performers of the video work are dancers and choreographers Noha Ramadan ja Zoë Knights.

Information and press images: Merja Hannikainen +358 50 5659469 / +49 1577 9387933 merja.hannikainen(at)

Merja Hannikainen’s work has been supported by the Finnish Cultural Foundation.


Timo Wright
Galleria Huuto Jätkäsaari, Jätkä 2
30.7.-14.8. 2016

“The Lord is slow to anger, abounding in love
and forgiving sin and rebellion.
Yet he does not leave the guilty unpunished;
he punishes the children for the sin of the parents
to the third and fourth generation.”

    Numbers 14:18

Collateral Damage

Balloons filled with carbon dioxide hang above us like a colourful cloud. Carbon dioxide (CO2) is normally odourless, colourless and non-toxic. As pure gas it displaces oxygen and can suffocate a person. It is also one of the main gases which are produced by human activities and which warm the atmosphere.

Collateral consists of approximately 1,000 colourful balloons filled with carbon dioxide. They hang from the ceiling forming a dense and even mat.

The work is based on the idea of our children being the ones who will pay for the mistakes of our era. Balloons are every child’s favourite and give them joy, but now they hang as a menacing future above the exhibition visitors. The work offers the visitors a feeling of controlled danger. Everyday items are combined with a danger caused by human behaviour, taking shape as both immediate (simultaneous release of carbon dioxide in the exhibition space) and long-lasting (impact of our consumption habits on climate change) threat.

Thank you:
Arts Promotion Centre Finland

Further information and press photos: Timo Wright +358 50 59 45 466


Kari Kärkkäinen
Galleria Huuto Jätkäsaari, Jätkä 2
9-24 July 2016

The sculptures featured in Kari Kärkkäinen’s (b. 1962) Beliefs exhibition were inspired by docent of religious studies Risto Pulkkinen’s book Suomalainen kansanusko, based on the beliefs that were crying out to be sculpted. The works are rather large, mainly made of wood and naturally fitting with the theme, created using different techniques. They are the result of a 20-year career studying the nature of wood.

We think that old-time beliefs are silly and feel that our lives are more real. However, as Risto Pulkkinen writes in his book, an ancient hunter did not believe that there was an elf in the forest but he instead knew that there was an elf in the forest. Thus, in the future, some of the things that we know will be proved to be beliefs because people act on the basis of their beliefs.

Kari Kärkkäinen
050 5720956


Alisa Javits
18.6.-3.7. 2016
Galleria Huuto Jätkäsaari, Jätkä 2

Galleria Huuto is closed during Midsummer 24-26 June.

Stratum, plural Strata, sedimentary rock layer bounded by two stratification planes, the latter being produced by visible changes in the grain size, texture, or other diagnostic features of the rocks above and below the plane. A stratum that is less than one centimetre (0.4 inch) in thickness is termed a lamina, whereas one greater than this thickness is a bed. See stratification.

Stratification, the layering that occurs in most sedimentary rocks and in those igneous rocks formed at the Earth’s surface, as from lava flows and volcanic fragmental deposits. The layers range from several millimetres to many metres in thickness and vary greatly in shape. Strata may range from thin sheets that cover many square kilometres to thick lenslike bodies that extend only a few metres laterally.


Just like soil, a human is made up of layers created by different stages of life. They are formed by big and small events, acts and experiences. The layer below affects the next one and together they shape a person’s external surface layers and sense of self. In order to explain the current form, one has to go deeper and dig out the layers hidden in the subconscious or memory.

The exhibition is flashes of layers.

Alisa Javits

Exhibition has been supported by
Arts Promotion Centre Finland and Jacomp Oy

This Monkey’s Gone to Heaven

Milla Toivanen
This Monkey’s Gone to Heaven
25.5. – 12.6.2016
Galleria Huuto Jätkäsaari, Jätkä 2

A little girl stands in her stiff dress with two maids of honor kneeling down by her sides as if the whole world was focused on her. The girl is serious, confused by her own position. A little monkey is sitting on her head.

The key painting of Milla Toivanen’s (b. 1972) This Monkey’s Gone to Heaven exhibition, Sense and Sensibility, shows a lot about our time, yet at the same time it is timeless. It does not comment on anything, it is a reflection. Its role model is obvious, Velázquez’s Las Meninas (1656). Milla Toivanen’s works form a natural part of the long tradition of painting. She has previously painted mothers and children inspired by medieval saint statues. Her works, however, have nothing to do with religion, but rather a deeply human experience.

Milla Toivanen is known for her almost meditative painting style characterized by a minimal pallet and thin, translucent layers of paint. Now Toivanen wants to free herself from the limitations of her disciplined method: she has surrendered herself to the themes being led by intuition, trusting her emotions and on the other hand experience. She has also left room for chance. The free and relaxed painting style with lots of color and vivid painted surfaces shows a new side of the skillful painter. There is also a touch of humor in her works, for example in the title pieces This Monkey’s Gone to Heaven 1 and 2.

