Moa Cederberg is a visual artist living in Ostrobothnia, Finland. She received her bachelor’s degree in fine art in Novia university of applied sciences and also attended Nyckelviksskolan in Stockholm.

She works with traditional crafts but also with modern expressions like video art. Her work has previously been shown at Vasa art hall and Kuntsi modern museum. She has completed several residencies abroad. She is one of the receivers the grant from Stina Krooks Stiftelse under 2020.

Central themes in her work are inbetweenship and identity.

(b. 1969 in the UK) has been living and working in Tornio, Finland, since 1997. Court is a durational performance artist. Time is one of the most important elements in his work. Often he performs for 8 hours, the length of a work day. Other times he performs throughout an entire event or during the opening hours of the specific venue (museum, institution), in which the event takes place, on each single day.

Lately he has been interested in letting the objects and materials that he uses in his performances determine the duration of his work. He does not consider his performances as solo pieces, since the element of collaboration is inherent in them, be it through his engagement with curators, organizers, artists, viewers, objects, spaces and time. Court’s works are responsive to the site and often the continuous, repetitive action creates a rhythm that runs parallel to that of the site. In all his works he is fundamentally concerned with drawing or writing, as drawing connects line, movement, space and time.

He has exhibited extensively and has been invited to perform at major events such as Das Dicke Ende in Bern Art Museum Switzerland (2018), MA, Art Museum in Rouyn-Noranda Canada (2018), UP-ON Live Art festival Chengdu China (2017), SIGNAL Festival in Brussels Belgium (2017), Beijing Live in China (2016), Viva! Art Action festival in Montreal, Canada (2015), 7a*11d in Toronto, Canada, DigitaLive in Guangzhou, China (2014), SpaceX Gallery Exeter in UK (2012), Guangzhou Live Art Festival in China (2010), ANTI Contemporary Art Festival in Finland (2010), the Venice Biennale (2005) and the Liverpool Biennial (2004).

johncourtnow.com

In our current times of winner-takes-it-all capitalism, it is a high time to recognize and respect what we have in common, what brings us together. We are not alone, and yes, it is time to share, it is time to speak up and act! About use and misuse of power.

Albert Braun’s artworks, often various kinds of installations, attract the viewer, sometimes quite palpably and sometimes more discreetly, but always clearly. Yet, clarity does not mean that there is a given interpretation. One can regard the work of Albert Braun as the creation of spaces or as a framework for actions and events that seem to reflect everyday matters, but which aren´t everday at all. They aim at an interaction between the audience and the work, and so they remain unforgettable to the visitors. The memory remains alive, because the works of art do not convey any connection with accustomed life, but rather create space for imagination and reflection. (Pauline von Bonsdorff)

albert-braun.net

Dan Holm depicts how individuals encounter and relate to one another, and also how this fails to happen. In factual situations he seeks renditions of the psychodynamics of lust, how we are torn between impulses and demands of convention. Stylistically Holm gravitates from realism to Italian baroque with emanations of absurd reuse of mythology and architectural fantasy. 

He has exhibited drawings, paintings and installations since 1973, made illustrations for various publications including drawings from trials.

Blackhole tween Frames

The performance uses 35mm film shot on a hand cranked film camera and projected on a hand cranked 35mm projector. The sound coming from the projector itself is processed live during the performance. The light sources are 2 power LED chips. The color film is self developed using own cross-processing techniques. The idea is to study motion and color perception as the frame rates of projection and of shooting differ at each instant. The film varies in color contrast from strong to very weak, creating spaces where the viewer is not able to discern the content of the image that is projected. The images force the viewers’ perception to invent their own content, similar to phi phenomena in color perception, where experiments have used just two colors.

In this instance the images created on film contain an abundance of constantly changing colors of the same subjects moving through space, disorienting our default perception sensibilities. 

PANPHASING

The installation uses a 360 degree camera pan and own diy handcranked film printing device . The pan is dissected and reimagined .

Marek Waldemar Pluciennik

He is a Polish/Canadian filmmaker and cinema artist based in Helsinki. His work focuses on the material and ephemeral nature of the film medium. In his latest works, he interfaces traditional projectors with digital microcontrollers as he explores visual motion perception in the frame-based medium. The works are a meditative study at the extreme boundaries of apparent movement. Pluciennik refers to it as a liminal flicker, where the viewers’ motion perception is tested by a “meltdown” of classic motion perception; a similar phenomenon to liminal space, where an empty space can feel unsettling and familiar at the same time.

marek-pluciennik.mystrikingly.com

I work mainly with figurative painting, and usually people are my main subjects. I strive to visually reflect an inner process, state or being. The interior of a person, a kind of concentration of the psyche or an emotional state transformed into visual expression. I use painting as a language for expressing nuances that verbal language is unable to describe. Like visual poetry.

