Galleria Huuto » Viiskulma
Notes from the mouth of shadows


Notes from the mouth of shadows

The 10-year history of Galleria Huuto Viiskulma will come to an end in January. The gallery on Uudenmaankatu will continue to hold exhibitions as usual and in addition Huuto will open a new exhibition space inside warehouse L3 in Jätkäsaari. The final exhibition to be held at Galleria Huuto Viiskulma will be Tuomo Rainio’s Notes from the mouth of shadows which will open on New Year’s Eve. The exhibition explores how process-like realities take shape in images.

Artist Tuomo Rainio’s (b. 1983) solo exhibition is a combination of photographs, videos and drawings. Instead of recording or presenting a moment, the images look for the space that separates two moments, the smallest possible change, noise of the world. Time moves like a wave. The wave of an event becomes stronger and rises until it reaches its peak and breaks.

Rainio’s works explore the construction and deconstruction of a picture on many levels. The dialog between the material and ideal dimensions is used for tracing a picture in a space preceding conceptual definition. Rainio employs various digital imaging and computer programming techniques in his works, tracing the smallest undivided pieces of a picture and reconstructing them to make something that is at times recognizable before they once again turn into fine pictorial dust.

This is how Rainio describes his work process: “The goal of creating a picture is unsolved. More important than the goal is the journey and the uncontrollable events encountered during it. However, you still have to be able to stop at the right moment. You have to be passively open and alert at the same time.”

A similar artistic process is mentioned in The Surrealist Manifesto: “Put your trust in the inexhaustible nature of the murmur.” This request is tempting but dangerous as it guides you towards thinking about the border where man has to give up something necessary. According to French philosopher Maurice Blanchot, “one has to waste time, surrender the right to act and the power to produce.”

Where do images come from and where do they retreat back to? This question challenges one’s imagination as one has to look further ahead for the answer, one has to go to a place where one’s identity meets its border and looks at the open sea.

André Breton has also paraphrased Victor Hugo in saying: “I still think it’s incomparably less difficult to satisfy the demands of reflection than it is to put one’s mind in the state of total receptivity, to have ears only for ‘what the mouth of shadows says’.”

Further information:
Tuomo Rainio
+358 (0)50 321 0783



The paintings by artists Heidi Lahtinen and Laura Pakarinen explore the tension between all-embracing emptiness and intensive presence.

The name of the exhibition refers to something undefined between breaths. It is also a metaphor for the communication that takes place between the artists’ works.

Pakarinen’s works are characterized by narratives and a representational style as well as the strength in small gestures. Lahtinen’s paintings, on the other hand, hide the content and seem to avoid a direct and immediate interpretation. After all, she is more interested in the background, the imprint on the canvas, than the surface.

– Antonio Mikael Sedita

“Laura’s paintings are tiny, compact and strong like a sudden breath, while Heidi’s paintings are like a sigh – quiet and unassuming. We have been working at the same studio for years and our paintings constantly observe each other and therefore they never drift too far apart.”
– Heidi and Laura

Heidi Lahtinen (b. 1984) and Laura Pakarinen (b. 1983) both studied at the Free Art School and graduated in 2011. Pakarinen began further studies at the Finnish Academy of Fine Arts in the autumn of 2012.

Heidi Lahtinen +358 (0)44 336 6746, heidi70cm(at)
Laura Pakarinen +358 (0)40 552 1434, laura.h.m.pakarinen(at)


Emotions on an ironing board and in underwear
The Cupid performance during the opening 13.11. and on Saturdays 17 & 24 Nov and 1 Dec 12 pm – 4 pm


Artist Aulis Harmaala’s installation It will take years includes a combination of items, a sound recording and a performance. The installation is a home-like stage where an ironing board, underwear and other everyday items act out a process of emotions. The items are accompanied by a compilation of songs sung from the heart. In the performance Harmaala shoots arrows as Cupid, giving the audience an opportunity to explore their thoughts on love and hate. The installation presents feelings and emotions as the foundation of
everyday life. Private thoughts of joy, sorrow, jealousy, fear and love are shared in a three-dimensional form.

The following text that leads to the installation: I talk about gentle and painful things. The couples counselor listens. I would like to be quiet. This is just as pointless as a relationship issue of Cosmopolitan. I won’t change. What if I mold the processes of my mind into items? They are just as ambiguous. I see grief, love, hate and caring in my items. From an objective perspective, my life is not filled with pure misery or infinite love, but I have the right to
experience it in the light of my own subjective knowledge. Do I now understand the other person better? I’ll wait, it will take years. Spinoza once said that “Hope is a joy not constant, arising from the idea of something future or past about the issue of which we sometimes

Aulis Harmaala was born in 1966 and currently lives in Helsinki. He graduated with a master’s degree from Aalto University School of Art and Design in 2011. He has also studied at Kankaanpää and Lahti art schools. Harmaala’s works are installations and place-related
performances. The themes he explores lie on the border of public and private, progressing from personal experiences towards public discussion. Dialog and social interaction also form part of Harmaala’s works.

For more information:



The exhibition “Black Birdsong Blue” shows recent paintings by Robin Lindqvist.

For this exhibition the artist has compiled a series of line-paintings, works balancing between drawing and painting. The monochrome painting, and its various positions in art-history, has served as a loose starting point for the artists own investigations of line and color. The paintings have been stripped down to these two fundamentals in order to clarify the ideas. The relation between pictorial space and the physicality of the painting is a reoccurring theme in Lindqvists works. Like parallel universes the imaginary space and the actual surface coexist. One of them is fiction. One of them is fact. And together they provide a place for the artists ideas to manifest.

Robin Lindqvist was born 1979 in Sweden. Since 2006 he has been living and working in Helsinki. In 2011 he received his MFA from the Finnish Academy of Fine Arts.

The exhibition at Gallery Huuto runs parallel to Lindqvists exhibition “Blue Birdsong Black” at Gallery Bergman, Uudenmankatu 23C, Helsinki.

The exhibition is supported by the Finnish Cultural Foundation.

Série noire


I am fascinated by the appearance of pictures, in other words their connection to the object, material and technique that makes them visible. Because it seems that pictures appear in a mass of paint spontaneously, it’s tempting to paint as if looking at clouds. We have a natural need to interpret everything we see. Therefore we often see pictures in smudges or simple brush strokes. We are constantly giving a meaning to a world that doesn’t have one. Perception is worthless without an interpretation. In a way, our imagination is what connects us to reality. Sometimes my pictures are close to being abstract because I try to understand the mechanisms of recognition. I want to explore the boundaries of the representational nature of shapes.

I have always been more interested in an analytical approach to painting, instead of an intuitive one. Marcel Duchamp once wrote that a painting is the apparition of an appearance (l’apparition d’une apparence). My aim is to decipher different phenomena. My paintings don’t only focus on what they portray, but also on the techniques used as well as the art and history of painting. I try to make each piece a critical image of itself, of what it is. Therefore my brush strokes are not so much expressive, but rather carefully thought-out and mainly manneristic. The aim of mannerism was to reveal the means of art, to represent art, rather than portray an object.

