Showing posts with label Helsinki Contemporary Gallery. Show all posts
Showing posts with label Helsinki Contemporary Gallery. Show all posts

01/11/25

Teemu Mäenpää @ Helsinki Contemporary - 'Paradise Lost' Exhibition

Teemu Mäenpää: Paradise Lost
Helsinki Contemporary
31 October - 23 November 2025

Teemu Maenpaa Art
Teemu Mäenpää
Kahdet Kasvot / Two Faces, 2025
Acrylic on canvas, 120 cm x 100 cm
Photo: Jussi Tiainen
© Teemu Mäenpää, courtesy Helsinki Contemporary

Teemu Maenpaa Art
Teemu Mäenpää
The Apple, Adam, 2025
Acrylic on canvas, 200 cm x 160 cm
Photo: Jussi Tiainen
© Teemu Mäenpää, courtesy Helsinki Contemporary

Teemu Maenpaa Art
Teemu Mäenpää
Kulkijan kukkanen, 2025
Acrylic on canvas, 120 cm x 100 cm
Photo: Jussi Tiainen
© Teemu Mäenpää, courtesy Helsinki Contemporary

Teemu Mäenpää’s expressive paintings brim with raw energy, vibrant colour, and playful openness. His art grows from the very gesture of painting itself: fluttering palm fronds and elongated petals emerge from the natural arc of his hand. He combines media intuitively – from oils to spray paints – creating works that pulse with immediacy. Mäenpää’s boldly physical, uninhibited approach to painting is rooted in his background in street art, and his practice embodies an attitude that defies the gravitas of high art.

Paradise Lost unveils Mäenpää’s latest works – paintings that dance between abstraction and representation, alive with a rich vocabulary of metaphorical plants and animals. The exhibition’s title evokes a longing for nature and a yearning for a lost Eden. Yet in Mäenpää’s art, plants primarily serve as mirrors of human nature, metaphors for care, connection, society, life, and growth. Each painting, in its own way, is also a vicarious self-portrait.

For Teemu Mäenpää, painting plants is also a form of escapism. His canvases conjure comic strip–like adventures, exotic landscapes, and mythical visions of paradise. A recurring motif from his earlier work also makes a reappearance: the humble houseplant. Perched on windowsills, these vegetal figures gaze outward, existing under human care and separated by glass from the world beyond. Mäenpää’s paintings seem to ask: on which side of the window is paradise truly found – and on which side does our real nature belong?

Teemu Maenpaa Art
Teemu Mäenpää
Gogonuts Tree, 2025
Acrylic on canvas, 200 cm x 160 cm
Photo: Jussi Tiainen
© Teemu Mäenpää, courtesy Helsinki Contemporary

Teemu Maenpaa Art
Teemu Mäenpää
Ihastumisen aakkoset / The ABCs of Infatuation, 2025
Acrylic on canvas, 120 cm x 100 cm
Photo: Jussi Tiainen
© Teemu Mäenpää, courtesy Helsinki Contemporary

Teemu Mäenpää (b. 1977) is a Tampere-based artist who graduated from the Academy of Fine Arts in Helsinki in 2008. He has exhibited widely in Finland and abroad, at venues including Galleria Halmetoja, Make Your Mark Gallery, ARTag Gallery, and XXIX Mänttä Art Festival. His works are held in the collections of the Tampere and Turku Art Museums, the Nelimarkka-Foundation, the Saastamoinen Foundation, EMMA – Espoo Museum of Modern Art, and the Seppo Fränti Collection deposited at the Museum of Contemporary Art Kiasma. Mäenpää has also completed several public commissions.

Paradise Lost marks his second solo exhibition at Helsinki Contemporary.

HELSINKI CONTEMPORARY
Bulevardi 10, 00120 Helsinki

29/09/25

Roland Persson @ Helsinki Contemporary - "Uninvited Guest" Exhibition

Roland Persson
Uninvited Guest
Helsinki Contemporary
3 - 26 October 2025

Helsinki Contemporary presents Swedish sculptor Roland Persson's third solo exhibition at the gallery titled Uninvited Guest.

Roland Persson is known for his surrealistic works based on hyper-realistic silicone casts of objects, animals, and plants. As an artist he explores the interface between consciousness and the subconscious, between humans and nature, and between the private and the public.

The works in this exhibition are partly built on Persson's childhood memory of his aunt's apartment where the furniture was covered with white sheets after the aunt moved to America. The eerie atmosphere of absence in the rooms of the home is conveyed in an installation where we see, among other things, goats walking on a bed. In the gallery, sheets are propped against the walls, resembling a theatre or film set. The pleated silicone, imitating white fabric, drapes, covers, and protects from view. In addition to goats, another animal roaming the quiet installation is the great cormorant, a bird widely regarded as a nuisance in the Nordic archipelago.

Persson's practice is about creating new worlds that strangely resemble reality. The aim of his works is to make the viewer uncertain about their observations. According to Persson, who is familiar with psychoanalysis and draws on it in his art, this uncertainty allows the viewer to liberate their own subconscious. Silicone is a contradictory material and it is well suited to depict the mystical opposites in Persson's art. As a material, it can reproduce details realistically—on the other hand, it is synthetic and "unnatural". The works entice yet can also appear repulsive, at once carnal and ethereal, strange and familiar, perhaps uncanny in psychoanalytic terms.

The exhibition also features drawings on wax-coated paper. As a technique, drawing appears very different from creating large installations, but there is a connection between the two: the drawings are often like abstract and instinctive instructions for the sculptures.

