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Category: Uncategorized

Eine Kleine Disko 7.12.2007

Published 07/12/2007 by Platform

EKD is a dynamic art project that welcomes performance, noise, video and intervention with related art forms to create flux in EKD context. The announcement “come together” is the setting that creates the EKD’s coming to be.

EKD is a nomadic art project in the sense that it is not a permanent screening, disco or performance festival with preset programmes but a kind of cultural jamming journey from which the participants never return to the starting point.

Instead of requesting people to seek art as experience, EKD brings experiences as art to the spectator and invites people to meet each other within the original idea of a “party”.

EKD is a non-profit project and takes place on the premises offered for touring EKD events from one place to another.

 

 

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Message 22.9.–7.10.2007

Published 22/09/2007 by Platform

 

Artists: Igor Przybylski, Anita Pasikowska, Ryszard Lugowski and Jan Mioduszewski.
Curated by Eulalia Domanowska.

Igor Przybylski obsessively documented the public transport buses in Warsaw. Some of the results of this, and his contribution, were a video and a computer game.

Anita Pasikowska and Jan Mioduszewski set their minds on communicating with the local inhabitants of Vaasa during their week-long stay in the city. Pasikowska had the mission to draw pictures of windows of people she managed to establish contact with and Mioduszewski confronted the flâneur with the street painter. Mioduszewski showed slides taken during these walks in Vaasa and Pasikowska showed drawings resulting from her meetings with the locals.

Ryszard Lugowski introduced self-made coins from bronze and a film about the moon.

 

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Get over it 11.8.2007

Published 11/08/2007 by Platform

Emma Houlihan & Sally Timmons

Emma Houlihan and Sally Timmons were invited to realise a project during Night of the Arts in Vaasa. The two artists teamed up for one week in order to devise a project within the context of Platform’s international residency programme and, in particular, the notion of what it means to participate in a night of culture.

When the city’s cultural institutions opened their doors, Platform’s access was concealed by a wall. As planned, during Night of the Arts, the screening of Platform’s activities in Venice 2007 were screened in the gallery but the wall had to be climbed over to access the gallery.

Emma Houlihan (IE) has participated in exhibitions and art events internationally and also works as a curator/art organizer. Sally Timmons (IE) is an artist and curator based in Dublin. At the time, Houlihan had been artist in residence at Platform since June and Timmons had recently started hers.

Joakim Hansson, Rasmus Hedlund and Maria Lundström presented a short film based on video and stop motion/ time lapse done during a period of two weeks. The video depicts a specific action – the work of CFL at the Venice Biennale 2007 – and the enviroment it took place in. CFL did the building of the Turkish pavillion at the Arsenale, the installation “Don’t Complain” by Hüseyin Alptekin. The material used for the installation was once four barns in the Ostrobothnian countryside.

Joakim Hansson (SWE/FIN), Rasmus Hedlund (FIN) and Maria Lundström (FIN) are studying at the Arts department at the Swedish Polytechnic in Nykarleby.

 

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Soundscape & RGB-hypnosis 15.6.2007

Published 09/06/2007 by Platform

Lasse Marc-Riek, Britt Kootstra & Arvid van der Rijt

 

Soundscape from Signal-Recordings of Bats by Lasse-Marc Riek (D)

Field recordings:
Since May 2003 location shouts and social sounds of bats were collected by means of stereo-microphones and ultrasound-detectors. Social sounds such as the communication between a mother bat and her child can be heard by the human ear. Location shouts, used for orientation and hunting, are in the range of ultrasounds and can’t be registered by people. The sounds of the bats were recorded during excursions in cooperation with bat researchers of the “Naturschutzbund Kreis Segeberg” of the following species: Pipistrellus, Nyctalus, Eptesicus, Myotis.

Detector:
The machine transforms the inaudible ultrasounds (sounds higher than 22khz) in audible sounds. In real time recordings you hear clicking sounds and by means of slow or fast motion these sounds are transformed in wet or dry chirping or twittering sounds. The recorded material was analog and digitally edited, arranged and converted into a composition.

Compostion:
Sounds, recorded by chance, a minute in a busy shopping area, the high whistling of a stone-saw, the to and fro of buses, the scraps of conversation of people passing by, the sounds of ringing mobile phones, doors and traffic lights, the barking of dogs and the singing of birds turn into a score. The sounds of the streets were replaced with the transformed bat material, according to rhythm and pitch.

 

RGB-Hypnosis by Britt Kootstra (NL) & Arvid van der Rijt (NL)

Daily routines are the object of my tableaux vivants. Within the familiar frame of a well-known routine the body moves, whilst the mind has the freedom to wander off and travel around the world. The movements are carried out on automatic pilot. Both the performer and the movements are caught in loops. The acts become strange as if repeating a very familiar word over and over again, until it starts to sound alien, as if taken from another language.