The title of the exhibition and series, Série noire, is the same as that of Gallimard’s detective and mystery novel collection that also inspired the creation of the term film noir. Série noire is a series of paintings about what we don’t see in the picture. This invisibility or absence is more significant than the actual object that we don’t see. My paintings contain a reference to the iconography of films because films in particular use these narrative methods that often make us imagine that we see something that doesn’t actually exist. So-called hors champ is literally impossible in paintings because a painting is not an imprint of reality, but rather a constructed picture, which means that nothing is ever left out of the picture. There is nothing beyond the borders of a painting to be left out. Nonetheless, the narrative possibilities of hors champ in a painting remain all the same.

Henni Alftan (b. 1979) is a young Finnish artist based in Paris. She has graduated from Ecole Nationale Supérieure d’Art de la Villa Arson in Nice and Ecole Nationale Supérieure des Beaux-Arts in Paris. Since then, her works have been regularly displayed in French galleries and non-commercial spaces as well as in other European countries.

The exhibition has been supported by the Finnish Cultural Foundation, the Alfred Kordelin Foundation and Oskar Öflunds Stiftelse.
Tel. +358 (0)50 467 8334

Exhibit no 4


The exhibition consist of drawing animation and its traces on paper.

Works presented study the subconscious side of the human mind and the logic of the human brain. These subconscious thoughts and feelings often guide our behavior without us even noticing it.

In my works I try to achieve that space between sadness and joy and fear and the sense of security. Something can be really funny until it turns sad. On the other hand something that is utterly mundane can suddenly turn into something very interesting. What is there in this in between space? What is that last thought or action that tips the balance to the other side? Does this space exists and is even possible to present with the tools of visual arts?

Petteri Cederberg has graduated with master’s degree in Fine Arts from Academy of Fine Arts Helsinki from the paintings department and is a member of the Painters union. Galleria Huuto´s exhibition is Cederberg debut show in Helsinki. He has participated in several group exhibitions in Finland and abroad, most recent one was in august 2012 in Tallinn Art Hall in a ”Silent Revolution” group exhibition that was part of the Tallinn Drawing triennial.



“Who said that the gods live in the heavens?
No, let me tell you once and for all:
Both the gods and the devils live in the sea.”

-Abilio Estevez-

The first thing I do when I get there is go to the shore to see if the sea is still there and what it looks like. I always stand quietly in the same spot looking at the same scenery, but it never looks the same. I have noticed that year after year I admire and photograph the same scenery but it is never entirely familiar to me. The place is the same, but the space where I stand and the scenery I look at are constantly changing. I focus on the sea, the colors, the changes of the surface and spatial observations. The Indian Ocean is another place where I can breathe – its infinity, color spectrum and unpredictability is amazing.

Time is the most significant reason for change. It affects the weather and light that make space go through a constant transformation. The constant observation of change and the desire to understand force me to stop all movement, both around me and my own movement. My aim is to depict a place and the space around it at a specific moment, as a fraction of a certain time and situation, but still as a larger part of an entity that is constantly changing. I do this by photographing and recording sounds, water, situations and events in the same place at different times and in different conditions – in calm, windy, cloudy and sunny weather. Even the smallest change in the weather alters the entire scenery.

When taking photographs, I often use a serial mode which makes it easier for me to demonstrate a change that would otherwise be difficult for the viewer to notice. Even though I have adopted a partly scientific approach to documenting the scenery, my own choices, personal experiences and preferences affect what I see and look at. I rebuild the scenery from small pieces in a very meditative manner, building a picture of pieces that did exist but creating scenery that has never existed.

Heini Nieminen

The exhibition has been supported by the Kotka Cultural Center.

Night of Arts, Thursday 23 August, open from 12 to 9 pm.



I have been interested in installations using string. The strings are aligned according to basic geometrical objects that are virtually established in the space to be installed. These string installations encompass paradoxical concepts such as ‘reality-illusion’, ‘material-immaterial’ and ‘order-disorder’. A real physical space (i.e. installation) consisting of strings is in line with an unreal fictitious space that arises from ‘illusion’ due to the intersection of the strings. Furthermore, these strings installed in a simple order eventually exhibit a complex form, giving rise to order and pattern as well as division and confusion.

In particular, my installations closely rely on the characteristics of the given space in such a way that the space itself is recognized as part of the installation and the audience experiences the variance of the installations’ optical illusion with respect to their position and perspective.

Contact: wonacho(at)



“Peter and the Wolf” is based on Sergei Prokofiev’s 1936 composition Peter and the Wolf that tells the story of Peter who catches a wolf and takes it to a zoo in a victory parade. The exhibition takes its starting point from the Peter and the Wolf story, but then continues on its own path.

The video is dominated by longing for the past and hopeful optimism has been replaced by resigned melancholy. The piece creates a world where a socially secluded person can only see one’s own past on the horizon.

“Peter and the Wolf” is artist Sakari Tervo and composer Juho Taavitsainen’s fourth video installation.

“The first time I met Peter was when I was in third grade. I was outside and saw a massive crowd in the school yard. I went closer and saw that Peter was there in the middle holding a thousand-mark bill and a revolver!”


Contact person:
Sakari Tervo
Tel. +358 (0)44 313 1285

The exhibition has been supported by
Arts Council of Helsinki Metropolitan Region



My exhibition is based on a poem that my late mother dedicated to me years ago.

My legacy –
What will it be?
Flowers in spring,
The cuckoo in summer,
And the crimson maples
Of autumn…


I have once again felt the power of friendly words, deeds and thoughts in the midst of big changes. I agree with what Jani Kaaro writes in his fine column “Koeta olla vähän kiltimpi” (“Try to be a little nicer”). I believe that when we are doing well, we are naturally friendly and kind to each other. All we need is small acts of friendliness to bring out that core and make it flourish. Kindness really does have “the power that can change lives and it can be the best, quickest and most efficient way to help”. Kindness is magical.

Ahimsa is a yoga term that is often translated as non-violence or non-harming. Following this principle will allow you to give up hostility.

While building this exhibition, my own life has switched into top gear. I want to dedicate my exhibition to everyone who has given me warmth, closeness, food, coffee, kind words, ears and paws. I am eternally grateful. You know who you are.

That’s All Folks


“That’s All Folks” is an exhibition centred around loss; be that of people, objects, focus or memory. But it also celebrates what can still be found, the residue or traces. The viewer is greeted with paintings, overhead projections and lampshades that splice a morbid fascination with death with a mordant humour. The work gently massages the truth, merging fact with fiction.

In 1928, two commemorative paintings were commissioned of the Santahamina barracks. The show features these two celebrative portraits, discovered in a seldom-used annex of the very building. Sadly it would seem that the artist never got to complete the paintings before his untimely demise but there is a rare elegance and atmosphere in these preliminary sketches.

Being remote from Helsinki, the artist resourcefully drew their inspiration for the paintings from an information brochure for the training school. The first of these depicts the dignified, doughty façade of the barracks early afternoon on a brilliant autumnal day. The second portrays the orderly central hallway, emblazoned in the full brilliance of a glorious morning sun. This reassuring image is set alongside an interesting x-ray of the original artwork revealing details in the underpainting invisible to the human eye.

