Essays
With this text, we hope to renew a sincere belief that united art workers can do good by calling for candid public discussion on difficult matters. We wish to make clear some of the political affiliations held by the Kiasma Support Foundation, especially in relation to the colonial politics by the State of Israel and hope that this text will open a dialogue with workers of the National Gallery, who despite prevailing uncertainty, remain motivated to better their organization. We hope that art administrators in Finland will usher forward programs, which manifest their political desires and illustrate how they imagine the institutions they lead serving the public.
READOur Efforts to Show Solidarity for Palestine Are Tested at Kiasma
Why is Chaim “Poju” Zabludowicz, a person who funds an influential pro-Israeli lobbying organization serves as a member of the Kiasma Support Foundation?
Sometimes, the role of the facilitator is to take a step back and just let things happen. Sometimes, the role is to steer the subject to where they need to be. And, sometimes, the role can only be defined in retrospect. Hindsight, once again, is a gift. There is a point in our timeline where the potential for all possible outcomes exists. Being mindful of the fact that I, as facilitator, cannot in that moment know for sure which outcome is the best and respecting that potential, I believe, is the key to successful facilitation.
READShrödinger’s Backflip
Julian Owusu’s reflective essay on the role of facilitator, its possibilities and outcomes in retrospect.
Independently from one another, we began reclaiming a loudly crying face to denote the feeling of being overwhelmingly pained by beauty and our inability to grasp it fully.
READAll I Want to Do Is to Hold Your Hand and Cry the Tears of Joy
Vera Kavaleuskaya convinces us to evade the rigid notion of professionalism, to not accept the invisible hand, and to kill the joy but to then revive it on your terms.
From our deepest desire to gather an imagined collectivity around us, we fantasize about going to each and every one of our friends, kin and relatives’ places to collect some garments they no longer use, as if they could be keepsakes of their presence. We sent out one hundred identical letters, with an invitation to send us one piece of their old clothes, no longer useful in their closet. If we united them all—we thought—we would be reunited again.
READCelebration of Distant Bodies
Golrokh Nafisi writes about her collaborative project in Tehran, “An Equivalence of Our Distance,” made in the midst of the pandemic.
Written on Ice: Edible Memories of the Neighborhood of San Juan has been a six-month-long collective exercise where memories and identities have been transformed into six symbolic edible objects: ice-cream flavors.
READWritten on Ice: Edible Memories of the Neighborhood of San Juan
Martina Miño Pérez writes about her project, highlighting a more democratic relationship between contemporary art and food, eating, and tasting.
During this essay, I will reveal how I learned to free myself from work when I was 15 and also amuse you with the intricate ways money developed a firm grip on me later as I fell into a wealth trap at 32 years of age.
READAffordable Views
Narrated through the history of Sami Juhani Rekola’s father’s relationship with work and money, this is a story about the intersecting paths of the body and capitalism.
Burning out led to a long process of defining sustainable practices, learning to say no and, from time to time, relapsing. Now that I have made the decision to say that I don’t make art, I would love to share a few insights about how to make agreements and tackle different collaborations within the arts.
READConfessions of a recovering Artist
Artist and lawyer-to-be, Riikka Kuoppala’s insights on how to make agreements and tackle different collaborations within the arts.
I am the type of person who needs names and distinction in characteristics to comprehend whatever is happening in my world. I often blame it on growing up as a middle child in an immigrant family: the constant and urgent need to discern and explain what is mine and not. I am Minjee. I am Korean. I am a woman. Where are you from? What is your pronoun? What do I call you?
READWhat Do I Call You?
Minjee Hwang Kim on labelling and categorization of people, the power of assimilation, and the denial of structural oppression stretching into the model minority myth for Asians in the West.
Dear Chris,
Consent is a narrow motorway and I’m walking on, half naked on the kerb, clutching my shoes, my books and her words like a schoolgirl at dawn, hoping I’ll be home.
READAbout My Mother: A Series of Open Letters to Chris Kraus — Part I
Carlota Mir on feminism as a contested space of power.
What started with a few questions regarding the nature of the open call soon grew into a heated debate and triggered an opportunity for the exposure of several arguments and points of view in the form of a much-needed conversation.
READI Can’t Believe What You Say, Because I See What You Do
Farbod Fakharzadeh on the lack of diversity in Frame Contemporary Art Finland’s recruitment and engagement policies.
Maybe I wanted to believe that deep inside, all humans are artists.
READA Midsummer Encounter
Tuomo Tuovinen on rare encounters with audiences from outside the professional art sphere.
Art universities didn’t teach you that art was a game with certain rules, they rather taught you how to worship the ones who’d figured it all out by themselves. But how about those of us who didn’t want to play by the rules, what was our alternative?
READDear museum of Bad Art (MoBA)
What’s more genuine than putting all your efforts into what you truly believe in, and failing?