 

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Don’t complain – at the 52nd Venice Biennial

Published 09/06/2007 by Platform

Hüseyin Alptekin

Hüseyin Alptekin (Turkey) and Camila Rocha (Brazil) were artists in the Platform residency during spring 2007, when Alptekin was planning the work for his participation representing Turkey at the Venice biennial. Since Alptekin’s work deals with issues of displacement, records unimportant facts and acts, and through this brings attention to things that are not generally known, Cheap Finnish Labour offered to help in realizing the work.

The actual physical work contained deconstructing five log-barns in Finland. The Barn Research group found five unused barns in Laihia, Osthrobotnia. One of the barns was reconstructed in the Platform gallery for Camila Rocha’s exhibition ‘Its all about the past’. The rest of the barns, along with paint, constructing material and traditional Finnish furniture, chairs and tables, were shipped to Venice. There the barns were rebuilt in a slightly different shape so that five different spaces were formed. In the text “The title of Hüseyin Alptekin’s installation for Turkey’s participation in the Biennial is ‘Don’t complain’. Vasif Kortun, the curator of the work, writes “..Alptekin’s large-scale installation of five wood cabins is the result of a revisitation of a mental setting the artist experienced in Tblisi, Georgia. This comes out of a particular type of public dining where restaurants are strictly divided into separate cabins clustered around an open courtyard.”

The group – at the most Cheap Finnish Labour consisted of 12 persons working at the exhibitions site – were all wearing CFL t-shirts.

 

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“é tudo sobre o passado/it is all about the past” 6.5.-10.6.2007

Published 06/05/2007 by Platform

Camila Rocha

 

A lot has happened to me in Vaasa, a lot about the past.
I discovered that one part of my family in Brazil originally comes from Venice, at the very moment Hüseyin is sending four traditional wooden barns to Venice and I am getting one, the oldest one from the Laihia region, for my exhibition at the Platform Gallery in Vaasa.

Making a home abroad from an old barn, which once sheltered the animals and perhaps the wheat. Kirsi, barn mama, has shown me the old “Money Tree” in the region, which was once on Finnish Mark coins.

I look at the old photographs of my grandparent’s parents from Venice as the anonymous people in the postcards found in an antique shop.

Here I am in the loft of the abandoned soap-factory, listening to Caetano Veloso’s exile song “London, London” and the ice is melting down.

Camila Rocha is a Brasilian artist, based in Istanbul.

 

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Don’t complain – at the 52nd Venice Biennial

Published 14/02/2007 by Platform

Hüseyin Alptekin (Turkey) and Camila Rocha (Brazil) were artists in the Platform recidency during the spring 2007, when Alptekin was planning the work for his participation representing Turkey at the Venice biennial. Since Alptekins work deals with the issues of displacement, records unimportant facts and acts and through this brings attention to things that are out of attention Cheap Finnish Labour offered to help realizing the work.

The actual physical work contained deconstructing 5 log-barns in Finland. The Barn Research group found 5 unused barns in Laihea. One of the barns was reconstructed in Platform for Camila Rochas exhibition ‘Its all about the past’. Then the rest of the barns, along with paint, constructing material and traditional finnish furniture, chairs and tables were shipped to Venice. There the barns where rebuild in a slightly different shape so that it formed 5 different spaces. In the text “The titel of Hüseyin Alptekin’s installation for Turkey’s participation in the Biennial is ‘Don’t complain’. Vasif Kortun, the curator of the work, writes ” …Alptekin’s large-scale installation of five wood cabins is the result of a revisitation of a mental-setting the artist experienced in Tblisi, Georgia. This comes out of a particular type of public dining where restaurants are strictly divided into separate cabins clustered around an open courtyard.”

The group – at the most Cheap Finnish Labour consisted of 12 persons working at the exhibitions site – were all wearing the CFL T-shirts.

 

 

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Cheap Finnish Labour Exploring Alternative Economies

Published 14/02/2007 by Platform

XX1 Gallery, Warsaw 1.–15.2.2007

In every culture there are similarities. Is it possible to melt in, to become a temporary part of the different and the unfamiliar? Or is the only possibility to orientate in an unfamiliar environment to do what we would usually do? Or is it possible to to make alternative choices out of this position, to make a difference? What actually happens when you try to melt in, to be part of the other, the unfamiliar? Is it not then that you can alter perspectives and in this way notice and make visible that which is everyday and extraordinary existing right in the core but not seen? Or is it the other way around, we end up at the margins, or even worse, in a void between spaces that is neither familiar nor unfamiliar, or even both? Can one create a turning point in this void and become a hero in someone’s world?

 

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