In an art world obsessed with the urge to find the next new thing and benefit from it, can a sleek, high production value exhibition showcasing the work of 15 - 23 year old artists challenge the love-hate relationship with the youth? Generation 2023 is balanced and diverse, but its fixation on youth is double edged.READ
There Are No Enfants Terribles Here: A Review of Generation 2023
In an art world obsessed with the urge to find the next new thing and benefit from it, can a sleek, high production value exhibition showcasing the work of 15 - 23 year old artists challenge the love-hate relationship with the youth? Generation 2023 is balanced and diverse, but its fixation on youth is double edged.
In what ways does ‘One Drop’, a performance developed and executed by racialized others in Finland and elsewhere, express love in its enactment of mutually transforming anti-racism communication?READ
Anti-Racist Love in Sonya Lindfors’ ‘One Drop’
In what ways does ‘One Drop’, a performance developed and executed by racialized others in Finland and elsewhere, express love in its enactment of mutually transforming anti-racism communication?
One could think of FLIP!, with high respect to popular culture, as more strictly a popular culture exhibition, meant for hanging out and digging – not to support the dichotomy of art vs. popular culture but to accentuate meaningful differences in interpretation, experience, and atmosphere. If so, why not make this more into popular culture? Go for the ‘cool’, or build an ‘awesome’ experience? Could this be Artsi’s path in the future?READ
Many Moves but No Broken Bones: A Review of ‘Flip! Skate & Art’
FLIP! Skate & Art at the Vantaa Art Museum Artsi presents the work of artists who have produced art about skateboarding and/or learned from it artistically. Although lacking the ability to go beyond aesthetic impressions and bring out edge, depth, and paths for new thinking, the exhibition contains some great artworks and builds an archive of skateboarding art to learn from.
The wealthy are equated with such minorities as if being wealthy were a specific cultural phenomenon or even an identity based on a form of discrimination. Veering through notions of whether wealth improves mental well-being or is taboo in Finnish society, Eetu Viren peruses the exhibition’s banality and ridiculousness to expound on questions of wealth and power and why the Finnish National Museum hosted an exhibition that characterizes the wealthy as a “minority group.”READ
The Poor Rich People: A Review of ‘The Philosophy of Wealth’
Eetu Viren on questions of wealth and power and why the Finnish National Museum hosted an exhibition that characterizes the wealthy as a “minority group.”
Knowing the genealogy of women’s resistance in Iran since the turn of the century helps us see recent events not as unprecedented ruptures and a sudden awakening of women in an archaic patriarchal society but as the accumulation of multiple resistances throughout our modern and contemporary history in the face of an ever-shape-shifting patriarchy.READ
Representation of Disobedient Bodies: A Critical Reading of Shirin Neshat’s Visual Language
Comprehending the discrepancy between the representation of the multitude of experiences of people’s protests in Iran, reflected in their own photographic and moving images, and the detached artistic creations of diasporic artists like Neshat.
The works, in relation to each other, successfully embody the curatorial statement, ‘we are an inseparable part of nature and therefore always connected to each other.’ They weave together the concepts of life, love and death, therefore, establishing a coherent larger framework of the exhibition. This thematic consistency is also visible in the aesthetic production with a striking palette of cool earth tones. While the composition of the works within the confines of the gallery makes perfect sense, the overall exhibition raises more questions than it answers in regards to its larger socio-political implications. Collectively their works hardly do justice to the subject matter that they deal with.READ
On Love? A Review of the Exhibition ‘Unity’ at SIC Space
Najia Fatima iterates how it is crucial to remain critical of spaces that claim universality without adequately centering marginalised voices.
My point of view in this review revolves around the interpretation of the two-fold structure of The Woodcutter Story. Underneath the film’s exterior of entertaining black comedy exists a poetic-existential interior. My actual question in this review concerns the relationship between these two layers. If the “deep” concern of the film is the existential question of whether senseless suffering could generate a sense of meaning, it cannot be answered directly without a recourse to religious register. In that case, no authoritative answer can be given except by appeal to the “superficial” level of the actual events and their logic.READ
May you live in interesting times: A Review of The Woodcutter Story
Who gets love in popular culture? I have been thinking about this question for a decade now. Soon after its release last August, I went to watch a film that surprised me in ways I had never imagined. Pa Ranjith’s latest film, Natchathiram Nagargiradhu, which translates to ‘a star shoots across,’ seems to have answered all our questions about the idea of contemporary love. Trust me, there is an interpretation for everyone - inter-caste, inter-faith, queer love, inclusivity, sexuality, woman as a category, genderless casteless love.READ
Who Gets Love in Popular Culture? A Review of Pa Ranjith’s Film Natchathiram Nagargiradhu
How can a film reverse the language of cinema in its aesthetics, gaze, and culture formed by shared histories, collective experience, solidarity and a movement of assertion?
When I reflected on the works from Speed Records, I questioned if there was supposed to be an element of parody. Was the use of the candy-colored paint intentional to comment on the glorification of US mass consumerism, specifically within the subculture of motorsports? Many works were created out of resin; was this to comment on the permanence of US-American mass culture? Or even the permanence of US-American cultural hegemony within the vast amounts of consumed nostalgia? Like consumable products, cultural media omnisciently persists through microplastics, carbon emissions, or successful propaganda.READ
When Home Follows You Home: A Review of Anssi Kasitonni’s Speed Records
Gabriella Presnal review focuses on reflective versus restorative nostalgia and the Americanization of Finnish visual and contemporary culture.
The exhibition opens with a series of sculptural elements installed in the first of Titanik’s two exhibition rooms. The dominant colour is a peachy orange, and the materials range from glazed ceramics to smooth silicone and fluffy fake fur. Some objects are similar to everyday things related to keeping cats, a climbing tree, climbable shelves on the wall, and cat beds. This everyday impression gets nudged toward the uncanny by some extra elements. From a shelf of the climbing tree, some sort of goo is dripping onto the floor, like a cat had lost the surface tension holding it together and became shapeless matter.READ
The Unbearable Existence of Kittens: A Review of Reija Meriläinen’s Snugglesafe
The first thing to say about the value of documentaries, and about the Love & Anarchy festival selection that follows is that they tend to be about people, and they tend to articulate the possibilities of a changing world. Against all odds, even the faintest possibility of ‘a world’, or rather ‘worlds’ that are transforming, can inspire hope.READ
Confessions of a Documentary Junkie: 2022 Love & Anarchy Festival Picks
I could see a lot of love. But I was still trying to find the anarchy that breaks through and what it breaks through. I wondered if I should write about the positionality of the festival in what can be termed as its cultural intervention into events and processes that affect us today.READ
Finding Anarchy: A Review of Helsinki International Film Festival
How can organizations dismantle power and operational structures within the world of film festivals to make them speak to the city’s various layers of inhabitants and their lives?