ROLAND PERSSON (b. 1963) graduated from the Umeå University Academy of Fine Arts in 1993 and has been exhibiting ever since. His work has been shown at eg. the Liverpool Biennial (2021), the Ostrobothnian Museum in Vaasa (2023), and Färgfabriken in Stockholm as well as Amos Rex and HAM Helsinki Art Museum in Helsinki (2024), to mention a few.

This year Roland Persson is nominated for one of the biggest art awards in the Nordic countries, Ars Fennica. His works will be on display in the nominees' group exhibition at HAM from October 24, 2025, to March 29, 2026.

HELSINKI CONTEMPORARY
Bulevardi 10, 00120 Helsinki

24/08/25

Rauha Mäkilä @ Helsinki Contemporary - "Syksy 2025" (Autumn 2025) Exhibition

Rauha Mäkilä 
Syksy 2025 (Autumn 2025)
Helsinki Contemporary
5 - 28 September 2025

Rauha Makila - Photo
Rauha Mäkilä
Photo courtesy of Helsinki Contemporary

Rauha Makila
Rauha Mäkilä
Tavantakainen, 2025
Oil on canvas, 80,5 cm x 60,5 cm
Photo: Jussi Tiainen
© Rauha Mäkilä, courtesy of Helsinki Contemporary

Rauha Makila
Rauha Mäkilä
Piilovaihe, 2025
Oil on canvas, 71 cm x 51 cm
Photo: Jussi Tiainen
© Rauha Mäkilä, courtesy of Helsinki Contemporary

Rauha Mäkilä’s solo exhibition Syksy 2025 (Autumn 2025) presents new works united by a common theme: exploring memories through painting.

Rauha Mäkilä draws inspiration from visual notes and photographs, transforming fleeting snapshots of fast-paced moments into painterly form. Unfolding slowly and deliberately, her paintings emphasise process, materiality, colour and composition.

For Rauha Mäkilä, painting is an antidote to the perfection-driven flood of digital images. Like a book, a painting demands time: it can challenge us, and transport us to another place and time.

Rauha Makila Art
Rauha Mäkilä
Halloween 2024, 2025
Oil on canvas, 240 cm x 200 cm
Photo: Jussi Tiainen
© Rauha Mäkilä, courtesy of Helsinki Contemporary

Rauha Makila
Rauha Mäkilä
Chaplin 1982, 2024
Oil on canvas, 230 cm x 200 cm
Photo: Jussi Tiainen
© Rauha Mäkilä, courtesy of Helsinki Contemporary

Colour is often her point of departure. As she paints, Rauha Mäkilä tests how colours interact to generate different moods and spaces. Too much harmony can be dull. Instead, rhythmic shifts, small imperfections, and even deliberately “wrong” colour choices create compositional vitality. Her works are always constructed in the language of painting: in the brushstrokes across the canvas, in the connections between shapes and colours, in the ways diverse elements support one another, and in what they ultimately convey.

Some of Mäkilä’s new works depict sculptures; others are “meta-paintings,” or paintings of paintings. These do not comment on the art world as such, but probe deeper questions of perception: how we see, what we value, and why. In the end, Mäkilä’s practice reminds us that what we encounter is not reality, but a constructed image—above all, a painting.

HELSINKI CONTEMPORARY
Bulevardi 10, 00120 Helsinki

20/06/25

Jussi Goman @ Helsinky Contemporary - "Desire Path" Exhibition

Jussi Goman: Desire Path
Helsinki Contemporary
August 8 - 31, 2025

Jussi Goman
Jussi Goman
Desire Path, 2025
Acrylic on canvas, 200 cm x 180 cm
Photo Jussi Tiainen
© Jussi Goman. Courtesy Helsinki Contemprary

Jussi Goman
Jussi Goman
Where I Wasn't Going, 2025
Acrylic on canvas, 200 cm x 180 cm
Photo Jussi Tiainen
© Jussi Goman. Courtesy Helsinki Contemprary

Jussi Goman
Jussi Goman
Shown Twice, 2024 
Acrylic on canvas, 200 cm x 150 cm
Photo: Jussi Tiainen
© Jussi Goman. Courtesy Helsinki Contemprary

Jussi Goman’s new paintings feature colour-drenched layers of paint that carve out unruly paths upon an orderly configuration of grids and lines. The resultant pattern is reminiscent of doodles in a graph notebook, a jigsaw puzzle, a Snake video game, or the Minotaur’s labyrinth, invoking spontaneous shortcuts, dead ends, and myriad narratives.

Jussi Goman (b. 1980) is in a class of his own in his command of colour and technique. His paintings are complex tapestries of lightness and heaviness, bold brushstrokes and delicate details. His new paintings combine dazzling, luminous hues with pastel blues and lavenders, with added accents of muted orange and red. The glassy acrylic surface provides a lively accompaniment to the lusciously textured brushwork. Adding further three-dimensionality to each canvas are the succulent acrylic impasto accents that have become a signature trademark of his style.