The soldier’s ladies were not sitting around despondently, idling their time away whilst their husbands were out training rigorously. Accompanying these paintings is some of the ladies’ handiwork – their deft blades cut a number of fascinating stencils, making intricate designs with which to decorate the lampshades that illuminated their homes with delicate silhouettes. A number of these lampshades have been kindly lent to us for this exhibition.

Duncan Butt Juvonen (b.1972) is a British artist who has been based in Finland for the last 7 years. He graduated from the Finnish Academy of Fine Arts’ MA programme in 2009. He has had solo exhibitions in two Finnish art museums and the Finnish Cultural Institute (Stockholm). His artworks have been exhibited in 9 countries and are featured in the collections of two Finnish art museums and the Finnish State Art Collection.



Galleria Huuto on Laivurinkatu displays Kimmo Kumela’s (b. 1971) series of works titled Like shadows within us (21 steps into the night).

The starting point for the works was a photo portraying an overgrown jungle. The works reproduce, manipulate and reinterpret this theme through drawings, paintings and photographs. The exhibition tells the story of the journey into the photograph or it can be seen as a paradise series.

The exhibition has been supported by the Finnish Cultural Foundation and the Arts Council of Uusimaa.

Painted Words


The exhibition Painted Words consists of drawings, paintings and items. The starting points for the exhibition are narrative, surrealism and theatrical esthetics. Staging, roles and artificiality are used to tell the stories which are divided into two rooms, the stage and storage room of the imaginary theater, in the gallery space. In addition, the exhibition consists of dreams, nightmares, comedy, a story of a wise man from the east as well as clouds that the painter paints only to move the brush.

The material nature of the works (for example watercolors, gouache, oil paints, varnish, charcoal, collages and objects) and the differences between the works are a stylistic device. The paintings, drawings and objects are very different from each other, but the differences are what make them fascinating. Poetic connections, disconnections and the formation of new entities dominate the exhibition. However, everything is of equal value.

The name of the exhibition, Painted Words, refers to the narrative, poetic style and the ability to imagine, the will to grab words and “paint” with them. The poetic style is also a way to face reality. The works are striving for a dream-like, illogical and wild state.

Further information:
Tel. +358 40 7751 742

Approach through the negative


In Approach through the negative, multimedia artist Tuhkanen explores notions of color and light perception. She approaches subjects by choosing to photograph them for what they yield in the inverse. She also experiments with building three-dimensional “false negatives,” the inverse documentation of which is akin to a “positive.” Through these processes she employs sculpture, painting, performance, photography and video to play with the story of color and the behavior of light.

I see my artwork as investigations, conducted through moving images, three dimensional sculptures and still images. I investigate ideas of looking and seeing in a theoretical sense and as a physical act – exploring how we see more than our eyes do. Our eyes can deceive us- the brain plays a significant role in creating what we “actually see.”

Exhibition is part the Helsinki Photography Biennial 2012 program.

The exhibition has been kindly supported by the Alfred Kordelin

Open hours during Easter holidays:
Good Friday 6.4.2012: Open 12-16
Saturday 7.4.2012: Open 12-16
Easter Day 8.4.2012: Open 12-16

Cruelty and purring

Once upon a time there were witchcraft, holocaust, Auschwitz-Birkenau, so simply cruel that it is impossible even to cry. Still we have Rock’n’Roll, Blues & Jazz, ballet and palette…, kiss my ass and Bastetians like e.g. me, worshipping the most beautiful and the wildest Russian blue cat of mine, Kafka (though respecting all the pussies on this earth, I’m a feminist for sure). Truly odd things I paint about and could as well be executed, but that is nothing new. That’s the end of the story, good night!




One time I was standing by the Kajaani River with seminar papers in my hands, feeling an urge to do something. I want to get rid of the papers, brochures and guides. I don’t actually want to dispose of them. I want someone else to destroy them for me. I want to throw them in the river. I want to leave them to Mother Nature and let the river take them away. Water and drying would produce brown lines and moldy spots of different shades of green.

The OMK 1.1 seminar drove me to a world of greater abandonment and distress than what the seminar itself could ever be.

Alma Heikkilä



Dionysus, aka Bacchus, was the god of wine and fertility who came to Greece around 600 BC. Apparently, the Dionysus cult was introduced into Greece from two different directions. The cult that came from the east, Asia Minor, saw Dionysus as the god of fertility, emphasizing masks and phallic symbols. His myth included satyrs, sileni and other nature spirits. The other Dionysus cult came from the north, Thrace. There Dionysus was the god of intoxication, symbolizing ecstatic freedom. He was celebrated through drunken orgia. The cult also included the rite of omophagia, where live animals, even bulls, were torn to pieces and eaten. The cults integrated with each other, at least partly. During the Hellenistic period, the Dionysian orgia dominated by ecstatic exaltation gradually turned into mysteries that the Romans called Bacchanalia.

Later Friedrich Nietzsche described the Dionysian experience as a form of artistic experience. The Dionysian experience is comprehensively exciting and associated with objectless eroticism. The importance of eroticism for a human was also emphasized by Sigmund Freud, naming the human life instinct Eros.

When I paint, my aim is to get as close to the Dionysian wild force and ecstasy as possible. In my figurative works, I tackle comic-like elements by dipping them into the organic abundance of Baroque painting. My aim is to use surrealist techniques to make part of my painting experience available to the viewers.

Tapio Tuominen
+358 (0)50 305 2816

A relationship with the muse


The exhibition contains two series – Relationship Game and The Muse. What all the included works have in common is the technique (etching), a scanty range of colors and human description.

Relationship Game
A large work with twenty-three 50×50 cm human portraits and routes that vary depending on the composition. The viewer gets to reflect on each person’s relationship with the other, whether you can enter or exit the picture’s situation and who is outside of it all.

The Muse
The model for the series was the person closest to the artist, his spouse whose emotional world he knows the best. The model’s relationship to the artist is also closer than to any other person.

Expression with lines has become the pure art of drawing and the themes have been stripped down and simplified. Hallivuo has focused more on drawing itself than in his previous works. The narrative and comic book-like style of expression has changed and now emphasizes more the emotions, light and shadows as well as the rhythm of line art.

Tuomas Hallivuo
+358 45 633 6134



A picture begins with a detail – the shape of an item, a shadow or a stain.
The most important things are always found nearby.
A clip from a radio program, memories, pictures from magazines and something extra.
Details look for a match and complementary parts.
Once a picture no longer explains, but begins to ask questions, it is ready.

Jyrki Heikkinen
041 4696570



The first window of my life is located upstairs in my childhood home, the window of my old room. The view opens to the North: trees, the lights of Noiro Industry and still further the lights of the center of Kauklahti, quite normal urban area. As a child I daydreamed that the window opened me the way to the world. The Noiro Industry house transformed to the Eiffel Tower and the village of Kauklahti to New York.

During the years the windows have became replaced. They have faced to the street of Lönnrotinkatu, the statue of Yrjö Jylhä, the smoker’s area of Orivesi College and now the wood house quarter in Käpylä. But through these years the same thought of windows leading me to the wide world has remained. The window stands for me of the continuation and hope, the force of imagination, witch has never disappeared. Thereof I am highly grateful.



Hanna Räisänen’s exhibition displays paintings that are based on swatches knitted by the artist herself. The series of small paintings consists of 30cm x 32cm oil paintings on canvas. For the bigger paintings the artist has used MDF board as the base.

