[En] How to Craft Portfolios: Visiting Muu Ry

Thanks to a tip from Jyrki Kirjalainen I got the opportunity host a course at the Finnish Academy of Fine Art. It’s been a while since I’ve done any teaching.. And this is the first time I’m runnig a intensive course on how to make portfolios. I’ve previously hosted only performance art courses. A friend who has worked alot as a teacher told me that instructing technical things (like how to use desktop publishing software) is more relaxing then teaching others how to make art. But I’m not sure… I’ve collected all sorts of online tutorials, images etc. online and additional material will be published during the week.

I hope this material will be of use for others in the same situation and if  you have some ideas on how to improve the plans, you can write suggestions and changes straight in the text. Below is a memo from a field tript to the Muu Ry Association portfolio library.

Artist Timo Bredenberg arrived for the voluntary Valentines Day date at Muu Gallery. He’s not attending the course so it was fortunate that he came. We browsed trough the Muu Ry portfolio library together. The library is open for all visitors and if you want to have a general view on how artist present their work in printed from I recommend you make a visit there. No appointment is required and Muu Association staff will answer any questions that you might have.

When artist apply for membership in Muu Ry they submit their portfolios for evaluation. If they are accepted the portfolios are added to the library. Members are encouraged to update them over time.. But unfortunately artist seldom find the time to do this. The library was cleaned a couple of years back and some really old un-maintained portfolios where tucked away. Even so most of the portfolios there today have not been updated for a few years. So you wont gain insight to the current Finnish art-life there.. Luckily most of the members have web-porfolios (http://www.muu.fi/site/?page_id=18) and some even update them!

Some Muu members are famous today and their portfolios in the library have been neglected for ages. It was interesting to read trough old artist statements and see how people wrote about their work 10 years back.. It was like reading old diaries. The way art is talked about changes really fast and even two year old texts felt outdated. Many portfolios had been made with laser printers and trough time their colours had darkened.. In worst cases it was hard to make out what the pictures where about. I grew weary of the plastic-folders most artists use to present their portfolios in. The quality of the plastic is crappy and the “transparent pocked-pages” made even decent ink-prints look cheap.

It’s bad for everyone if the majority of portfolios remain neglected.. After investigating ten abandoned portfolios in detail I sort of lost faith in the hole affair. If you are not planning on updating your portfolio at the Muu library.. You should reconsider if you really need to store it in there. Some members had already replaced their portfolios with exhibition catalogues and other publications. Printed catalogues where more interesting to read trough.

There where some pleasant surprises among the portfolios. I particularly liked Lauri Wuolios presentation. It was a sort a box that had several high quality a4 prints, some exhibition flyers and a CD (if I remember it right) in it. Like a treasure chest. Each printed page featured one work. There wasn’t a player nearby so I could not access the data on the disk.. The prints weren’t attached to each other and the contents could spread on a table to gain a fast general view on his art. (Wuolio told me later that he had made this kind of portfolio so that interested parties could take photocopies of the pages conveniently!!)

I also liked the portfolio of Katri Kainulainen (even though it was really old). An interesting feature of it was that she had two separate CVs in it. One for her personal artistic work and an other for a performance group called “RUBENS” she’s member of. The idea of having a fully separate CV for separate projects seems smart. The majority of the portfolios where made in standard A4 size and had upright layouts but atleast Arttu Merimaa and Miina Hujala both had horizontal portfolios. I think that many painters and photographers would benefit from this approach because there is more room for images. Anyway I hope that participants of this course will find the time to visit the gallery.

=== EXTRA (In Finnish) ===
Täyttikö yksikään portfolio näitä kriteerejä? Ei
Kirsi Niemistö-Smedberg: “Galleristin näkökulma kuvataiteilijan portfolioon”: http://www.slideshare.net/Koistinen/kirsi-niemist-smedberg-portfolio (Vanhaa ja värittynyttä tietoa mutta kiva lukea.)

Request for Media Artist / Pyyntö mediataiteilijoille

Request: Let’s develop technologies or protocols which turn data-projectors, media players etc. off – When there are NO visitors in the gallery/museum/art space. Let’s make it a convention.. When the space is empty e the projectors (and other electric tech) should be put in standby-mode or turned off.

We have learned to turn off lights when we exit a room – But the aura of artworks makes it hard for us to think how this could practice be achieved in our art spaces-  Current practices are downright silly and is opposed to the nature of media-art technologies. They are most often made to be used.

Energy is wasted when data-projectors run when there is no one watching. Even the best exhibitions have times when the space is empty. The best solution would be that gallerists etc. turn the videos on when visitors arrive (video on demand) but an arduino/motion sensor gadget would be a sexy solution. I’m willing to invest in the development of sustainable gallery etiquette or the development of technical tools to fix this issue.

Here is an inspirational example: MIM  Self-Sustainable party container in KUMU Art Museum, Tallinn (june 2010) https://vimeo.com/17560328

Pyyntö: Luodaan yhdessä laitteisto, joka katkaisee VIDEOTYKEISTÄ ja mediasoittimista virran automaattisesti kun galleriassa/museossa/tms. ei ole paikalla vieraita. (Tai luodaan joku käytäntö, jonka mukaisesti gallerian/tms. valvoja käynnistää toistimet ja tykit vieraan saapuessa). Monissa taidetiloissa on että tila on päivittäin pitkiä pätkiä tyhjillään. Jopa tunteja. Dataprojektoreilla ja monitoreilla esitettävää taidetta kuitenkin pidetään päällä taukoamatta. Projektoreiden käyttöiästä (tapauksesta riippuen) voi kadota yli puolet kun teos näkyy vaikka sitä ei kukaan katso.

Olemme oppineet sammuttamaan valot lähtiessä huoneesta mutta taidetiloissa on piinttynyt koskemattomuuden myytti, jonka velvoittamana videoita jne. on näytettävä tilassa vaikka kukaan ei olisi katsomassa. Maalaukset ja veistokset eivät kulu hukkaan kun niitä ei katso mutta teknologia kuluu. On mediataide välineiden luonnon vastaista käyttää näitä ilman katsojaa. Ainoana poikkeuksena satelliitit. Tässä piirrustukset ja valmistusohjeet (http://opensat.cc/). Toisaalta taidetilat eivät ole ulkoavaruuteen ammuttuja laitteita, joiden on annettava kiertää radallaan koskematta. Ne ovat sosiaalisia tiloja, joita käytetään.

Mediataiteen luukuttaminen on pöhkö käytäntö niin laitteiston käyttöiän kuin energiankulutuksen kannalta. Siihen ole käytännössä varaa. Vastaava juolahtanut mieleen jo monille mutta ei ole vielä tehty yhteistä hanketta, jolla näitä käytäntöjä tai liikkeentunnistimiin tms. pohjaavia teknologioita ongelman ratkaisemiseksi olisi tehty. Olen valmis investoimaan tähän esitystekniikkaan. Käytönnössä joku arduino/videotykki/mediatoistin ratkaisu on varmaan myyvin – Mutta mulle kyllä kelpaisi, että näyttölaitteiden pyörittäminen olisi galleristin vastuulla.