Even her new works include themes that she has worked on for a long time – thought-provoking and memorable monkey figures as well as children and angels. In Highly Sensitive 1 and 2 the appearance of the big monkeys is touching. Intense focus on one limited theme reveals something hidden about it. In the painting The Hall of the Accused, the subtle white spots of paint create a feeling of a film or glass between us and the chimpanzee. This small effect brings up big questions. It also returns to the question of who is watching who.

Potbellied children and angel figures are a recurring theme in Toivanen’s paintings. In the pair of paintings The Rising Sun and The Setting Sun hopefulness and light are followed by the opposing force, darkness that threatens to cover everything. Hope and despair walk hand in hand, like they often do in Toivanen’s works. In some of the paintings the figures are barely recognizable: the girls, gorillas and angles are simplified into a pure shape and rhythm like in Relic, Cave and Pride and Prejudice. The Wall may be between people, but it is alive. The physicality of the artist’s work, the vividness of oil paint and the movement are still present even in the works hanging in the gallery.

Kirsikka Saari, Screenwriter

Milla Toivanen,, 041-45 944 28

All this white space

Emmi Tavela
All this white space
Galleria Huuto Jätkäsaari – Jätkä 2

What is central to this exhibition, to my painting process, is the whiteness of a space
– both as a physical and an imaginary entity. When painting I am at my most
exposed self. I am bare but safe, I am in my hiding place. For me the white space is
a sacred position. I don’t really let anyone in. And if I do, I cover the things I don’t
want reveal. The white space is my secret.

The exhibition consists of paintings that are completed. The process behind them
remains a secret. For me all this white space is about moving and groping around
within the outlines defined by mercy.

Even though all this white space is about a very personal situation, I hope that it will
open up to a viewer as presence, so that it becomes an event that leeds to a deeper
eye contact developing a dialogue between the viewer and the works.
All this white space is composed of things that are hidden, in front and behind
– in paintings.

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

Emmi Tavela
tel +358 443331391


Salla Laurinolli
Galleria Huuto Jätkäsaari, Jätkä 2
14 April – 1 May 2016

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

My artistic work is based on an observation and experience and reflecting on them during the painting process. An essential part of the process is the place of observation, the concrete starting point for my works. In the summer of 2015, in the Tornio River Valley, I began a project with its starting points related to the points of the Struve Geodetic Arc.

Where am I and what kind of world do I live in?
Thanks to the development of arc measurement, people have been able to answer these questions more and more concretely and accurately every century. In the satellite era, people check their smartphone map to see where the dot is blinking and those who have left their home can see where their life currently is. In this same world, yet in a different reality, a painter has her eyes fixed on the screen. She is following in the footsteps of Struve’s expedition, walking and climbing, exploring and working. Here I am and that’s what I am looking at, concretely. But where am I and what kind of world do I live in?

The way I analyze the world by painting, on the basis of meaningful experiences, now follows pre-determined coordinates. History gives meaning to an observation and those observations are already dots on the map. Reaching a place is essential, movement and stopping.
After stopping I continue the movement in the work process, moving away. The observation becomes more distant, moving towards an experience and the painter’s movement moves onto the canvas. This is where I am in the world, between you and your observations.

At the beginning of the 19th century, Friedrich Georg Wilhelm Struve, a German-born astronomer, decided to use triangulation to determine the exact shape and size of the Earth. It had been established in the 16th century that the Earth was round, but as early as the 17th century Isaac Newton suggested it might be slightly flattened at the poles. The expeditions sent to Lapland (Maupertuis) and Peru in the 18th century proved this theory correct. Thanks to the French mathematician and astronomer Maupertuis’ travel stories, fairies, gnomes, Pello region names and the Tornio valley rose also appeared in the 18th and 19th century European poetry.

Measurement of the triangulation chain known as the Struve Geodetic Arc took place between 1816 and 1855. It comprises of 258 main triangles and 265 station points. The northernmost point is located near Hammerfest in Norway and the southernmost point near the Black Sea in the Ukraine.,

I wish to thank:
Häme Regional Fund
Arts Promotion Centre Finland / Arts Council of Häme

Salla Laurinolli (b. 1976) is a painter who lives and works in Hämeenlinna.



Simo Ripatti
26 March – 10 April 2016
Galleria Huuto, Jätkä 2

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

Fall is a spatial work of art based on the moment when one can no longer have an impact on what happens next. What goes through one’s mind at that moment? One will act before the reaction reaches their brain – the reflex is quick and automatic.