Hands, doing things with hands and comprehension have recently been the most central themes in the artist’s works. The paintings in this exhibition study the surface and structure of the knitting. The starting point has been the desire for a tranquil and peaceful lifestyle. The artist sees the slowness of knitting and these paintings as an escape from a hectic life.

Hanna Räisänen graduated from the Lahti Institute of Fine Arts in 2006. She has held private exhibitions at Taidepanimo in 2007 and at Gallery Uusi Kipinä in 2010, both of which are located in Lahti. In the fall of 2008, she took part in the Helsinki Artist Society’s Ilmapiiri group exhibition at Kanneltalo in Helsinki. This exhibition at Gallery Huuto is her first private exhibition in Helsinki.



FLEETING is the name of my book published earlier this year. The name refers to the temporality of everyday occurrences, fading memories and the swiftness of time passing us by. FLEETING, the exhibition, re-presents FLEETING, the book. The show reproduces and contextualises the book, assuming the role of a catalogue with illustrations and essays. With this dual format, FLEETING questions the idea of an original in photography as an artistic practice. The position of original artwork in relation to its reproduction reflects the problem of a real life original reproduced in a photograph. Because is it, really — and, muddled by memory, which is which?

Tuukka Kaila is a photographer based in Helsinki. His recent works deal with everyday occurrences, the lucid nature of time and the role and capacity of photography as its captor and transformer. FLEETING, published by the Estonian imprint Lugemik, is Kaila’s second book.

The work in this exhibition has received support from Arts Council of Helsinki Metropolitan Region, The National Council for Photographic Art of Finland, FRAME and Lugemik.

A hidden place


I have been working on portraits for quite some time. This is how I try to capture a person’s emotional state. The themes of my exhibition are isolation, growth experiences, beauty and repentance. I have been examining various works that have inspired me and one of the most impressive works is Rembrandt’s The Return of the Prodigal Son which deals with forgiveness and family disputes. I wanted to create a modern version of it. When lonely, a person may freeze, totally excluding other people. In a group we merge with each other, form groups that then fall into pieces and form new groups.

Love is love is love.

As a material, wood is old, natural and quite rough. I have worked somewhere between painting and sculpting before and I have thought about using wood for a long time. It proved to be an excellent, yet challenging material. My characteristic use of lines and a relaxed painting style combined well with each other on the wooden surface and underneath it.

Camilla Vuorenmaa (born 1979) graduated from the Painting Department of the Finnish Academy of Fine Arts in 2005. Born in Tampere and living in Helsinki, Vuorenmaa has held various individual exhibitions, but she has also been involved in, for example, the Young Artists’ Biennale at Kunsthalle Helsinki (2005) and the Taabor 09 exhibition held at the Aleksis Kivi museum in Nurmijärvi (2009).

Vuorenmaa’s works are also currently (14 September – 30 October 2011) being displayed at the Ostari exhibition held at the Virka Gallery, Helsinki City Hall, together with artist Nikki Jääskeläinen and sculptor Olli Salo.

Contact information:

Thank you for your support, Suomen Kulttuurirahaston Uudenmaanrahasto.

The world is the world


The environments people live in as well as the experiences they encounter have changed drastically over the past hundred years. We live in an era of quasi-rationality. Business occultists play their games and the random effects can be seen everywhere. As specialists explain on TV how technological development will increase thousandfold during the next 50 years, the pace will only become faster and faster and therefore it’s worth asking one question: what the hell is going on?

My drawings are a personal attempt to interpret the external world from the inside and tell it through the pace of the lines. A line in a drawing doesn’t depict anything that can be seen. It comes from the otherness of the mind, from an invisible land. The world of my works is not based on rationality and it should not be interpreted through scientific, artistic or academic hair-splitting or displayed to money men idealizing Nazism of beauty and celebrity mystique. My works are created as a result of intuitive drawing, carefully working with the subconscious and using marker lines and collage techniques.





“I call my sculptural paintings color experiences. The starting point of my works is the imitation of a nature-related experience or a thought provoked by a certain color. My own feelings are important to me when I work. It is similar to hiking outdoors in that I can focus my thoughts on my soul and find my own nature and natural state within myself.

Traditionally, nature refers to the untouched environment around humans. From a scientific point of view, humans are a part of nature. Therefore, humans and the cultural environment created by them cannot be considered the opposite of nature. “

Timo Tähkänen graduated from the South Karelia University of Applied Sciences in 2007, majoring in painting.

The exhibition has been supported by the Arts Council of Southeast Finland and the city of Lappeenranta.

Timo Tähkänen
+358 44 057 1364



Elina Vainio’s exhibition Earth from above is an installation that consists of advertisement pictures and a sound loop. It reminds us of the conflict characteristic of our time: real-time information on the entire world’s events sometimes makes us lose perspective.

The name of the exhibition refers to the iconic photograph created as a by-product of the first spaceflight – the moment when the thought that had been developing in people’s imagination for centuries was recorded on film. It also reminds us of our satellite eyes, going around in space and giving us an opportunity to virtually zoom ourselves outside the atmosphere and back to the street corner. Science is constantly developing and the information about our globe is versatile and can be updated in real time. However, the world that we see in advertisements and on the pages of magazines remains under control and unchanged, serving its purpose. The same images remain in people’s minds.

The core of the exhibition is the Planet Earth Advertisements series for which Vainio has collected pictures from Finnish and international magazines and posters over the past four years. The common denominator of the pictures is the perspective that has remained unchanged for decades, the perspective that Commander Eugene Cernan encapsulated in 1972 when Apollo 17 landed on the Moon: “We’re not the first to discover this, but we’d like to confirm, from the crew of Apollo 17, that the world is round.” Advertisements still show the earth as a small blue and green ball glowing in the dark, viewed from space. The images reflected in the form of the earth are reproduced in the pictures over and over again, advertising a variety of different companies, products and services. The reason why that perspective is so common in western marketing campaigns is that the earth offers a recognizable image of a mutual and understandable world, whether it is a question of specialization in university studies, the largest gumballs or an international courier service.

Elina Vainio’s (b. 1981) works are often series or spacial installations that observe reality as a structure under various influences. In addition to her own artistic work, she has taken part in a number of situation and place related projects in Finland and abroad as a member of the international Transidency collective. Vainio graduated from Chelsea College of Art & Design in 2006 with a bachelor’s degree in fine art. She is currently doing master’s studies in the Department of Time and Space at the Finnish Academy of Fine Arts. The exhibition at Gallery Huuto is her first solo exhibition.

The exhibition has been supported by the Oskar Öflund foundation and Genelec.

For more information: Elina Vainio / 040-7787768 / elinvainio(at) / /



THE MOMENTS WHEN I REMEMBER – an interactive installation

Hetkinä joina muistan (The moments when I remember) is an interactive installation about the event of remembering at the time of love and separation. Gallery visitors can take part in the installation by creating their own experiences and stories with the help of a tablet computer. All works include four different sound that the viewers can listen to. Based on their experiences, the viewers can then choose the sound that is the most suitable for each work. The viewer can also name the works and tell what they smell like.