Jussi Goman
Jussi Goman
Runner, 2025 
Acrylic on canvas, 80 cm x 70 cm
Photo: Jussi Tiainen
© Jussi Goman. Courtesy Helsinki Contemprary

Jussi Goman
Jussi Goman
Monolith, 2025 
Acrylic on canvas, 170 cm x 145 cm
Photo: Jussi Tiainen
© Jussi Goman. Courtesy Helsinki Contemprary

Jussi Goman
Jussi Goman
Meanwhile Elsewhere, 2025 
Acrylic on canvas, 145 cm x 170 cm
Photo: Jussi Tiainen
© Jussi Goman. Courtesy Helsinki Contemprary

Jussi Goman
Jussi Goman
Gathering, 2025 
Acrylic on canvas, 145 cm x 170 cm
Photo: Jussi Tiainen
© Jussi Goman. Courtesy Helsinki Contemprary


Jussi Goman draws inspiration both from mythology and everyday life. The creatures appearing in his compositions are reminiscent of the mischievous beasts in Aesop’s animal fables, beloved pets, or birds foraging in the garden. Whichever the case may be, the underlying idea is the same: greatness comes in small details, and every moment contains eternity. After all, the ancient Egyptians worshipped the sacred scarab, the lowly beetle that spends its day rolling balls of dung. Often it is the case that something we find instantly recognisable or makes us smile contains something deep and true within it. Guided by his intuition, the artist explores this territory, following an idiosyncratic path towards a goal that is initially unknown.

A shortcut, whether taken by a human or animal, is typically an unplanned path that represents the shortest or most convenient route between an origin and destination. There is a more poetic English term for a shortcut: ‘desire path’, which perfectly captures the way shortcuts are born: the best and most enduring paths are born out of desire, not by force.

‘Desire Path’ is Jussi Goman’s first solo exhibition at Helsinki Contemporary. He has previously appeared at Helsinki Contemporary together with Santeri Lehto and Anton Alvarez in the group exhibition ‘Not Enough Room to Swing a Cat’ (Post with a biography of Jussi Goman)

HELSINKI CONTEMPORARY
Bulevardi 10 - 00120 Helsinki

29/03/25

Eeva-Riitta Eerola @ Helsinki Contemporary Gallery - "C" Exhibition

Eeva-Riitta Eerola: C
Helsinki Contemporary
11 April - 4 May 2025

Eeva-Riitta Eerola
Eeva-Riitta Eerola
Vessel (Garden) IV, 2025
Acrylic on canvas, 90 cm x 90 cm
Photo: Erno Enkenberg
Courtesy of Helsinki Contemporary

Eeva-Riitta Eerola
Eeva-Riitta Eerola
Vessel (Garden) III, 2025
Oil on acrylic on canvas, 46 cm x 50 cm
Photo: Erno Enkenberg
Courtesy of Helsinki Contemporary

EEVA-RIITTA EEROLAs paintings seem to materialize like apparitions, exuding effortless simplicity, but also a sense of potency. Echoing her desire to simplify, Eeva-Riitta Eerola has named her new exhibition after a single letter of the alphabet: C. This emblem can be read in many ways: as a visual symbol, as a phoneme, or even as a word. Visually, its shape both encloses and opens outwards, recalling the phase of the lunar cycle when the Moon is visible only as a narrow crescent. In ancient carvings, the map of the Garden of Eden is inscribed as a fertile crescent at the confluence of four rivers, or as a rounded vessel containing paradise.

Eeva-Riitta Eerola
Eeva-Riitta Eerola
Observer (Garden) III, 2025
Oil on acrylic on canvas, 42 cm x 33 cm
Photo: Erno Enkenberg
Courtesy of Helsinki Contemporary

Eeva-Riitta Eerola
Eeva-Riitta Eerola
Act (Garden) IV, 2025
Oil on acrylic on canvas, 50 cm x 80 cm
Photo: Erno Enkenberg
Courtesy of Helsinki Contemporary

Abstracted maps, streams and paths are among the prominent recurring elements in Eerola’s paintings, as are hands and eyes. The eye motif is significant in that the letter ‘C’ can represent the English verb ‘to see’, or its imperative form. Eerola’s paintings invite our gaze to roam and for us to immerse ourselves experientially. The eye and the hand can be interpreted as symbolizing the painting process: when painting is reduced to its basic essentials, the gaze and the manual gesture are the painter’s most important tools.

Eeva-Riitta Eerola’s paintings engage in close study of the way we humans experience images. She is interested in exploring painting’s ability to convey an experience of spatiality and presence. In her new exhibition, spatial experiences are conveyed through images of gardens. Eerola’s gardens are semi-abstract, however, representing more of a conceptual and symbolic space than a physical one.

Eeva-Riitta Eerola
Eeva-Riitta Eerola
Courtesy of Helsinki Contemporary

Eerola’s practice also reflects her interest in the history of painting. In the exhibition C, Eeva-Riitta Eerola has drawn inspiration from symbolism, an historic art movement that used symbolic images to suggest emotions and universal human experiences. She first became interested in symbolism after experiencing a death in her family as a teenager. What especially drew her to symbolism was its compelling manner of invoking death, life, continuity, finality and infinity. While preparing for this exhibition, Eeva-Riitta Eerola took inspiration from a beloved painting of her youth, The Garden of Death (1896) by Hugo Simberg, a small-scale depiction of skeletons tenderly caring for uncanny flowers in a garden situated somewhere between the living and the dead.