Something that often recurs in my work is light and darkness, both pictorially in the depiction of light and shadows, but also thematically on an emotional and spiritual level.

janikanlofqvist.com

Down under 2020

The work deals with the world under the water-surface. The videos show the silence of nature compared to the dominant world of people. The starting point for the work was new landscapes that have not been recorded and viewed that much before! But in the course of the work the contrast between these  two extremes became more and more important. The sounds are recorded from the internet of famous youtube channels. How in my opinion today’s social media and podcasts many times modify us into an empty state, for example some one bathes in chocolate or how to wash your hair with ketchup! Point being how much unnecessary amusement we are fed every day. This phenomenon is todays entertainment but in many cases I feel we could do better.

In the sequences, the camera moves up from the bottom covered by mud, when the picture reaches the waterline towards the sky, you hear these voices mixed with choral music. The contrast that is created between the silent pristine of the still nature and the shouts of “press the subscribe botton” hopefully gives one the urge to reflect on humanity and question if this direction is the right one.

More about the project Down under

For a year now, i have been working on a series of paintings of houses and interiors. What I do in this project is visualizing rooms and homes from my childhood. I have gone into my friends houses, gone trough wardrobes and magazines in their parents bedrooms, sat down at the table in our neighbours kitchen, in the empty houses.

I try to paint the cigarette smoke in the walls, the darkness in the long hallway, the telephone ringing, the unfamiliar smell in a friends house, old conversations and strange atmospheres. (That is, things without a clear visual manifestation.)

I have no idea how close my paintings are to the objective world, if the rooms in my paintings look like the actual rooms. I´ve got no photo reference.

Instead I see these paintings as entering into myself in a way. Into rooms created by my memory of situations in my childhood; Inner, psychological (non-physical) rooms.

So they are interiors, rooms, homes and furnitures. An inner landscape trapped in a one floor brick house, built in the late 1970s.

mattiaslofqvist.com

Carina Ahlskog, visual artist and performance artist from Nykarleby, Finland. She has a background in modern dance, which means that in her artistic practice she is investigating the moving body and choreography in the context of contemporary art. 

Ahlskog’s interest lies in how the moving body finds its place in the visual art context. A context that may not be best suited for dance, but which opens up for new exciting challenges. How can the body be handled as an object? How can an object be choreographing the body? By using the visual art context as a venue for choreography and dance she explore her surroundings, a search for new bodily movements where the meeting and the presence are central and the tension lies in the interaction that occurs. She is looking for a dialogue with her environment. Something she calls ”Embodied Spaces”. It is especially the everyday gestures that fascinates her. By using familiar element, minimizing and excluding other elements she want to give a different view of what it means to be human. 

”What interests me is to pick out a detail and make a whole story about it.” 

Impulses – a dialogue between a mother and a son

Impulses is a collaboration between Carina Ahlskog and her 18-year-old son and musician, William Ahlskog. It is a meeting where they enter into a dialogue with each other’s art expressions; live performance and sound design /drums. A parallel is drawn to the different stages of life where roles change as life passes by.

carinaahlskog.com

Michele Uccheddu/03SIDIAN

manifesto:

Biologically we are animals, to be precise mammals. Adaptive mutations in the evolutionary cycle, derived from genetic changes in response to changes in the conditions of the surrounding environment, condition the evolution of the Human genus which over time has taken over all the species present on Earth.

The processes used by the sound artist derive from improvisations on acoustic instruments such as African percussion and drums, natural instruments such as pine fir trunks, branches, ice, stones found and recorded in the woods of Northern Finland. The compositional idea is inspired by biological life and its evolutionary and adaptive processes.

A generative reworking takes place by the machine, programmed with probabilistic steps and quantisation, thanks to which the recorded portions are chosen randomly, after which the recorded portions are further processed, thus giving life to music with sounds that depend exclusively on the starting sounds, that is, they react and model themselves thanks to the surrounding sound environment, they are consolidated by strongly characterising the shape and character of the improvisation performance.

Currently he is developing a patch “automa” for the sampler Octatrack elektron. The sound is fast self shaping due to the mic inputs. responsive and generative.

His production is curated by SUPRANU Records label.

micheleuc.wordpress.com