The installation has been exhibited in Rovaniemi, St. Petersburg and Saarijärvi. In all of these places, the gallery visitors have begun to build their own unique stories on the basis of the works. In Rovaniemi, a 30+ man named Work 1 (see below) “Risto left again” and said that it smells like “Midsummer Day”. Sasha, a little girl from St. Petersburg, named the same piece “темный”/”dark” and said that it smells like “лес мала дереврей”/”forest few trees”. When analyzing the data saved on the tablet computers we noticed that perception is partly subjective and that the viewers’ own experiences affect how they interpret the works.

The aim of our exhibition is to reflect on memory, its vagueness and the subjective nature of how people interpret their experiences. The installation includes the nostalgic moment of remembering after separation when the good and beautiful things related to the relationship feel the most painful. Our works deal with breaking identities when a person’s own, made-up love story meets reality and the person realizes that it was all made-up: the other person experienced the situation in an entirely different way. What was really true?

Our exhibition is interactive through personal participation but it is not a piece where people mechanically interact. Visitor get to create their own meanings with a technical device, associating the atmospheres of the works with their own memories.

Our group consists of experts from different fields. Maria Sipilä and Johanna Vanhala were in charge of planning the contents of the works and they also took care of the photographs, videos and the costume piece. Iiro Hokkanen was responsible for sound design, Juha-Matti Toppinen for set design, Ilkka Otsala for the PDA interface and Maria Gullsten for production. Matti Niinimäki and Janne Hast were in charge of the interactive works. We have developed the works based on the feedback we have received.
Contact information: Maria Gullsten, +358 40 595 8852, maria.gullsten(at) Internet:



My exhibition shows a soul appearing in the landscape.

The starting point is a photograph I have taken, a landscape to which I add and from
which I remove objects and people. The end result may be far removed from the
original picture. In the end, the pictures are like still scenes where the person
has unavoidably ended up – in an observation setting and being observed.

The aim of my photographs is to achieve the atmosphere that is created when the
train that you were supposed to catch flashes by and blows the snow in your face or
when people disappear underground by the letter M, just to reappear in a darkening
night like they were under hypnosis.

Mia Seppälä
Tel. +358 44 531 0570

Explorations from A to Z / The Space in Between


Paintings, drawings, collaborative drawings

For the past couple of years we have been drawing intensively together, usually through correspondence. Working together provides a playground and visual discussion where we both have the freedom to add and change various elements. Pictures are created layer by layer, often during a certain period of time. We don’t usually have a specific theme or subject – at least not in the beginning. Pictures are ready once we both accept them. We always give our works a double title because we both have our own interpretation of each work. Drawing a picture together with someone else provides new dimensions and opportunities. When working this way, we live in a parallel universe that resembles a science fiction story or an expedition to unknown territories where everything is interesting. We have both found this cooperation to be a natural extension of our own artistic work. This is our first mutual exhibition and it also includes our own individual works.

Trine Pedersen

Painting plays a key role in my works. I’m fascinated by its versatility and my aim is to constantly expand my works in many different directions. My works are two- or three-dimensional.

Creating different surfaces, a feeling of space and working with a composition, color, shape or contrast is important to me.

The abstract expression that my art represents emerges from both conscious and unconscious elements of my everyday life. I use the elements to create a fictitious reality, a journey in time or through space that represents both the past and the future.

Trine Pedersen is a Danish artist. She has studied at Funen Academy of Fine Arts in Denmark as well as at the Edinburgh College of Art in Scotland.

Tero Kontinen

I see the surface of a drawing or a painting as a space where I begin to compile fragments that may come from experienced scenery or that may be borrowed from another source. A picture consists of observations and memories, forming overlapping networks. Different kinds of juxtapositions fascinate me; how a certain element appears in different contexts. One motif can have a double meaning, an abstract element may seem concrete and a concrete element abstract.

Tero Kontinen is a Finnish artist. He has studied at the Finnish Academy of Fine Arts in Helsinki.

Further information:

The exhibition is supported by the Arts Council of Finland.



The starting points of my paintings can be found in the line that spaces out and sketches the scene. A certain theme offers a basis that will soon be beaten, simplified, softened, or abandoned by the painting process. The result is a documentary on the moments spent by the canvas. Not like a landscape anymore, a work can be quite far from its starting point. Eventually, it is just something painted: the language of a painting and the result of physical activity.
My paintings can often be placed somewhere between the performing and the abstract which also makes them surveys of perceiving. For me, a part of what makes a painting interesting is not knowing exactly what I’m looking at.

In addition to oils, I use spray paint and the occasional acryl paint.

The exhibition has been kindly supported by the Alfred Kordelin Foundation.

Contact info: +358 45 6384705, mia.saharla(at),

FIRST OF MAY OPEN HOURS: sat 31.4. open, sun 1.5. closed.

Hannamari Matikainen


Toys and play have once been a part of everybody’s life. Hannamari Matikainen does not aim at playing her entire life; for her, childhood is not a separate era in life but a coherent and equal part of any adult. Her themes are not merely nostalgic memories of the past but also important parts of a collective memory – of tradition.

A traditional Russian matryoshka doll offers no surprises. The nesting doll, an object-within-similar-object, is a mother figure whose offspring are smaller and more simplified versions of the mother but otherwise similar. The easily humanized animal figures of Hannamari Matikainen’s matryoshka, however, are by no means the spitting images of their predecessors. The bigger character’s wish for a similar descendant has not been taken into consideration. Whether a new figure is born from the bigger one or a bigger one is based on the small one remains a surprise. An odd number can be seen as a continuum whereas an even number suggests the end of something: one has been perfected by another.

The role of Matikainen’s animal figures remains unclear. The animals have been pictured moments before they realize if it is a positive or negative surprise they have just experienced. The models that include animals from the “World’s Ugliest” competition are easy and safe to call ugly – after all, the figures transform all the negativity into disarmingness which, in turn, creates understanding. Nevertheless, each and every one of these cuties is a potential troublemaker.

Hannamari Matikainen reorganizes her pictures even after they are finished. She extends her technique and questions her own hand by subordinating her monotypes yet again into plates and thus into future pictures.

Krister Gråhn

Contact info:
Hannamari Matikainen
Tel. +358 40 5359021

In memoriam, Still Life


Laura Mela 1964 – 2009
In memoriam, Still Life

Oil paintings

The name of the exhibition has a double meaning. Besides the obvious fact that the exhibition contains still life paintings, it can also point at a life for some reason restricted in a way that makes small nuances and small everyday matters important. The paintings consist of relatively few elements which are repeated with certain variations of the basic pictorial structure.

Laura Mela, March 2009



My paintings, via the human face, show difference, imperfection, and sometimes ugly ducklings. Each of my paintings tells a little story that can either be identified with or rejected, and the concept of the Other is a topic I often ponder in my works. Fortunately, however, identifying with something does not always have its roots in admiration or imitation – we are, at times, able to openly face the foreign and the strange.

In addition to the human faces (pigment and oil colours on MDF board), the exhibition features snowy landscapes. These sceneries emphasize my special interest in the materiality of the art of painting. For me, making art is a constant dialog between the content and the process of painting. By underlining the material aspect of my paintings, I wish to deliberately interrupt the story sessions created by my works and experienced by myself and the viewer.