HELSINKI CONTEMPORARY
Bulevardi 10 - 00120 Helsinki

07/03/25

Sanna Kannisto @ Helsinki Contemporary - "Gestures" Photography Exhibition

Sanna Kannisto: Gestures
Helsinki Contemporary 
14 March - 6 April 2025

Sanna Kannisto - Photography
SANNA KANNISTO
Sunflower, 2023
Pigment ink print
120 x 90 cm, edition of 7
Further option: 81 x 61 cm
© Sanna Kannisto / Courtesy Helsinki Contemporary

Sanna Kannisto - Photography
SANNA KANNISTO
Preening
© Sanna Kannisto / Courtesy Helsinki Contemporary

Sanna Kannisto - Photography
SANNA KANNISTO
Oriolus oriolus
© Sanna Kannisto / Courtesy Helsinki Contemporary

Sanna Kannisto’s latest exhibition explores the gestures and unique personalities of birds through photography. Her avian photography is distinctive for her unusual technique of constructing field studios in natural settings. While shooting, she is attuned to the birds’ gestures, postures, and expressive presence. “Certain moments make photography meaningful to me, such as when a bird chirps, flutters its wings, grooms itself, cleans its beak, cranes its neck, competes for a place on the perch, peers at me with a certain look in its eye, or nestles up against a companion,” describes the artist.

Sanna Kannisto’s art engages in commentary with the history of portraiture, the still life genre, and traditions of scientific representation. Her photographs are the combined outcome of meticulous planning, surprise and chance. Some of her compositions are ‘hand-crafted’, combining multiple images or different moments in time. The thing that has always intrigued her about photography is the tension between reality and photographic representation. In the final stages of creating an image, Sanna Kannisto describes herself as striving to strike a balance between the natural and the artificial, or “constructs of naturalness”. “When I compose an image, I also construct a narrative, and the viewer then completes the story in their imagination,” says the artist.

Sanna Kannisto - Photography
SANNA KANNISTO
Garrulus glandarius
pigment ink-print maple frame, museum glass
1/7 - 61 x 81 cm
© Sanna Kannisto / Courtesy Helsinki Contemporary

Sanna Kannisto - Photography
SANNA KANNISTO
Asio otus
© Sanna Kannisto / Courtesy Helsinki Contemporary

The exhibition’s title, Gestures, reflects the artist’s interest in the relationships between birds and their means of communication. A Japanese study published last year revealed that birds communicate using symbolic gestures. The Japanese Tit (Parus minor) flutters its wings in a particular way to signal an invitation for its mate to enter the nest first, suggesting that birds understand abstract messages on a level previously unrecognized by humans. Another study has revealed that the male starling is able to anticipate its mate’s specific appetites and bring the female the exact treats she desires. Birds are scientifically proven to have highly developed social skills. Studies even suggest that birds might possess a ‘theory of mind’, as they appear to be capable of making a distinction between their own mental states and those of others.

Sanna Kannisto Portrait
SANNA KANNISTO
© Sanna Kannisto / Courtesy Helsinki Contemporary

Sanna Kannisto has been photographing birds in Finland and around the world for over a decade, offering her unique insights on the acceleration of environmental change. The past ten years have seen a drastic decline in bird populations all over the world, including Finland. The crested tit – the species portrayed in one of Kannisto’s diptychs – was formerly an endangered species, but is now on the critically endangered list. In her recent works, Sanna Kannisto has expanded her avian menagerie to challenging new species such as crows, owls, woodpeckers, hawks, bee-eaters and swallows. During her field work, she collaborates with ornithologists and bird ringers. She has received permission for her projects from the Finnish Centre for Economic Development, Transport and the Environment. The birds featured in Gestures were photographed in Finland and Italy.

HELSINKI CONTEMPORARY
Bulevardi 10, 00120 Helsinki

16/12/24

Leena Nio - Exhibition @ Helsinki Contemporary - "Dwellers"

Leena Nio: Dwellers
Helsinki Contemporary
10 January - 2 February 2025

Leena Nio
Crowded I, 2024
Photo: Jussi Tiainen
Oil on canvas, 170 cm x 150 cm
© Leena Nio, courtesy Helsinki Contemporary

Leena Nio
Composition with a red dress shirt and yellow 
handmade sweater, 2023-2024
Photo: Jussi Tiainen
Oil on canvas, 170 cm x 150 cm
© Leena Nio, courtesy Helsinki Contemporary

Leena Nio’s practice is underpinned by the pleasure of painting and looking. As she paints, she surrenders herself to the magic of colour and an abundance of details and intertwined brushstrokes. She plays with tensions between concealment and exposure, the personal and the universal, and juxtapositions of contrasting textures.

Leena Nio’s latest exhibition consists of still life compositions capturing scenes of quotidian daily existence. Many are composed around a laundry basket, a mundane household item that is rarely celebrated in art, yet nevertheless an object in which there is beauty, softness and nuances to be discovered. A human presence is suggested indirectly through cropped fragments of garments and laundry.

Leena Nio’s complexly layered paintings straddle between abstraction and representation. Things hidden behind façades are central to her recent paintings, many of which literally contain peepholes evoking the duality of daily existence: behind the public façade is a private world that is revealed only to one’s closest loved ones. Fluffy jumpers and other items of clothing appear as recurring symbols of the softening buffers that we erect between ourselves and external reality.

Leena Nio’s layered paintings bring to light the interconnected nature of reality. As if braiding hair or knitting strands of woollen yarn, she visually juxtaposes and interweaves meticulously executed details, inviting viewers to reflect on the inextricable oneness of the objects, people, and other living beings in our lives.

Leena Nio’s paintings seem to ponder the way our lives unfold almost like a series of still life compositions. An object such as a laundry basket is a theatre stage upon which we perform our daily existence in an ever-changing procession of clothing, while we ourselves observe this theatre of life as onlookers in the sidelines.