My style of expression is rather plain and quiet. Hence, the effectiveness of the works often comes from their subtlety and partly from their surprising nature. When successful, an unassuming and extremely simple work does not answer any questions and does not even ask them, rather it defines the area where questions can be asked. The unassuming nature of the work forces one to stop and think what the work actually is. At its best, the work can also open up new meanings for the viewer and show how much the individual has thought about the theme or how interesting it is. The effectiveness of my works is manifested through their simplicity and unassuming appearance. They are rather loosely connected to their origin, thus leaving room for the viewer’s interpretation.

The exhibition has been supported by:
Finnish Cultural Foundation
Arts Promotion Centre Finland / Arts Council of Häme
The National Council for Visual Arts

Simo Ripatti
+358 50 581 9775

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.”

Revisiting Unknown Places

Maria Pääkkönen
Revisiting Unknown Places
13 – 28 February 2016
Galleria Huuto Jätkäsaari – Jätkä 2

I don’t remember where the place is. I’m not sure if it really exists or if I have seen it in a dream or movie, perhaps it was my imagination. I don’t exactly remember when I was there. I was a child and it was a long time ago. I don’t remember how I got there or how I came back. I remember what it looked like and what it felt like to be there. I remember the tall spruces on the edge of the clearing. I remember the boulders rising up towards the sky. I remember the silence. It was perhaps autumn or early spring, a still and cloudy day. The sky was bright and white. I remember what the earth smelled like. I remember, I don’t remember. The edges of the image have faded, like an overexposed film. It has always been like that. I question my memory.

When drawing at my studio, I end up thinking about the place. I draw for hours. I listen to the monotonous rhythm of the pencil and stare into the grayness slowly taking shape in front of me. I see, I don’t see.

A dirty tarp is hanging from a tree branch. I feel a desire to touch the fabric. I put down the pencil and I touch the fabric lightly with my fingers. It’s just graphite on the smooth surface of the paper, dirt on my fingertips, a dark silvery hole through which I try to peer at the disappearing landscape. The door closes. For a moment I am sure that I didn’t imagine it. For a moment I am sure that I really do remember.

Maria Pääkkönen (b. 1988) is a Helsinki-based visual artist whose slowly created, process-like works examine the fine line between a physical and mental state as well as observation and memory.

The exhibition has been supported by the Arts Promotion Centre Finland.
+358 44 302 9560


Simo Mantere
Maalauksia / Paintings
21 January – 7 February 2016
Galleria Huuto Jätkäsaari, Jätkä 2

My solo exhibition Maalauksia / Paintings at Galleria Huuto features some of my latest pieces.

In my paintings the paint has been spread on the canvases in different ways. My paintings consist of colors, shapes, marks, layers and orders. I have painted and added marks on the canvas. On the other hand, I have also covered or wiped away parts of the painted surface.

During the painting process I have begun to reflect on layers of memories, how some of the memories are attached to our bodies, hidden deep in the subconscious or totally erased. My artistic work is about leaving my mark on the world and about the experience of existence.

Simo Mantere is a painter who lives and works in Helsinki. This exhibition at Galleria Huuto will be Mantere’s sixth solo exhibition. Mantere has also taken part in various collective and group exhibitions in Finland and abroad.



Laura Lilja
Galleria Huuto Jätkäsaari, Jätkä 2

BLACK is the darkest of colors, it is the absence of all colors of light but also an exhaustive combination of several pigments. It is an achromatic color, a color without color or hue. Black is often associated with death and mourning but also power and strength. Black is a color by which all others are clarified and defined.

A FLAG is a symbol of a country, organization, community or other group.

Laura Lilja (b. 1975) explores in her art the significance of materials and social power structures.

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

On Epiphany the 6th of January the gallery is open.

Further information:
Tel. +358 44 291 9119


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


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

Hello Helsinki!

I am good at getting lost, but usually I don’t have time for it. For that reason and because of convenience I use the same routes, walking to work via my child’s preschool and back home the same way. I may pop into the galleries along the way, but not often. Therefore my view of this wonderful city is inevitably narrow.

For this exhibition I asked some special people to show me a place in Helsinki where they enjoy spending time. Once there, I drew both the person and the place. Sometimes I failed, creating nothing but a mess. I tried not to freak out and just continued drawing, letting myself get a little lost. Other times I felt like I got a grip on both the subject and the crayons.

A big thank-you to my guides!

We will do a tour of the drawing sites, the trips and dates you’ll find here

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

Photo: Pekka Rantakari

The road sings/ The wanderer wanders/ Nothing ever happens twice

Linda Roschier
The road sings/ The wanderer wanders/ Nothing ever happens twice
Galleria Huuto – Jätkä 2
24 October – 8 November 2015

I am

A mountain oozing life
As streams ripple down my sides
As birds fly from tree to tree.

Plants rise from my limbs
Forest feelings flicker on my face
And my heart is a place in the midst of trees.