Maria Wolfram (Master of Fine Arts) graduated from the Chelsea College of Art and Design, London, in 2002. She lives and works in Helsinki. The exhibition at Galleria Huuto is her thirteenth solo exhibition.

Contact info:
Tel. +358 50 3397 310, wolfram(at)

Silent Room


I am sitting still in this room. I try to be my body;
my toes, my heels, my legs, my knees, my thighs, my hips,
my stomach, my chest, my hands, my neck, my face. I try to be my breathing – the short inhalation and the longer exhalation.

I try not to be my thoughts that wander around this room.
I am neither the thought that is long gone from this space and time: nor the one that comes to my mind, desperate for attention.

Hiljainen huone is a space I have built to the premises of Galleria Huuto Viiskulma. The exhibition consists of private meditating experiences by other people and me. Someone immersed in their own experience meets a viewer who can only see a trace of the experience on the other person’s face.

Matters have an inside and an outside. An image can only tell so much about an inner experience, and a picture of a face is a shell we try to interpret. While the number of things that need interpreting decreases, those things are emphasized – a cough, a swallow, the opening of eyes.

Mari Mäkiö is a student of photography at the Aalto University School of Art and Design. Hiljainen huone is her first solo exhibition.

Ina Aaltojärvi is a student of sound design at the Department of Lighting and Sound Design at the Theatre Academy of Finland. She has designed the soundscape of the exhibition.

Additional info:
Mari Mäkiö, mari.makio(at), +358 40 733 6120



“We are forced to choose between meaning and ex-sistence, and the price we pay for access to meaning is the exclusion of ex-sistence.”
– Slavoj Žižek

Joonas Kota’s exhibition consists of paintings made on fabric and pages of magazines displaying luxury products. The magazine pictures presenting objects of desire are distorted in the works and, in a way, the pictures remain inside the paintings as transparent reflections. Kota’s works make the viewer ponder the illusions built both by the painting and the advertisement.

The works of Kota have been influenced by artists such as Neo Rauch, Tal R, David Hockney, and Sigmar Polke.

Joonas Kota (Master of Fine Arts) graduated from the Finnish Academy of Fine Arts in 2002. During the years 2005–2009, he lived in Copenhagen.

Kota’s main exhibitions include solo exhibition Trailers at the Kluuvi Gallery (2004), collection exhibition Miehen mitta at the Helsinki City Art Museum (2004), solo exhibition Flaw in Barcelona (2005), group exhibition Songs of Freedom and Love at Platform Garant, Istanbul (2006), Serendipity at 1A Space, Hong Kong (2006), and the latest group exhibition Dialogues at the Central Exhibition Hall ‘Manege’ in St. Petersburg (2009).

Kota’s works are included in the Nelimarkka Fund Foundation’s collections as well as in the collections of Helsinki City Art Museum, the Päivi ja Paavo Lipposen Rahasto fund of the Kansan Sivistysrahasto foundation, and the Museum of Contemporary Art Kiasma.

The exhibition has been kindly supported by the Majaoja-säätiö foundation.

Book of Songs


Utställningen består av 2 videoverk Älva del 1 och 2 som är del av en trilogi, resa in i den celestiala dimensionen, behandlande nutida frågor om den ekonomiska/ekologiska/sociala och ideologiska kris som strömmar igenom västvärlden.

Arbeten föreslår att ett mer spirituellt närmande till nämnda frågor skulle kunna balansera dessa och bygga en mer holistisk/hållbar utveckling för framtiden, bla så i den finska folktron finns ett begrepp att allt är besjälat, vilket betyder att ens egna handlingar påverkar andra, vilket skapar en förståelse att allt är interdependent, i växelverkan, då kan en respekt inför allt uppkomma pga av att allt är levande.

I arbeten behandlas också transition/transformation helande relaterat till min egen process i gender korrektion ifrån man till kvinna, men i en inre form och i dialog med bla mina andra video arbeten Trans Am(2006) och A Song for a T(girl) 2010 som behandlar konstruktion av gender/identitet mer i en yttre formation och på ett medvetet plan, Älva del 1 och 2 kommunicerar mer med det undermedvetna och berör en större del, för det vi förnimmer/ser är endast en liten del av verkligheten. Tidigare har jag använt ytan, den lins baserad formen av medium som fotografi och video för att förstå de förändringar som sker mer i kroppslig/fysisk form, nu har jag varit intresserad av att undersöka hur medvetande/själ skapas igenom konstant arbete för att också utveckla personlighet/identitet och själ då de första åren av den här gender korrektions processen är väldigt koncentrerat på det yttre. För att gå igenom alla behandlingar/operationer och ingrepp har jag varit tvungen att lära mig mycket nya saker och bättre ta hand om kropp och själ.

Min intention har också varit att jobba med andliga frågor, då det bla varit helt tabu tex i England där jag studerat, vilket är underligt, då all form av holism meditation/yoga m.m. har gått mainstream i samhället, men behandlas inte mycket inom konstfältet. MIn ambition har varit sedan länge att jobba med frågor som inte kanske är så accepterade ännu bla med kön,sexuell orientation, friheten att forma sin identitet och nu senast om holistiska tendenser i samhället.

Som inledning berättar är mina arbeten komplexa i sin natur och hyser många olika frågeställningar, plan eller dimensioner. Jag försöker också skapa arbeten öppna och non linjära i format, då väldigt mycket i samhället är realtime eller reality baserad och för att publik själv skall kunna associera/tolka.

Dessutom kommunicerar arbeten trots min kosmopolitiska finskslovensktyska bakgrund med en finsk tradition, kalevala och berättandets magi och helande där tex en av mina släktingar nära Ilomantsi varit en runonlaulaja dit människor sökte sig för att få råd,läkning och stöd. Jag vill återknyta till en finsk tradition av berättande/narration men i nutid för framtiden och som hyser en komplex dynamik som för betraktaren in i ett associativt rum där de själva kan förnimma/beröras och erindra. Där är också viktigt att vi i Finland på bara nån generation har gått ifrån ett jordbrukar samhälle till ett högteknologiskt, där vill jag arbeta kreativt på att erbjuda/skapa ett förhållningssätt som balanserar människa-natur-teknologi.

Tanken har också varit att utveckla mitt konstnärliga arbete ifrån real time baserad arbeten bla skildrade i Trans Am 2006 och A Song for a Tgirl 2010 för att börja jobba med narration/berättande utifrån ett djupare plan som just kommunicerar med det undermedvetna och därför får en mer drömlik form eftersom mina nyare arbeten och kommande är dröm baserade,
där jag aktivt arbetat med dröm rum.

Tack AVEK(Heidi Tikka), Svenska Kulturfonden, Centralkommissionen för Konst, Eugene,Elisabeth och Birgit Nygrens stiftelse




The exceptionally cold weather of December 1978 – the coldest during the entire 20th century in many regions of Finland – continued until late January 1979. Krister Gråhn was born at the Turku University Hospital on 13 January. The strongest earthquake ever registered in Finland took place on 17 February, 1979, in Alajärvi, Ostrobothnia. By that time, Krister Gråhn’s parents were already living there. Gråhn went to daycare when he was seven months old, and started the first grade of elementary school when he was seven years old.

