Exhibiting Painting 2.0.

This collective exhibition showcases the artworks of a group of students from The Royal Institute of Art in Stockholm and KUVA Academy of Fine Arts in Helsinki. The exhibition is a continuation of the project “Exhibiting Painting”. The polyphonic exhibition is the second one within this project and stages theoretical and practical outcomes from common discussions, seminars, studio talks and workshops that took place in Helsinki and Stockholm during the autumn of 2014. The group discussed and looked at a number of historical and contemporary approaches to exhibiting painting and created a common exhibition in Helsinki earlier this year. As these investigations are taken further, the leading question throughout the process continues to be redefined in practical terms: What is the relationship between painting and the exhibition? Which strategies do contemporary painting practices use to reflect the exhibition space?

Participants: Dylan Arnold, Johan Berglund, Mirza Cizmic, Juanma Gonzalez, Jacob Holmberg, Alexander Hult, Lasse Juuti, David Klasson, Ville Laaksonen, Minna Miettilä, Anna Taina Nilsen, Susan Whitlow, Bogna Wisniewska, Annina Åsvik.

Course teachers: Filippa Arrias, Jonatan Habib Engqvist, Harri Monni, Tarja Pitkänen-Walter, Sigrid Sandström

 

 

1. Dylan Arnold (1982, CH/FIN)- Choreographic diaries of autopoietic constipation

Installation, bentonite-clay, lace, pigment

The installation is atrial of boundaries: is there a way out of the deferential circle? By bringing together materials and resources which co-constitute each other, there is hope for a spill-over: a laxation or re-laxation.

Artist Statement:
My artistic practice consists of drawing, video, installation and painting. I am interested in the embodied experience of emerging systematic levels. My further interest includes the mountains, trains, Indian classical music and furry things.

 

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2. Susan Whitlow (1989, SWE) - colour and colour turn, moving in layers (2015)

Site specific painting on cardboard, approx. 2 x 3m

Able to mirror impressions. Impression in the moment.

Movements created to facts in the moment. Form as colour and colour as form. Colour and colour turn to form. Important for change.

Movements in never ending time. Creating law. in belief of real reality. Moving in layers of laws.

 –
whitlow

 

 

3. David Klasson (1989, SWE) - Fotbollsspelare, Dansen, Natten, Porträtt av kvinna, Självporträtt, Martin Heidegger

My painting starts in the drawing, in the form of a sketch.

This is then used as a template for the painting.
I choose images that I think will be interesting to translate from drawing to painting.

In this translation, from the lines of a drawing to the form and colours of a painting, the freedom of interpretation opens up, evoking memory and imagination.

Also the fundamental problem of arranging two colours in correlation to each other. Through systematic work, but also through studies of nature and landscape, I attain a richer experience of this positioning.

This experience is central for the inner worlds of the paintings to feel alive and develop.

 –
Klasson

 

 

4. Johan Berglund (1991,SWE) - Den skall vålla dig bitter plåga i din buk, men i din mun skall den vara söt såsom honung (2015)

Oil and acrylic on canvas, triptych

I draw comics, am a painter and sculptor. I work with my own world of figures, inspired by classical art, popular culture and poster art.

In my process I often depart from some kind of working title. In this case it was the phrase that later became the title. It was pretty obvious throughout the process: Take it and eat it. It will turn your stomach sour, but ‘in your mouth it will be as sweet as honey. (Rev. 10:9)

I really admire Giotto´s images. Is it an intestine? No… Perhaps a snake? I am thinking that the sons of Lacoon are dead now. I am thinking: Africa, the Amazon River, the Bayeux tapestry. I like history.

I painted a large figure. A red giant. A giant who walks through the images. But I was not content. So I turned him around. Gave him a rod (it´s okay to laugh). My stories don´t have happy endings. They are static. My stories, they are a long road without focus.

I often start by making an image. In the beginning it is about filling the surface. Acting against a material, a surface. I work intuitively and intensely. The colours are decided upon along the way. I do not plan. They end up where they end up; these are the prerequisites. When the basic image is done I start to straighten things up. Add stuff, cross things out. It´s like taking out all the props onto the stage and then filling it with all the different characters. A little figure in a book, a doodle, telephone squiggles.

Sometimes I get locked in. That´s when I turn everything around. Try to find a new entrance. ”There should be something here”. A mark. The fairy tales, worlds, figures. The boy´s dream and the boy´s adventure. And the delight in him swallowing the book even though the angel forewarned him. ”It´s okay to laugh”.

 –
berglund

 

 

5. Bogna Luiza Wisniewska(1988, PL) - Sampling Clas Ohlson(2015)

Installation contains approximately 3-4 paintings and sculpture objects

In this particular project I focus on elements/cut out pieces that are sampled from chosen objects bought in Clas Ohlson shop. These objects are working as a starting point, as surface for the painting. The objects are creating a sculpture, an object of references, like a collage that shows the relation between image, content, working process and final work itself.

The objects were chosen deliberately considering the specific exhibition site, a shopping mall.

I work with different approaches to painting and subjects such as materiality, physicality and painting as an idea. My paintings consist of elements, pieces and cutouts that are sampled from different places, textures and objects from my surrounding. I transform them into an abstract state by making simplified versions, interlacing different layers and mixing elements to create space.

Wisniewska

 

 

6. Ville Väri (Laaksonen) (1978, FIN) - Eye For An Eye For An Eye, 2015

Ville Laaksonen is a contemporary artist and curator working in Turku and Helsinki, Finland. He’s contemporary esoteric works open gates, doors and windows to visualise heaven and hell on earth – and an aesthetic view on life through the vision of an idealist in beauty. Embracing spirituality life reveals its significance in its unique and delicate ways. Laaksonen was grant holder for the Union of Finnish Art Associations 2012 and exhibited in Varkaus Art Museum. At the same time Laaksonen had also been invited to exhibit in Artchapel, Turku and nominated as the curator for the Paulo Foundation Annual 2012. Laaksonen has exhibited internationally in several solo and museum exhibitions.