I open the layers of quivering tissue,
I arrive at a new landscape:

The outside draws the inside,
My soul writes to the world.

And finally my cells burst into song:

I climb
And make it across.

To the delight of all creatures
To the delight of all creatures
To the delight of all creatures

You are

A mountain oozing life
As streams ripple down your sides
As birds fly from tree to tree.

Plants rise from your limbs
Forest feelings flicker on your face
And your heart is a place in the midst of trees.

You open the layers of quivering tissue,
You arrive at a new landscape:

The outside draws the inside,
Your soul writes to the world.

And finally your cells burst into song.

    Further information: +358405398552/ linda.roschier(at)
Flis Holland

Flis Holland
Galleria Huuto Jätkäsaari – Jätkä 2

Flis Holland builds installations from a minimum of materials, the pared-down simplicity belying a complex and challenging content. Scale models are photographed and displayed within viewing apparatus, both as a way to take the audience to places they have never been, and to question their current position within the gallery.

The starting point for the work is consideration of the verbalisation of trauma, the struggle to articulate an event to somebody who wasn’t there. The attempt to bring two different points of view, places and times into convergence is destined to fail. However, Holland’s work takes a step back and focuses on the desire rather than the outcome, and on the structure of the communication process.

For her show at Galleria Huuto Jätkäsaari Holland has built and adapted a model of the Jätkä 2 space. At first glance it appears as if the temporary walls that delineate the exhibition areas have been removed, returning the gallery to its original state. A closer look reveals that this hall of pillars is itself a fabrication, the walls still present but bearing mirrors. The experience of the exhibition becomes less easy to pin down, with the presence of the viewer within it at once doubled and disappearing. This is further complicated by the inclusion of memorial markers to an external event, the facts of which are never more than obliquely alluded to.

Flis Holland is a doctoral student at the Finnish Academy of Fine Arts, and is supported by the Kone Foundation and Arts Promotion Centre Finland.

The Closed-down Village

Hanna Koikkalainen and Anne-Mari Kivimäki
The Closed-down Village
Galleria Huuto Jätkäsaari – Jätkä 2 and Pikkujätkä
12 – 27 September 2015


The next stop on the road for the traveling exhibition will be at Galleria Huuto in Jätkäsaari, Helsinki.

In September the gallery’s visitors will have a chance to explore the past and present Suistamo, a village in Russian Karelia, through Anne-Mari Kivimäki’s music and Hanna Koikkalainen’s photographs. Migration and leaving one’s home is and will always be a topical issue. Perhaps we would see the current migrants in a different light if we remembered our own history.

The Closed-down Village is a musical photographic exhibition that deals with the themes of leaving through the means of photography and music. The exhibition is part of Anne-Mari Kivimäki’s artistic research project that she is doing for the Sibelius Academy under the title Suistamo – The Laboratory of Tradition. Kivimäki’s research is based on the recordings of Suistamo-based accordion player and storyteller Ilja Kotikallio. The team inspired by Kotikallio has made excursions across the border to Suistamo, rummaged through archives and met former Suistamo residents. The multidisciplinary collaboration has resulted in a meandering visual and musical exhibition that explores evacuation, wartime, leaving one’s home and the current realities of a small Russian village.

Puhti’s short film Sijaton sielu directed by Tommi Kainulainen will also be shown at the gallery space. The short film is a combination of music, dance and silent film and it tells the story of the devil showing up in a Karelian village. The film stars Puhti members Anne-Mari Kivimäki and Reetta-Kaisa Iles as well as Timo Saari.

You are all warmly welcome!

Opening on Friday 11 September 2015 at 6 pm
Exhibition will be open 12–27 September 2015

Exhibition program:

Friday 11 September at 6 pm, Opening of the photographic exhibition

Saturday 12 September, 2 pm – 3 pm, Dancing €2.50 / €5 / €10

Wednesday 16 September at 7 pm, The Closed-down Village Concert, €5–15
Thursday 17 September at 7 pm, The Closed-down Village Concert, €5–15
Friday 18 September at 7 pm, The Closed-down Village Concert, €5–15

Concert tickets: children, students, unemployed, conscripts €5, pensioners €10, normal ticket €15

BOOK TICKETS IN ADVANCE: inka.yliharsila (a)
Tickets must be picked up 30 minutes before the concert.

Galleria Huuto Jätkäsaari
Tyynenmerenkatu 6, Helsinki

Further information:
Fantastinen Norsu / Inka Ylihärsilä
+358 44 353 1196, inka.yliharsila (a)

Hanna Koikkalainen
Anne-Mari Kivimäki

Other exhibitions in 2015:
3–22 November, Galleria Varikko, Seinäjoki

Short film Sijaton sielu presented in Pikkujätkä as a part of the exhibition.