HELSINKI CONTEMPORARY
Bulevardi 10, 00120 Helsinki

06/12/24

Heidi Lampenius @ Helsinki Contemporary - "Ground Color" Exhibition

Heidi Lampenius: Ground Color
Helsinki Contemporary
22 November - 21 December 2024

Heidi Lampenius
Stairs I, 2024
Photo: Jussi Tiainen
Clay paint on canvas, 200 cm x 130 cm
© Heidi Lampenius, courtesy Helsinki Contemporary

Heidi Lampenius
Stairs II, 2024
Photo: Jussi Tiainen
Clay paint on canvas, 200 cm x 130 cm
© Heidi Lampenius, courtesy Helsinki Contemporary

Heidi Lampenius
Stairs IV, 2024
Photo: Jussi Tiainen
Clay paint on canvas, 200 cm x 195 cm
© Heidi Lampenius, courtesy Helsinki Contemporary

Heidi Lampenius
Color Chart I, 2024
Photo: Jussi Tiainen
Clay paint on canvas, 165 cm x 165 cm
© Heidi Lampenius, courtesy Helsinki Contemporary
“I like the way the paint glistens when it is wet, like dew-kissed mornings, but when it is dry, the colours become muted as the clay enfolds them in its own harmonious palette. Here lies the secret, the secret of the clay, the secret of the earth, conveying a sense of everything invisible in nature that we feel but cannot see.”

- Heidi Lampenius
Ground Color presents new clay paintings by Heidi Lampenius. They reprise her signature symbolic language of painting that is based on the natural sciences and her experience of nature. The title of the exhibition is ambiguous: ‘ground’ can mean ‘earth’, but it can also refer to the surface used for painting. In this exhibition, earth serves as the ‘ground’ both conceptually and literally.

In her past paintings, Heidi Lampenius gave a visible form to invisible natural phenomena such as wavelengths of sound and light. The artist’s new explorations in clay reflect her quest for a new sense of groundedness – her desire to return to tangible basics. The paintings in the exhibition are composed around simple geometrical shapes that enclose folds and diagrams. Her abstract paintings conceptually represent her investigations into the hidden world of clay. While her forms are angular, there is great tenderness to her painting style and tonal scale.

The artist’s enduring themes – time, nature and memory – are revisited in series such as Stairs, in which the viewer can make out the shape of stairs simultaneously leading up and down, and in multiple directions all at once. For Heidi Lampenius, stairs symbolize harmonious cycles, their circular movement representing reassuring continuity and harmony  –  an endless cycle where what is at the ‘top’ and at the ‘bottom’ are inextricably linked.

Clay paint has the special quality of being temporally layered. Earth minerals are among the oldest pigments known to humankind. Clays, ochres, and earth and mineral pigments are born through cycles of elements spanning vast expanses of time. Heidi Lampenius thus takes the viewer on a long journey across peatlands, fields and bedrock, through millennia of folklore, and through geological epochs stretching far back beyond human history.

HELSINKI CONTEMPORARY
Bulevardi 10, 00120 Helsinki

20/05/24

Emma Ainala Exhibition @ Helsinki Contemporary - Exhibition "Delulufesting Dimension"

Emma Ainala: Delulufesting Dimension
Helsinki Contemporary
24 May -30 June 2024

Emma Ainala
EMMA AINALA
She Didn’t Make it Through Bridal Core, 2024
Oil on canvas, 180 cm x 190 cm
Photo: Johannes Ekholm

Emma Ainala
EMMA AINALA
Pigeon Promenade, 2024
Oil on canvas, 170 cm x 180 cm
Photo: Johannes Ekholm

Emma Ainala
EMMA AINALA
Big Budget Shadow Work, 2024
Oil on canvas, 140 cm x 160 cm
Photo: Johannes Ekholm

EMMA AINALA presents her latest paintings in her fourth solo exhibition at Helsinki Contemporary, Delulufesting Dimension, which embarks on a freshly nuanced and deepening exploration of her signature themes: femininity and the gaze.

Ambiguous figures in flamboyant interiors are recurring tropes in Ainala’s richly detailed paintings. While their content invokes the short-lived fads of the digital era, their exquisite, painstaking execution is time-consuming and meticulously planned. Her work also alludes frequently to art history. Sometimes she might combine allusions to the mystical worlds of the Renaissance painter Hieronymus Bosch with references to hyper-specific TikTok trends in one and the same painting.

The term “delulufesting” is the artist’s own portmanteau word of the internet slang terms “delulu” and “manifesting”, both of which refer to the blurring of boundaries between reality and fantasy. “Delulu'' is a term describing the delusional belief that one can influence one’s destiny through sheer willpower. “Manifesting” meanwhile describes the practice of willing something into existence purely by thinking aspirational thoughts – by focusing your thoughts on a desired outcome as if it were already true, you can supposedly make dreams come true in real life as well.

Emma Ainala’s latest paintings depict lavish, manor-like interiors inhabited by female figures that are hybridized with mythical creatures. It remains for the viewer to interpret whether we are looking at “dreams come true”, fantasy scenes, role play, or nightmares.

Womanhood and girlhood are long-standing themes in Emma Ainala’s oeuvre. The figures in her latest paintings are portrayed in princess-like gowns and wedding veils, sometimes blending in with the ornate interiors. The figure’s gaze is usually averted or her eyes are closed, or the head and eyes might be absent altogether. Bridal gowns and veils are trappings associated with the new #bridalcore fashion trend that is on the rise on social media.