At the age of sixteen, Gråhn asked his mother to call the Alajärvi Upper Secondary school and let them know he was not coming. This was two days before the beginning of the term. For two years, Gråhn lived in Northern Ostrobothnia and attended the Liminka School of Arts. Everything he needed at the time could be found within 400 meters.

When living in South Karelia, Gråhn walked over ten kilometers every day. The official downtown Imatra only exists on paper – in practice, you have to walk five kilometers to get from one area of habitation and services to either of the two other ones. In 2001, Gråhn graduated from the art department of the then South Karelia University of Applied Sciences.

The new Occupational Safety and Health Act was ratified in Finland on 23 August, 2002. Krister Gråhn moved to Tampere the same day. On 4 October, 2002, the main Finnish newspaper, Helsingin Sanomat, published an article about the shortage of male stem cells in cell banks. New donators were pleaded to come forward. Gråhn was turned down.

In the spring of 2005, the migratory birds returned later than usual. From the fall of 2005 until the spring of 2008, Gråhn studied at the sculpture department of the Finnish Academy of Fine Arts. In 2009, he graduated as Master of Fine Arts.

On 15 February, 2009, an occupational health seminar was held in Tampere. Krister Gråhn did not participate. He did, however, take part in the Mänttä Art Festival and the Nuorten näyttely exhibitions for young artists in 2006 and 2009. In addition, he was a member of several artist groups, the latest of which was introduced at the Forum Box gallery in Helsinki in December 2009. Between 2003 and 2010, Krister Gråhn has had nine solo exhibitions.

Since 2008, Gråhn has been the chair of the editorial staff of the “1/2” paper, published by the Rajataide ry art association. Krister Gråhn is a member of the Association of Finnish Sculptors.


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In Leena Nio’s exhibition Muukalainen (‘Stranger’), identifying with something or someone as well as being an outsider is discussed by means of trivial themes and physical experience. There are large works at the small gallery premises – far too large to be looked at from a convenient distance. This is where the materiality of the works is emphasized: Forced by the gallery premises to step closer to the works, the viewer will see the thick layers of paint and the traces of the brush. It can happen that, instead of a theme, the viewer only sees rough paint and fabric that
has been scraped forth from beneath the paint. The work cannot be perceived properly, and physical proximity turns into distance.

The dialog of moving closer and pulling away again can be seen in the themes of the works. All the paintings include an aspect that separates the viewer from the work, such as a sheet of glass, a lattice, or some other kind of a surface. Physically, the viewer is close to the paintings, but the matters portrayed by them – strangers and other fishy subjects
– are unattainable, or at least far away due to the separating surfaces. The viewer, too can become a stranger, a voyeur, while trying to see through the louvers and lattices. Additionally, the exhibition is in conversation with the city milieu outside. As the curtains are unexpectedly drawn, the gallery and its visitors are separated from the passers-by. The physical space of a visitor becomes limited – not unlike the paintings’ subjects that are only partially visible.

While they feature separating and estranging, Nio’s works offer a chance to move closer and to identify with someone or something. Human beings build various kinds of protective shields around them, but often there is a
crack or a hole through which to peek. As unexpectedly as they were drawn, the curtains can be opened. The light may reveal a hidden gaze. The reflection in the aquarium glass can reveal something that has already glided away. What the glass reflects is oftentimes more interesting than what there actually is behind the glass. What is hidden from view can be imagined by everyone individually. The exhibition encourages to look at the world observantly, through the eyes of a stranger, in order to discover the everyday surroundings – an inexhaustible treasure trove of secrets.

Text: Silvia Hosseini

The exhibition has been kindly supported by the Uusimaa Regional Fund of the Finnish Cultural Foundation and Suomen taideyhdistys.

Additional information
Leena Nio
tel. +358 50 3738793



Sometimes you may dream of a person you haven’t seen in years, or someone
who is distant in some other way, dead even. In the dream this person is suddenly
intensely present, he/she may come close to you, touch you, even caress you.
When you wake up from the dream you feel good, warm and full somehow.
Gradually this feeling of being loved merges into a kind of longing: you start to
realize that the meeting with the other was in fact nothing but a dream. It was a
creation of your own mind, a glimpse at your own imaginary world.

The same kind of longing can be aroused by many kinds of dreams. One might for
example dream of a big city. In the dream, one will have just arrived in a metropolis
for the first time, eager to discover its streets full of promise (or threat, if its a bad
dream). Sometimes one might also dream of entering one’s own home, a house,
which has suddenly changed, become bigger and more complex. There might be a
new room in the house (and maybe from that secret room opens a door into yet
another new room, and so on.)

In my work I aim towards the slightly disturbing, melancholy sensation that follows
such dreams. It is a strange sort of longing for something/someplace that doesn’t
really exist. It is a kind of a phantom pain, caused by the discord between reality and
a person’s own inner world. At the same time I’m also interested in the following
themes: love, sexuality, family relations, the difficulty of truly facing another person,
loneliness. There are elements of all of these in my work.

Ida Pimenoff received her Master’s Degree in Photography from the University of
Art and Design Helsinki in 2004. Her works have been shown in several group
exhibitions in Finland and in France. Her previous solo exhibition Where the Light
Falls on Your Skin was in Photographic Gallery Hippolyte in Helsinki in 2006.

The exhibition has been kindly supported by the Finnish Cultural Foundation,
the Arts Council of Finland and Konstsamfundet.



This exhibition consists of small sculptures which mostly are made out of different kinds of wood and about small water color and Indian ink paintings on paper. In addition I have used some other materials, for example: paper bag, aluminum and various small plants.

Works are like diary notes for me, moments in space or in site. Art pieces connect to my personal environment and architecture in general. My fleeting feelings and moods have had effects on shape of these spaces. In these works I play with perspective or our experience about perspective. Works are monumental although they are small.

Every work is like a situation and has drama and narrative in itself. If You want, You can read these pieces like short stories.

Art Counsil of Finland/ Visual Arts and Saari residency/ Kone Foundation have supported my artistical working for this exhibition. Thank You.

More information about the exhibition: mobile +358 40 532 0787.
You can check out my earlier works:



How to defend oneself, how to prevent the bad from attacking? How to keep
unwelcome things from happening or coming closer? Is there any way to avert?
How much is enough – how clear a message is needed? Don’t come closer, don’t
touch, keep away, no? Animals and even plants have their ways of protecting
themselves against attackers. A human being needs something more –
artificial items to imitate the protective and defensive means of nature;
nails, teeth, spines, or a place to hide.

The exhibition has been kindly supported by the Arts Council of Finland and
the Finnish Cultural Foundation.

tel. +358 40 7013701


Olle Essvik is an artist based in Gothenburg. He has been exhibited in various countries, of which one can mention The art museum in Reykavik, The Louise T Blouin Institute London, Embassy gallery in Scotland and Pixxelpoint in Slovenia. He is also represented and is part of collections in U.S.A and Scottland. Olle has also taking part of art projects at The Gothenburg Bienalle, the culture festival in Reykavik, the Istanbul bienalle, and Supermarket at Kulturhuset in Stockholm. For more info visit:

In this exhibition Olle has been working with a project as a Swedish explorer in Finland. The exhibition is humoristic and in forms of texts, objects, films and images that he has been collecting while exploring Finland. The projects has been ongoing, on and off for a couple of years. Residencies in Åbo and Helsinki has made it possible for Olle to study Finland closer. The time has now come to show the result of his explores and adventures to the people of Finland.