Sijaton sielu is a short film that combines music, dance and silent film.
It tells the story of the devil’s appearance in a Karelian village. The
movie was filmed in Karelia, Russia, in 2014. Sijaton sielu is a part of
the Anne-Mari Kivimäki’s artistic doctoral work she is doing at Sibelius
Academy Folk Music Department. Performers Anne-Mari Kivimäki and
Reetta-Kaisa Iles are members of the Puhti band. Timo Saari also appears in
the film. Directed and script by Tommi Kainulainen. Film score by Anne-Mari
Kivimäki. Sijaton sielu premiere was in January 2015.

We wish to thank:
Arts Promotion Centre Finland / Arts Council of Uusimaa
Panphonics Oy
Pyynikki Craft Brewery
Kotileipomo Riikonen Oy
Finnish Cultural Foundation
Kone Foundation
Karjalan Säätiö
Folk Extreme
Sibelius Academy’s Department of Folk Music at the University of the Arts
Finnish Music Foundation (MES)

fed / up

Heidi Kilpeläinen
fed / up
Galleria Huuto – Jätkä 2
21.8. – 6.9.2015

Opening on the Nights of Art, Thursday 20.8. starting at 6 pm, welcome!
Program: Tango Therapy from 18.30 until 19, performance at 19.30,
Sick disco from 20.30 until 21

Events during the exhibition:
Sick disco on Fridays from 16 until 17
Tango Therapy on Tuesdays from 16.15 until 17

Heidi Kilpeläinen’s exhibition fed / up at Galleria Huuto comments extensively on the social ills and inequality of our time. Through her art Kilpeläinen wants to raise various social questions related to the market economy and neoliberal economic policy as well as our current culture of consumption. She also defends fiercely an individual’s freedom of speech and decision-making as well as the right to privacy. Her artworks react to the mainstream media’s sensational headlines and she uses, for example, debates seen on social media as her material.

Different local social issues meet global rafts of problems in Kilpeläinen’s critical and thought-provoking pieces. The anxiety caused by the economic situation, the Islamic terrorism shaking Europe, cooler relationships between major powers and genetically modified food spread by multinational companies are all topics that a visitor may encounter at the gallery. The artist’s intention, however, is not solely to point fingers but she also wants to offer an opportunity to vent bad feelings caused by different things and thus achieve a more positive state of mind.

Kilpeläinen’s exhibition will be built around the fed / up video installation (2015). The installation depicts mental nausea caused by frustration and it takes a rather physical form on the video and continues – perhaps endlessly – as a rhythmic choir of gagging. The black and white video shows the artist’s nauseous character duplicated again and again as a narrow and pale vertical image with the video ultimately turning into some kind of barcode. The sounds of the video images with different paces form a composition, an agonizing sound carpet that brings the nausea to the audience almost as a physical experience. The creation of the installation has been influenced, for example, by the artist’s frustration with the globalization of food production and the various problems it creates in relation to the origin and production conditions of food. Kilpeläinen’s background as a musician and singer is also nicely conveyed through the soundscape of the installation.

The multidisciplinary and skilled Kilpeläinen works with video, performance art, installations, sculpture, collages and prints – and of course her own voice through her music and various live performances. Kilpeläinen is known for installations that combine different elements and media and her exhibition at Galleria Huuto will also feature a wide range of her diverse works. The video collection included in the exhibition will introduce Kilpeläinen’s work as an artist in residence at Beaconsfield Contemporary Art in London during February and March 2015. The videos that document her performances carried out during the residency, interactive encounters with the audience and the artist’s work in the open studio show well the theatrical and processual nature of Kilpeläinen’s art, which includes introducing the different stages of her work as well as the various preliminary versions created during the process.

Interaction also plays an important role in Kilpeläinen’s art. As part of the Galleria Huuto exhibition, Kilpeläinen invites the audience to take part in various inclusive artworks, including the Sickdisco where Kilpeläinen will dance – alone or together with the audience – for an hour every Friday before the gallery closes its doors. The 2 x 2 meter square marked off on the gallery floor serves as a dance floor while the artist tries to get rid of nausea by dancing, conjuring up a good feeling with the help of movement. During Tango Therapy Kilpeläinen will personally meet one exhibition visitor at a time. The visitor will sit on a chair opposite the artist and she will either sing a traditional Finnish tango or a version of a familiar melody with new lyrics.

Heidi Kilpeläinen lives in London and graduated from the Central Saint Martins College of Art and Design in 2004 with an MA in fine art. In addition to her career as a visual artist, she has designed clothes for her own label, HK119 Imaginature Collection, and made music actively under the stage name HK119 for the past ten years, releasing three albums through the London-based One Little Indian record label. Kilpeläinen has had solo exhibitions, for example, at the Percy Miller Gallery (2005) and Fortescue Avenue/Jonathan Viner Gallery (2006) in London as well as a series of performances during her residency at Beaconsfield Contemporary Art in London (2015).