Ainala’s paintings are packed with a teeming array of symbols and allusions. Their interpretation is ultimately left up to the viewer, as her paintings seem to pose more contradictory questions than offer solid answers.

Delulufesting Dimension takes us to a dimension where the digital and material worlds collide, and where reality is hybridized with dreams, wishes, and delusions.

That said, every artist must inherently embrace a near-delusional conviction in a positive outcome. When painting or preparing an exhibition, the artist must cling to the unshakeable belief that something will eventually manifest out of thin air.  The artist must be able to picture the desired outcome and invest boundless trust in a process that is inherently indeterminate.

Emma Ainala
EMMA AINALA
Portrait Photograph

EMMA AINALA (b. 1989, Helsinki, lives and works in Savonlinna, Finland) graduated from the Finnish Academy Fine Arts of Uniarts Helsinki in 2013. She had her first solo museum exhibition at Mikkeli Art Museum in 2017, followed by another one at Jyväskylä Art Museum in 2019, and Hyvinkää Art Museum in 2020. In spring 2018, she was invited to take part in the prestigious Spring Exhibition at Copenhagen’s Kunsthalle Charlottenborg. Her works have been widely exhibited in Finland and in Europe. Her works are included in collections such as the art collection of the Saastamoinen Foundation, the Niemistö Collection and Mikkeli Art Museum’s collection.

HELSINKI CONTEMPORARY
Bulevardi 10 - 00120 Helsinki

23/03/24

Artist Ville Andersson @ Helsinki Contemporary - "Understones" Exhibition

Ville Andersson: Understones
Helsinki Contemporary
April 5 - May 19, 2024

Ville Anderson
VILLE ANDERSSON
undertone_25, 2022
Ink and pencil on paper, framed
17 cm x 17,1 cm
Photo: Ville Andersson

Ville Anderson
VILLE ANDERSSON
undertone_24, 2023
Ink and pencil on paper, framed
21 cm x 14,5 cm
Photo: Ville Andersson

Ville Anderson
VILLE ANDERSSON
undertone_10, 2021
Ink and pencil on paper, framed
29,5 cm x 21,2 cm
Photo: Ville Andersson

Ville Anderson
VILLE ANDERSSON
undertone_06, 2022
Ink and pencil on paper, framed
13,4 cm x 17,5 cm
Photo: Ville Andersson
“I think dreams and imagination are inescapably melancholy, either openly or secretly. They offer a space for devotional exercises, just as many artworks do. Our active, creative, busy selves sometimes need a place of retreat, a room of our own, a mental space of silence and focused meditation.”

- Ville Andersson
Helsinki Contemporary takes pride in hosting Ville Andersson’s fifth solo exhibition this April. Undertones highlights the medium of drawing as a mode of being present and observing oneself and how one’s relationship with one’s surroundings keeps changing. The exhibition presents a powerful and cohesive body of work on paper that gains dynamism from subtle rhythmic accents and carefully placed surprises.
“Most of the drawings portray details or cropped views rather than the entire subject. I started working on the series by focusing on tightly cropped images of noses or eyes, but the further I got, I realized that the series needed at least one ‘classical portrait’ to pull it together, creating a rhythm that unites all the parts.”
Ville Andersson grounds us in core experiences of everyday reality using classic elements: pen, paper, hand and eye – ways of reaching out and touching to which everyone can easily relate. He masterfully builds tension through a dialogue of familiar and unknown elements, marrying the recognizable with the uncanny. His wily chiaroscuro leads the eye into details that reveal themselves to be part of an all-encompassing unity.
“From the outset it was clear to me that I wanted to include some kind of visual ‘bug’ or ‘flaw’. I also wanted to evoke a certain ‘xerox aesthetic’ that on closer inspection would reveal itself to be dense cross-hatching.”
Both the technique and the scale of the drawings are significant. The drawings present extreme close-ups, and they are in turn viewed at close range, as if the viewer were touching them, thoughtfully and contemplatively – caringly.
“By working small, my whole body is actively engaged, and the entire picture plane is under my control. The size of the paper defines the structure, but within that structure, anything is possible. Emptiness is a space where imagination can flow freely.”
Flickering contrasts of light and shadow are interwoven, and boundaries are blurred between the figurative and the abstract. Looking at ille Andersson’s drawings is like viewing stills of a mystical film sequence of hazy yet perfect moments in the urban flow when it is impossible and irrelevant to distinguish when day ends and night begins. There is only that moment, that beautiful fragment, that state of betweenness.
“I hope that audiences will gain a dual sense of both movement and stillness in my drawings. For me, movement is driven by restlessness. Desire propels the mind into motion (even if the object of desire is unattainable). There is also an element of pleasure in the build-up of drawing and working my way towards a desired goal. Hopefully that tension can also be sensed by the viewer.”
Ville Anderson
Ville Andersson Portrait
Photo: Veikko Kähkönen

VILLE ANDERSSON (b. 1986) studied at the Finnish Academy of Fine Arts from 2007 until 2012. He received Finland’s Young Artist of the Year Award in 2015. He has exhibited widely both in Finland and abroad at venues including EMMA – Espoo Museum of Modern Art, the National Art Center in Tokyo, Vitraria Glass +A Museum in Venice, the Weserburg Museum für Moderne Kunst in Bremen, Germany, the Centrum för Fotograf in Stockholm and FOMU – Fotomuseum Provincie in Antwerp, Belgium. His work is represented in collections such as Saastamoinen Foundation, the Museum of Contemporary Art Kiasma, the Amos Andersson Art Museum, Pro Artibus and the Jenny and Antti Wihuri Art Foundation. His recent projects include the design of Tampere’s new tram stops, artworks for family rooms at Kerava Health Centre, the new graphic look of the Academic Bookstore and a piece commissioned as part of the Helsinki Festival’s Open Art Gallery project. In 2022, Andersson was awarded the Watermill Center’s Inga Maren Otto Fellowship and the Finnish Art Society’s William Thuring Prize.