 –
Väri

 

 

7. Lasse Juuti (1990, FIN) - Nu ska vi grilla (2015)

Art is a team game. It is sort of a play where you group up around bonfire along your friends. Art is also about passion and dedication, like sports and for example ice hockey.

 –
Juuti

 

 

8. Minna Miettilä (1987, FIN) - A Gift

You have not asked for this
It may not be what you whished for
You’ll have to accept it
You shall not give me anything in response
You shall consider this as a sign of my affection
This is for you

My works are traces and marks and acts and bodily presence. I work with the gestures of writing, drawing and painting, using a variety of media from paint, canvas and paper to found materials. Like playing, my work is an activity without a defined goal, something that takes place between the imaginary and the real. I consider all the activity involved some kind of movement expanding the pace around and inside myself.

Miettilä

 

 

9. Dylan Arnold (1982, FIN) - Tranquility- paintings(2014)

painting on stretched canvas and paper.

The installation is atrial of boundaries: is there a way out of the deferential circle? By bringing together materials and resources which co-constitute each other, there is hope for a spill-over: a laxation or re-laxation.

Artist Statement:
My artistic practice consists of drawing, video, installation and painting. I am interested in the embodied experience of emerging systematic levels. My further interest includes the mountains, trains, Indian classical music and furry things.

 

Arnold

 

 

10. Jacob Holmberg (1990, SWE) - Three Walls Made for the Exhibition, 2015, A Table Made for the Exhibition, 2015

Three Walls Made for the Exhibition, 2015
– Chipboard, pine, screw, putty and wall paint.
A Table Made for the Exhibition, 2015
– MDF, pine, bolt and wing nut.

I’m a 4th year student in Royal Institute of Art in Stockholm. From previous practice I’ve realised that the temporary placement is not only a practical but a fundamental part of my work. The fact that my pieces haven’t been installed permanent means that they will be transported. In previous exhibition situations I’ve tried to communicate the potential movement of objects with various results. In this exhibition I’ve chosen to build three walls and a table that changes the viewer’s movement in the exhibition space. The potential movement of my piece is no longer in main focus, instead the walls invite the viewer to make a move.

www.jacobholmberg.se

 Holmberg

 

 

11. Juanma González (1977, ES) - Apostlahästar i Stockholm,

21 A4 papers with drawings, table.

I arrived in Stockholm in September 2013. I was an exchange student at the Royal Academy. It was the first time I lived outside of my country. I did not know the city. I did not comprehend Swedish manners. I did not speak the Swedish language and my English was not good.

I was lost.

 

I understood that I had to familiarise myself with my new home. To feel part of it. And I started to walk. I drew maps as a reference. I wandered around the city with the maps in my pocket. Pencil-marks became an eyewitness. I met people. I learnt how to find places when I needed something. I made Stockholm my city. Each map is a testimony of my practice.

I find my pace.

www.juanmagonzalez.com

Gonzales

 

 

12. Alexander Hult (1988, SWE) - Hedvig,Eleonora / Church, Sandsborg / Wall

Oil on canvas
The paintings are oil on linen canvas; I build the stretchers, glue and prime them. For me, this is where the process begins. I choose the motif depending on where I am. The focus is on composition, and I try to ”refine” it.

The paintings that I am showing are about form, in-between spaces and subtle variances of colour.

Alexhult.wix.com/painter

 –
hult

 

 

13. Annina Åsvik (1981, FIN) - Untitled 1‐8, Flowers 1‐8

Oil on canvas,

I look dreamingly at summer thinking about the future paths, crossroads and dusty streets. I look before me, searching for new images, only to shove forward.

In my paintings I portray nature. It is a constant force of fascination for me. The starting point of my work is color and associations. By painting I attempt to bring forward the meaning of colors, their different shades, variations and vibrations.

 –
Åsvik

 

 

14. Mia Ash (1985, BIH) - Something may surprise you

In my work I am trying to set up scenarios, with no specific outcome leaving it up to the audience to determine what is going on.
I want to tell the viewer, what I am doing and how I am doing.
The final product may surprise you, surprise can be good or bad but I don’t care. What’s important is wondering of the viewer.

I am trying to solve problems which is an abstract element. My intention is to extend the figurative tradition through abstraction. The language that I use is based on my intuition and instincts. Those instincts are divided into two parts. One is objective and formal while the other is based on an irrational and subjective manner that belongs to me as an individual.

 

 –
Ash

 

 

15. Anna Taina-Nielsen (1986, DK/FIN) - Two Days Window Vision (2015)

Måleri på vägg

In my practice I focus on the labour that is put into a painting. Throughout the Master program at The Royal Institute of Art, I have been investigating the subject of artistic labour value. Also looking at other types of labour, in relation to how different types of work are constructed and remunerated. I have expanded my mode of expression to performative painting directly onto the wall, often working site specific by varying the rules of my project.

Rules for painting performance:

  1. Work schedule

Tuesday, June 10, 10 am – 7 pm

Wednesday, June 11, 10 am – 7 pm

  1. Size

The size of the lines will be 9 x 1,8 cm and the distance between them will be the same.

  1. Colour

The colour of the lines will match the most prominent color from the clothes of the people passing by. I will make one line per person until the wall has been covered or the time is up.

  1. Interaction

I will not interact with people passing by.

 

www.annataina.com

 –
Nielssen