In Finland her works have been previously displayed at the Aave Festival (2012), at the annual exhibition of the Union of Finnish Art Associations (SkjL) at the Kouvola Art Museum (2009), at MUU Gallery (2008), at the URB Festival (2006) and at the Museum of Contemporary Art Kiasma (First We Take Museums, 2005). This exhibition at Galleria Huuto will be the artist’s first solo exhibition in Finland.

Kati Kivinen, Curator and Art Historian (Ph.D.)

The exhibition has been supported by the Promotion Centre for Audiovisual Culture (AVEK) and Arts Promotion Centre Finland.

Contact: hk(at)

Further information:
instagram: heidi_kilpelainen119

Tango therapy / Lauluvastaanotto

Tango therapy / Lauluvastaanotto

Wolfman and Batperson

Paula Lehtonen
Wolfman and Batperson
Galleria Huuto Jätkäsaari – Jätkä 2
1 – 16 August 2015

Two separate video works will premiere at the exhibition, following human-animal hybrids, Batperson and Wolfman, at nighttime in the city. The characters in the videos, both referring to popular culture, are antiheroes who fight against everyday challenges in order to survive.
Wolfman differs from the native population due to his appearance and his integration is hindered by the latent hatred of wolves within the society.
The man equipped with the senses of a bat navigates with the help of a bat simulator helmet. The helmet has an ultrasound sensor, similar to a bat’s echolocation system, as well as a microprocessor and a loudspeaker. The individual wearing the helmet hears the soundscape of the surrounding space created by the sonar information. In spite of his limitations, Batperson has found a way to survive in the city.
The protagonists’ way to survive in the city parallels the experiences of those in a weaker position, those struggling with discrimination and sensory limitations. What the videos set up in the gallery have in common are their depiction of the city as a harsh environment, as opposed to nature, as well as the electronic soundscape composed by Rasmus Hedlund.

Paula Lehtonen is a Helsinki-based media artist who is interested in observing the relationships between humans, nature and technology. She has studied fine arts at the Tampere University of Applied Sciences and completed her master’s degree at Aalto University’s Media Lab. In addition to media art, Lehtonen works as a video designer in theaters and as a VJ at clubs and gigs.

The creation of the works has been supported by the Arts Promotion Centre Finland.

Further information:

Paula Lehtonen
Tel. +358 40 825 8027


Timo Tähkänen
Galleria Huuto – Jätkä 2
11-26 July 2015

In recent years my artistic work has explored color, painting between life and art, everyday esthetics and a painter’s place in society. Occasionally I have tried to break open a painting’s two-dimensional nature and rectangular shape and thus spread the painting to both a physical and social space through my performances or painting interventions. I have explored the relationship between painting and well-being and tried to find a meaningful and relevant way to be a painter in today’s society, for example by setting up a studio in the middle of a group home for old people with memory disorders.

The paintings and installations featured at Galleria Huuto are traces or documentation of an event or encounter. A piece can be based on wondering about a color or a certain memory.

The exhibition has been supported by the Arts Promotion Centre Finland / the Arts Council of Uusimaa.

Further information:
timo_tahkanen at


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)


Sirkku Rosi
Galleria Huuto Jätkäsaari, Jätkä 2
30 May –14 June 2015

The people in Sirkku Rosi’s works wear skin, a large organ that acts as a connection to and barrier between another, raw skin, an outline and an intermediary between oneself and the world.

A human acts in their flesh and a human thinks in their flesh. A human is an animal that needs explanations in the middle of chaos. A human reasons against one’s urges or is driven by them. They act in a random way. Sometimes they fail.

The works depict momentary intermediary states where everyday events become rituals and the sense of reality subtly weakens. Even the simplest gestures can obtain ritualistic power when daily life becomes absurd.

A dance from the Caribbean in which the dancers go under a bar that is gradually lowered after each round. The dancers are accompanied by music and clapping. Only the dancers’ feet are allowed to touch the ground. The dance was originally part of funeral rituals and it is believed to symbolize life’s victory over death as well as the cycle of life. In the 1960s, limbo dancers began to perform on stages as a form of entertainment.

Limbo, limbus:
In Catholic theology, an intermediate state for children who die unbaptized as well as for the patriarchs of the Old Testament.

Sirkku Rosi is a Helsinki-based artist who currently works mainly with watercolor paintings and performance art. This exhibition is part of her Master’s thesis for Aalto University.