HELSINKI CONTEMPORARY
Bulevardi 10 - 00120 Helsinki

11/02/24

Anton Alvarez, Jussi Goman, Santeri Lehto @ Helsinki Contemporary - "Not Enough Room to Swing a Cat" Exhibition

Anton Alvarez, Jussi Goman, Santeri Lehto
Not Enough Room to Swing a Cat
Helsinki Contemporary
16 February - 28 March, 2024

Santeri Lehto
SANTERI LEHTO
Lifestyle
Acrylic on canvas, 90 x 74
Photo: Jussi Tiainen
Image courtesy of Helsinki Contemporary

Jussi Goman
JUSSI GOMAN
Stone Spinner (Rosetta Stone), 2024
Acrylic on canvas, 80 x 70
Photo: Jussi Tiainen
Image courtesy of Helsinki Contemporary

Anton Alvarez
ANTON ALVAREZ
0605211705, 2021
Coloured porcelain, 47 x 35 x 38
Photo: Anton Alvarez
Image courtesy of Helsinki Contemporary

Helsinki Contemporary presents the exhibition Not Enough Room to Swing a Cat, introduces three names new to the gallery: Anton Alvarez, Jussi Goman and Santeri Lehto. The artists share a common stylistic approach: abstract minimalism – but not the nostalgic, lukewarm variety. Their brand of abstract minimalism revolves around each creator’s clever and inimitable use of curious, disarming gestures to tease out and reinvent something beautiful and special.

The paintings and sculptures in this group exhibition are woven together in a subtle, porous dialogue. They call out to each other, inciting collisions, their quirky forms and surprising gestures clashing headlong with preconceived assumptions and expectations. Something momentous announces its arrival, while at the same moment something deeply personal slips from our grasp – displayed together, the featured paintings and sculptures freeze this back-and-forth traffic in a densified form. Some of the paintings are steeped in elegant silence (Lehto), while others revel in spontaneous fullness (Goman) – and who could possibly overlook the fact that sculptures are basically brutalist candy (Alvarez)?

Jussi Goman’s paintings derive their forceful energy from their abundance and from collisions between seemingly mismatched elements, while Lehto’s paintings derive their intensity from exquisitely controlled and carefully meditated gestures of immense subtlety. The paintings are rounded out by the dramatic contrasts of Alvarez’s sculptures, which play adventurously with shapes and colours, employing subtle humour in their subversion of conventional expectations. 

Not Enough Room to Swing a Cat courageously imparts its own visual narrative as part of a historical continuum. Through contrasts and clashes, the exhibition reconciles opposites in a grand, startling back-and-forth of feminine and masculine expression, deconstruction of form and its creative reconstruction, the paintings and sculptures merging in a riot of colour and dance of sweet misshapenness and misshapen sweetness.

ANTON ALVAREZ (b. 1980) is a Swedish-Chilean artist, currently based in Stockholm. He graduated from the Royal College of Art, London, UK in 2012. Oscillating between expression and constraint and advancing technological innovation while also utilising traditional craftsmanship, Alvarez’s sculptural forms challenge our perception of weight and gravity and appear both of this world and utterly separate from it. His practice focuses on the design of systems and the creation of tools and processes for producing sculptural objects and architecture.

Recent solo exhibitions include Millesgården, Stockholm, Sweden (2022); Bishopsgate 100, London, UK (2022), Huxley-Parlour, London, UK (2021); Larsen Warner, Stockholm, Sweden (2019); Church San Bernardino alle Monache, Milan, Italy (2019); Espace Muraille, Geneva, Switzerland (2018); National Centre for Craft and Design, UK (2016); Xue Xue Institute, Taiwan (2016); Salon 94, NY (2015). In September 2019 Alvarez was included included in the 10th Korean ceramic Biennale. Selected group shows include Clay Keramikmuseum, Middelfart, Denmark (2019); New Art centre, Roche Court, UK (2018); Daelim Museum, Seoul, Korea and the Texture Museum, Belgium. Alvarez’s work is included in the public collections of the Nationalmuseum, Stockholm, Sweden; Denver Art Museum, Colorado, USA and the Röhsska Museum, Gothenburg, Sweden as well as many prominent private collections.

JUSSI GOMAN (b. 1980) is a visual artist born in Pudasjärvi, who lives and works in Riihimäki. He gratuated as a Master of Fine Arts from the Finnish Academy of Fine Arts in 2008. Goman is known for his colorful acrylic paintings executed with broad brushstrokes, combining humor, movement, and lightness. The painterly elements of his works and the surprising visual narratives together create a rich and multi-layered ensemble. Goman's oeuvre also reveals a profound interest in art history, which is evident in his ability to reinterpret and playfully break the conventions of painting. Recently, Goman has expanded his expression to ceramic sculptures, bringing the world of his paintings into a new dimension.

Jussi Goman has organized numerous solo exhibitions and participated in many group and joint exhibitions both in Finland and internationally. His works are included in several significant collections, including the Museum of Contemporary Art Kiasma, the Saastamoinen Foundation Collection, and the HAM Helsinki Art Museum. In 2020, Goman was awarded the William Thuring Main Prize by the Finnish Art Society.