Olle is interested in the romantic idea of exploring that under earlier decades was surrounded by myths and adventures. What could such a travel be like in 2010? Can a place be unique and unexplored in a world where different levels of communication makes societies develop in the same direction and brings us closer. What is left to explore?



The “balance of nature” depends on the environment, and the environment is always changing. Nature is thus better thought of as being in a state of constant flux – always going somewhere but never arriving. Human intervention is just another way of changing the environment, and hence the direction of development of the ecosystem.

– Cassell´s laws of Nature, James Trefil



The Northern seasons are greatly pinpointed by the radical changes of dark and light, and cold and warm. After the lightless fall and early winter, the amount of light gradually begins to increase. The physical and mental effects of the light can be experienced as early as in January. As Northern people, we have an innate connection with nature. Thus, we don’t even consciously notice the small signs in the urban nature or in the forests that hint the coming-along of the spring or fall. Year after year, the bright spring skies in March feel as amazing.

I discovered that the progress of spring, in addition to following the nature, could be followed from the colors of the ads on the main newspaper. When the snow that had covered the streets and parks finally started to melt, the white ads melted away, too. Likewise, when the lawns started turning green, the same color appeared in the ads.

I collected newspaper ads from January until April, and turned them into color mass with the help of a shredder. I sorted out the primary colors according to months, and put together a work that suggestively follows spring.

There is an installation called Sadepuutarha (“Rain Garden”) in the back room. The Japanese text has been kindly translated by Mayuko Ozaki.

Elina Strandberg
Tel. +358505648143



Hanna Saarikoski (born 1978) paints in a disturbing way. Her articulation is not bound by aiming at serial works or otherwise by repeating a recognizable style. The size and shape of the paintings vary from one work to the other. She uses both oils and aquarelles, and masters both techniques to such extent that she is able to greatly vary her styles. Saarikoski’s style is intentional. She works with the painting surfaces on the terms of her themes, and the results can, even within a single painting, look like the contributions of several different artists.

Saarikoski focuses on her paintings as individuals. A connecting factor is aiming at interfaces, often very concrete ones, such as a window as a space divider, or a reflection in a mirror. Even more often, the interface is an imaginary moment between life and death: a space or a time during which it is difficult to define the presence of a human.

Saarikoski deals with the most personal aspects of a human: the subconscious and the memories.

It is hard to get a grasp on the atmosphere of the paintings. Simultaneously, they include both merciful gentleness and creepiness. In the works, death becomes concrete in many ways. On one hand, dying is slow fading away, disappearing from sight, or fleeing. On the other hand, it is breaking away.

The works take advantage of layered meanings without being afraid of clichés. An orchestra of skeletons, as a theme, is popular and thus smooth-worn enough to be used for new purposes. For Saarikoski, a skeleton is rather a metaphor for a dead person than a symbol of death. In the paintings, the skeletons are lifelike. The concrete theme of the paintings is a depicted memory, but thanks to all the associations, the skeletons can be taken, for instance, as buddies of pop legends or Mexican Day-of-the-Dead figures.

Veikko Halmetoja



The hilarious collaboration of Aku Korhonen and Samuli Nieminen continues;
This time we will be celebrating tattoos and art rentals.
Come to see how a picture strikes to the skin, and try to do a picture yourself.
There will be variety of new, splendid art works and a chance to make some great discoveries that will cheer up the atmosphere of your home.
More information about schedules etc. from gallery and Aku & Samuli

Aku: 0414630933
Samuli: 0503393658

Find us at Myspace and Youtube!

Bobʼs Your Uncle


Bobʼs Your Uncle is an exhibition of installations by artist Sigbjørn Bratlie (Norway), along with photographs and videoworks made in collaboration with photographer Arne Langleite and cinematographer Askild Vik Edvardsen.

The exhibition consists of a series of interrelated works that explore the concept of the artist as antihero.

Influenced by popular culture – comics, movies, TV and advertising – the show seeks to
represent and reflect upon contemporary visual culture in terms of confusion and bewilderment. This antiheroic perspective involves the appropriation of a specific type of language: While using the cheap, easily digestible devices of mass entertainment and advertising, the works still try to convey a message.

At times, the work is more about the struggle to make sense and to be meaningful than anything else. It also taps into some of the philosophical concerns of the early conceptualists: Their interest in sign systems and Saussurian linguistics, while channelling into it a humorous
lightness or irreverence that is primarily influenced by comics and slapstick movies.
In essence, the work tries to both represent and make linguistic sense of the endless torrent of mass media imagery that surrounds us today.

Sigbjørn Bratlie
Tel. +47 930 47 725

Made in Bangladesh


JP Kaljonen (b. 1976) is an artist who has dealt with intercultural meeting points and the relationship between majority and minority cultures. The starting point of his work is conceptual, moving on to the practical implementation together with a community that is related to the topic.

The exhibition Made in Bangladesh at the Huuto Gallery Viiskulma consist of a series of photographs and a video work.

In the photos Bangladeshian garment workers pose wearing western fashion clothes. The workers – most of them young girls – imitate positions they have seen in fashion pictures. The clothes are the same the workers make every day, but never wear themselves. After production the clothes are exported to western countries, for example to Europe. There European fashion models show them to local consumers in environments serving commercial goals. In this way disappear the individual and the questions related to working conditions behind the cloth. By contrast the workers are photographed in their immediate environment.

The video follows the clothes journey from Bangladesh to Finnish fashion markets. It shows how the clothes are anchored to new environments and people. In the video the clothes sewn by Bangladeshian garment workers are worn by Finnish professional fashion model.

The garment industry in Bangladesh is a kind of wild east for western companies. To keep the fashion trends rapidly changing the companies produce their garments there with very low costs and tax free. As a gift in return they employ locals. The working days are long, poorly paid and the workers don´t have a chance to organize themselves.

The series of photographs is made in 2009 in Pubic Art Workshop Art can change life organized by Porapara Space for Artists in Chittagong, Bangladesh – in cooperation with local garment workers. The video work is made in 2010 in southern Europe.

Thank you Porapara Space for Artists, Avril Styrman, Satu Tuomisto and all who participated the project.

The exhibition is kindly supported by Art Council of Uusimaa.

For more information please contact to jp(at)



My expedition in the asphalt jungle and among its treasures has created an amazing miniature world of crumples, creases, smudges, and covers; of broken, chucked- and sucked-out, and spat forms. All things abandoned and worthless are alive.

In Prague, I took hundreds of photographs of the treasures in the streets. I systematically organized the pictures into heaps according to their uniformity and use. Of these heaps I drew tabulae with the trash classified into categories, orders, genera, and species – all in the spirit of Carl von Linné.

For me, drawing is an unfamiliar technique. Being a dispassionate drawer, I increased the challenge by using colored pencils. The calmness created surprised me: the meditative state helped me concentrate and enjoy the private working moments. The peaceful silence was only interrupted by the scratch of a pencil and the eraser on the paper. Drawing was slow and monotonous but addictive.

Susanna Autio
Tel. +358 50 379 1394