Further information:
Sirkku Rosi
+358 50 5441307
sirkku.maenpaa (at)



Ida Palojärvi
Galleria Huuto Jätkäsaari, Jätkä 2
9 – 24 May 2015

A person’s relationship with an object that is being observed as well as interruptions to or prevention of that observation have been the theme of my recent works. Since the Hamza installation I created for the Kuvan Kevät 2012 exhibition, I have tried to limit the viewer’s field of vision either in a temporal or spatial manner and thus challenge the way of viewing which is based on the viewer’s ability to observe an installation from all sides without temporal or other limitations. One of the main techniques in my works is adjusting the amount of light in a space. In my installations, the actual object being observed withdraws into the background making the observation process itself and the viewer’s relationship with the observation more prominent.

The ASTR installation now displayed at Galleria Huuto continues this examination, focusing on the theme of being dazzled – protecting oneself from it and enduring it. Etymologically the name refers to the Greek word ἄστρον which means celestial bodies (the sun, planets, stars and constellations) and from which the word astronomy is derived. The truncated form ASTR refers to the inevitable incompleteness of an encounter. The light formation in my installation tries to catch the viewer’s eye but its glare also forms some kind of surface tension, an obstacle, which is difficult to pass but there is something to see beyond it.

I wish to thank the Arts Promotion Centre Finland, the Taike Arts Council of Uusimaa and the Kone Foundation for supporting my exhibition.

Further information:
Ida Palojärvi
ida.palojarvi (at)
+358 40 8388849



Pirjetta Brander and Emilia Niskasaari
Galleria Huuto Jätkäsaari, Jätkä 2
18 April – 3 May 2015

Landfill is an installation built using recycled cardboard. The cardboard used for the installation is as it was when it was picked up from the recycling room. The themes of the installation are garbage, waste and greed. The themes appear in the installation as a flock of birds smashing towards the light and as black holes, broken structures and surfaces and as movement and sound.

Emilia Niskasaari (b. 1981) and Pirjetta Brander (b. 1970) are both Helsinki-based sculptors. Landfill is their first joint exhibition.

For further information, please contact
Pirjetta Brander: pirjettabrander(at)
Emilia Niskasaari: emilia.niskasaari(at)



Salla Myllylä
Galleria Huuto Jätkäsaari
28.3. – 12.4.2015

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

Over the past three years I have been developing the idea of physically adding an outline or a mask to video by taping, painting or scratching. The idea arose from a frustration with lens-based images. It felt impossible to direct the viewer’s attention to exactly where I wanted it. At first the outline itself was important, but then I began to think that the gesture of drawing is more essential. Hence, I began to show the gesture in my works, giving them a performance-like character.

Removing an object from its background is one of the most basic printing and image editing processes. In the past it was done by physically carving the image plate, later using various overpainting and exposure techniques and today with image editing programs. There is a specific term for this process in Finnish, “syväys” (literally translated as “making deep”), which is the Finnish name of the exhibition. Some contemporary artists such as Tacita Dean, Rachel Whiteread and Ed Ruscha have used the act of painting out the environment of an object in a photograph as an esthetic gesture.

In my opinion, this is such a common, simple and basic process in visual culture that it has become almost invisible. It is where the professional practices of graphic design and the interfaces between different visual arts mediums intersect in a fascinating manner. Art historian James Elkins has said that the surround, the background which is unavoidably part of a photograph, is the most significant difference between a photograph and a painting.

In this exhibition’s works I have “released” commonplace items – plants and furniture – from their environment, inspired by the 1600s still life paintings as well as everyday product images. I have either painted the image area with white or black pigmented buttermilk or I have covered the area with soot and then scraped the surface to bring out the object. As the mask I have created is physical not digital, it leaks: light dyes it, it is translucent, side light shows its surface structure, it freezes in cold weather and rain washes it away. I let all this become part of my works.

The videos and series of still images in this exhibition showcase the results of my experiments over the past three years. This exhibition is a follow-up to the Notes from the Harbor exhibition I held in the same space during the spring of 2013.

I wish to thank the Arts Promotion Centre Finland and the Kone Foundation for their support. 

Salla Myllylä is a Helsinki-based artist working in between drawing and moving image. She graduated from the Free Art School in 2009 and from the Finnish Academy of Fine Arts in 2014.

Further information:
Salla Myllylä
puh. 040 181 0500

I can see NOTHING


Annika Bergvik-Forsander (FI), Adriel van Drimmelen (US/NL), Fredrik Lindqvist (SE/DE), Anna Ulff (SE/FI)
I can see NOTHING
Galleria Huuto Jätkäsaari 2

The exhibition theme is a quote from Alice in Wonderland:
Alice – “I can see nothing”
Cheshire Cat – “My, you must have good eyes”
We are a group of artists gathering around the theme of absurdity.