SANTERI LEHTO (b. 1982, Lappeenranta, Finland) uses a kind of minimalism, and carefully considered analytical naivety, as his stylistic means. First the viewer notices the childish nature of the works and a certain kind of visual simplicity, but the immersion in the symbolic space of the paintings reveals their completely different, almost paradoxical nature. The deconstruction of Lehto’s paintings reveals how visual simplicity underscores the extremely complex and endless question and mystery of existence. So maybe the most important thing in Lehto’s works is not what you see, but what you can’t see.

Santeri Lehto graduated as a visual artist from the Lahti University of Applied Sciences’ Art Institute in 2013 and as a puppet designer from the School of Arts and Crafts in 2005. He lives and works in Helsinki, Finland. Lehto has held many solo and group exhibitions, latest at Gallery Huuto in 2023, and Alzueta Gallery in Barcelona, Spain, and Gallery Snow in Berlin, Germany in 2022. He took part in the Young Artist’ Exhibition at Kunsthalle Helsinki in 2011 and his works are found in numerous private collections.

HELSINKI CONTEMPORARY
Bulevardi 10 - 00120 Helsinki

28/12/23

Artor Jesus Inkerö @ Helsinki Contemporary - "Home Is Where My Mouth Is" Exhibition

Artor Jesus Inkerö 
Home Is Where My Mouth Is 
Helsinki Contemporary 
12 January - 11 February 2024 

Artor Jesus Inkerö
ARTOR JESUS INKERÖ
Home Is Where My Mouth Is, 2023
House and furniture paint on paper
66 x 92 cm
Photo: Jussi Tiainen

Artor Jesus Inkerö
ARTOR JESUS INKERÖ
You stretched me into a ladder, from the 
rooftop you could see a star, 2023
House and furniture paint on paper
67,5 x 95,5 cm
Photo: Jussi Tiainen

Artor Jesus Inkerö
ARTOR JESUS INKERÖ
Architectural Sodomy, 2023
House and furniture paint on paper 
145,5 x 104,5 cm
Photo: Jussi Tiainen 

Helsinki Contemporary presents a solo exhibition featuring previously unseen works by ARTOR JESUS INKERÖ. In these debuting works, images and actions materialize as words, and text functions as gesture. Using house paints on paper, the artist has inscribed phrases that are deeply personal, political and associative, such as Home is Where My Mouth is, Extreme Form of Hedonism, and Architectural Sodomy. Besides invoking linguistic structures, the handwriting – by virtue of its material – suggests home renovation or remodelling. The exhibition additionally marks the premiere of Inkerö’s new video piece made in collaboration with various artists.

Thematically, Home Is Where My Mouth Is explores the domain between the private and the public. Following up their previous studies of queer identity and social issues, Artor Jesus Inkerö’s recent work examines the nature of queer space and the need for queer architecture. In the displayed works, architecture is linked directly to the body and corporeal experience. The contemporary ethos is reflected in the recurring word ‘home’, which for Artor Jesus Inkerö represents a site of human agency. The works express the artist’s thoughts on the changing nature of families and their status as an institution. “I feel that certain social roles and power structures are being reshaped. For instance what does ‘community’ mean in relation to home and family?"

Artor Jesus Inkerö’s relationship with language and writing is a significant one – it is through writing that they have found connections with other people. “Writing by hand has always been the germinal starting point for all my art, whether ceramics or performance. Written text is always at the core.” Writing is also central to the work of the American painter Cy Twombly, who began combining text and expressionistic brushwork in the 1960s. Echoing Twombly, Artor Jesus Inkerö’s handwriting is a material expression of today’s ethos, alluding to things beyond itself, and blurring the line between the maker and the experiencer. The final interpretation is left up to the reader.

The works in the exhibition convey a powerful message, yet not in an insistent or dogmatic way. The painted texts seem to expand rather than reduce ideas. Humour plays a central role. The artist for instance embraces ‘himbo’ subculture. This aptly named masculine equivalent of the clichéd bimbo is muscular, handsome – and stupid. The term challenges academic discourse and offers an alternative way of processing the world. “I see himbo culture as a fascinating take on an understanding of stupidity that permits things to be experienced through the body instead of theory, or where theory becomes part of corporeal experience without necessarily needing a verbal equivalent.”

Digital elements round out the analogue nostalgia in a natural continuum. Artor Jesus Inkerö’s new video combines artist-shot footage with opera. “My libretto describes a sewer, which I find an amusing word, because I feel like something of a sewer myself. Everything both good and bad goes down the drain, coalescing and transforming into something new.” Artor Jesus Inkerö’s moving images and texts are combined with music composed by Juulia Haverinen and performed by opera singer Sam Taskinen.
 
ARTOR JESUS INKERÖ (b. 1989) is a Finnish visual artist whose works have been exhibited in New Museum in New York, Kunsthal Charlottenborg in Copenhagen, SALTS gallery in Basel, Museum of Contemporary Art Kiasma in Helsinki and NOON Projects in Los Angeles. They have participated in artist residencies, such as the Somerset House in London and the Rijksakademie van Beeldende Kunsten in Amsterdam. In their art practice, Artor Jesus Inkerö focuses on topics of queer identity and belonging through exhibitions, performances and public art works and projects. The Finnish Cultural Foundation is supporting the artist’s work.

HELSINKI CONTEMPORARY
Bulevardi 10 - 00120 Helsinki