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Performed with the Neighborizome group at the Koneen säätiö Lauttasaari mansion renovation topping out party last Thursday. We prepared a timecapsule/ritual kit for the future and buried into the yard. Builders and guests could vote on its content. Builders voted on an Anonymous Mask and a Koskenkorva vodka flask (Fitting symbols for their struggle). They threw coins into the kit for good luck.

Learning Ableton Live in preparation of a gig at the Viestejä Vuosaaresta (KOM-theater / Helsinki Model) event. The gig is on 2.11 and I’m scared. Vili will recite a marine weather report using his flamenco/gypsy-style singing skills. The tone of the singing is similar to an Adhan. Lauri Wuolio is also performing at the event.

Preparing a teaching gig for Janakkala (for kids, 12-18 years) next weekend. There will be 21 students. I’ll be teaching them how to “walk”.

Preparing a 1,5h lecture next Friday on my artistic practice (in the framework of posthumanism/ecology) for dance and pedagogy students of Uniarts Helsinki and Aalto Uni. I’ll start of by explaining that my mother was a Marxist, recap how my shared interests with the Helsinki communist youth association evolved into (very) slim involvement with anti-globalization and anti-war movements and how celebration over the 9/11 (2001) attacks resulted into a restlessness which lead me into crafts (In short before 9/11 dirty clothes were cool – Post 9/11 dirty clothes were scary).

Wax-treated my jeans coat. 1 part boiled linseed oil, 1 part beeswax mixture. It will take 6 months for the linseed oil to dry.

  1. Nude Photo (1987) Derrick May
  2. Model 500 – Night Drive (1985) Juan Atkins
  3. Crack Down (1990) Carl Craig
  4. The Final Frontier (1991) Underground Resistance
  5. Alleys Of Your Mind (1981) Cybotron (Juan Atkins & Richard Davis)

20170506

Heard Belorukov & Zherbin, Filter Feeders and Pasha Rotts at Akusmata gallery last night. A warm and noisy evening. Saw a Make Noise 0-Coast and a SP-303 in use. Also a brilliant electronic music gig hat (by Pasha). Petri Kuljuntausta offered some guidelines for the upcoming Ore.e Ref./Storijapan: Sound of Work exhibition/gig. He wants us to prioritize on audio. We’ll possibly also present audio pieces from the Ore.e Ref.: Meta- Collection (Record Singers, Topi Äikäs 4’33, Wuolio usb stick?). Particullary Äikäs and RS serve as solid references. Came up with the idea of making a helmet xylophone (like the one Ewoks play in Star Wars) and using the same styles of exhibition display techniques we deployed for SIC (2014).

Ore.e Ref. on a winning streak. Washington Post writes that The hottest trend in Web design is making intentionally ugly, difficult sites. Apparently web brutalism is a thing.

[En] News: “Skills of Economy – Post Models: Ore.e Refineries (Exhibition and events)”.

SIC Space (Location / Facebook)

7.6. – 20.7.2014 (closed 19.6.-22.6.2014)

Skills of Economy – Post Models: Ore.e Refineries is the first in a series of exhibitions and events that will seek to understand the meaning of artistic practice at a time when the welfare state is in the process of being dismantled. This exhibition explores the work of the Ore e. Refineries organisation spanning the past eight years. The exhibition is part of curator Jussi Koitela’s Skills of Economy project.

Over the past two decades, neo-liberalism has sought to turn the state into a corporation, devoid of values other than those of financial success. This has changed, and will continue to change, the state’s relationship with art, artists and cultural institutions alike and forces the art field to justify its activities and access to funding in a completely new way.

In Finland, the post-welfare state has adopted a neo-liberal model that places prime responsibility for the individual’s welfare on the individuals themselves, alongside outsourced global and local providers. The objective of this model is to establish a service provider corps consisting of commercial enterprises tasked to operate as efficiently as possible and, ultimately, provide all public services in lieu of the state. It is, the argument goes, the only effective option currently available and, as such, the only possible means of delivering public services in the current and future demographic context.

“Post-model” is a term used to describe a time when the economy and public administrations along with politics itself will have become fully de-politicised entities, as if we were living in a time devoid of ideologies and the societal models and ideas they engender. The management of our shared public affairs through parliamentary democracy is reduced to a managerial, care taker-like activity governed by rationality, in which values must not be allowed to interfere with the business of actual decision-making.

Seen from a different perspective, the “post-model” in the title of this exhibition could also be taken to mean a time post the model described above. What forms might artistic activity take in the future and what sort of societal models might that activity open up? How can art make a critical contribution to ensuring the equal delivery of services such as transport, manufacturing, planning and archiving in the society of the future?

Ore.e Refineries was founded by artist Eero Yli-Vakkuri and blacksmith and designer Jesse Sipola and focuses on promoting craftsmanship in the digital era. It operates somewhere in the middle ground between art, design and service provision to create both artworks and services that seek at once to resolve and understand the challenges arising from the current neo-liberal, global and digital reality in the areas of precarious labour, commodities, production, consumption, environmentalism and transport.

The organisation’s activities are characterised by their highly speculative nature. Rather than creating art, design and services in keeping with the implicit demands of the current climate, their work generates meaning through an imagined set of new social, environmental and economic circumstances.


Artists presented in the Ore.e Refineries Meta- Collection – Artifacts from the Age of Mechanical Reproduction

Jussi Koitela, Paula Lehtonen, Kalle Mustonen, Eero Nelimarkka, Pekka Ruuska, Record Singers (Heiskanen, Nevalainen, Väisänen & Airas), Iidu Tikkanen, Lauri Wuolio and Topi Äikäs


Exhibition and the practice of Ore.e Refineries is supported by Koneen säätiö and Uudenmaan taidetoimikunta.

[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.)