Visual artist Annika Bergvik-Forsander shows big black and white drawings in the scale of 1:1, that visualizes the movement of the sun in her studio, during a specific period of time and on a certain spot in the studio space. By repetitive documentation of specific traces/spots randomly made by the sun, the picture develops slowly according to the suns motion and the current weather conditions. Despite the objective working process the result is still arbitrary and quasi-scientific. The drawings have a character of secret messages, filled with nonreadable signs and letters.

“The Alice series” is a group of colored pencil drawings made on paper by visual artist Adriel van Drimmelen. All of the images within the series place an emphasis on mark making and composition while remaining stubbornly ambiguous. The titles given to each drawing are intended to aid the viewer in recognizing specific elements within each piece.

Fredrik Lindqvist is a printmaker with wood cut on textile as his primary method. In his work he is inspired by pop magazines, commercials and animal books. His big collages result in colourful combinations of several pictures in one. Lindqvist comments on the high and stressful tempo of today’s world, where the constant flow of images gives him material for drastic humour and chilling seriousness. In using a medival technique with contemporary content he creates an intruiging time clash.

In order to investigate the value of art and trying to find alternative methods for measuring that value, visual artist Anna Ulff processes her art works through the complete chain of the recycle system. She has documented the process and also run tests in the laboratory of the power company to find out levels of humidity, chemical element analysis, ash levels and last, but not least: the energy value of art.

Further information:
annika.bergvik-forsander(at) /
adrielvandrimmelen(at) /
f.lindqvist(at) /
hello(at) /

We Were Expecting You

Camilla Mihkelsoo
We Were Expecting You
Galleria Huuto, Jätkäsaari 2
14 February – 1 March 2015

“Everything not saved will be lost.”
– Nintendo “Quit Screen” message

“Misty, so misty. The mist was gray, of course. Then we drive to Etna, Mount Etna. Only nihilistic thoughts pop up in my head, but I cannot use them. I have painted a thousand boring days, a thousand boring days of life, in other words three years. Yes, I have found kids, old ladies, in marzipan colors, damn. I like wrinkled old ladies. And kids with smooth cheeks who don’t know what they are going to regret. While old ladies, all they do is regret.”

Camilla Mihkelsoo (b. 1978) graduated from the Free Art School in 2014. She has taken part in group and collective exhibitions. Her debut solo exhibitions will be held simultaneously at Galleria Huuto and Galleria Katariina Studio.

Further information:
camillamihkelsoo at / / tel. +358 40 654 1554



Heidi Lunabba in collaboration with Anne Pietarinen
Stigma – Photographs and installation
Galleria Huuto Jätkä 2
23 January – 8 February 2015

Who invites cockroaches over for a sleepover? Who wants to go on a date with a monkey or be a rat’s friend?

This series of pictures entitled Stigma visualizes different prejudices through animal characters. The pictures create relationships or situations that are common in our culture but that the norms prevent us from having with “the wrong kind of people”. The animal characters are models wearing masks. The main material used for making the masks is second-hand clothes that give the characters a distinctive look.

A discriminatory mindset is made possible through dehumanization and grouping, division into us and them, into different groups with different characteristics and behavioral models. Individuals are labeled with the group’s stigma. There are racists but very few of us want to be considered one of them. Most people know what kind of prejudices there are against different groups in society. We may not accept them, but is it possible to not let them influence our perceptions?

Stigma is part of a larger project in which Heidi Lunabba, in collaboration with people from outside of the art world and based on their experiences, creates pictures that examine and challenge the norms of society. The Stigma series has been produced in collaboration with Anne Pietarinen who also appears in all the pictures.

“My starting point was the idea that we all group our knowledge and experiences. We talk about artists, Christians, women, men, heterosexuals, homosexuals, winners, athletes, losers etc. This is what we do in order to be able to interact with each other. We build concepts and channels through which we perceive the life around us and its phenomena. I believe that this grouping is also sometimes stigmatizing, in which case it turns against people. This is the phenomenon I wanted to address.” This is how Anne describes the starting point for the series of pictures.

“During the project I became curious about how universal the characteristics are that we link with different animals. I asked an open question on Facebook and it sparked off a lively discussion as to which animals have different characteristics, while someone stated that people prefer not to link prejudices with a specific group,” Heidi Lunabba says. The difficulty with the theme is to highlight the norm and the prejudice without reinforcing it. “You begin to feel like you are discriminating if you have an idea of an animal that could be linked with a discriminated group, as if you are personally responsible for the discrimination”, Malin Klingenberg stated in the discussion.

“Through the animal characters we are able to access the prejudice itself instead of reinforcing the prejudice by pointing to a specific group. Foxes, rats and snakes can symbolize different things for different people. The pictures are based on the prejudices we think we see in our society,” Lunabba says about the pictures.

The exhibition is produced with the support of Svenska Kulturfonden, Kordelin foundation and Konstsamfundet.

Contact: Heidi Lunabba, heidi(a), +350503493029,