The Saari Residence individual residencies for 2021 (12 June 2020)

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FT, KuM Titta Aaltonen 4 800 € Kuvataiteellinen työskentely

Kuvataiteellisessa työskentelyssäni tarkastelen yhteiskuntaluokkaan ja sen ilmentymiseen liittyviä kysymyksiä. Vaikka Suomea ei yleensä pidetä luokkayhteiskuntana, yhteiskuntaluokka ohjaa ihmisten elämää ja valintoja monilla tasoilla. Taiteellisen työskentelyni keskiössä on näiden usein myös piilossa olevien valintojen avaaminen ja käsittely.

Rahasta ja yhteiskuntaluokista puhuminen on aina rohkeaa!

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writer and curator Jurriaan Benschop 4 800 € Why Painting Works

Painting is an art form that everyone knows, its history going back to early forms of human life. Yet for many people, paintings can also be a mystery, hard to relate to, scary in their silent existences, and associated with a specialized field of expertise. The book I plan to write during the residency, Why Painting Works, is meant to introduce readers to the diversity and richness of contemporary painting, and to give access to the views on life that can be found inside or “behind” paintings. It will give tools to navigate through our current pluralistic (and confusing) era, inviting the reader to be an active and sovereign viewer. A range of different attitudes in painting will be discussed, focusing on temperament, themes, methods, and motivations.
The book is also, and not less importantly, a reevaluation of the language we use to address art. Much writing about art still uses 20th-century vocabulary pointing to style, abstraction, or figuration, or it leans back on the vocabulary of oft-quoted theorists. As terms have lost their (ideological) meaning, we need new words—or at least we need to redefine the old ones. The book aims to refresh and enliven the language used to reflect on painting, and shorten the distance between reader and the artwork. It should be fun to read about art, even if it involves serious matters. Too often style and content are separated in writing on art—language is being used merely as an instrument—which is why I have chosen to write about art from a literary perspective. The book unfolds as a journey, where the reader discovers in which ways painting relates to our daily lives. It gives words to both visible and invisible aspects of art. And it makes clear how painting can be meaningful in a world flooded with digital images.

It is difficult to find an approach to writing about art that is both passionate and critical, yet also attractive to read. In my book I aim to fire up the conversation, respond to artworks with feeling and imagination (rather than “explain” them) and challenge artists’ ideas. In my writing, I look for a distinct tone that suits the artworks as much as it expresses my views and sensibility as an author. It is reflective but not neutral writing, driven by curiosity and a hard-to-corrupt mind.

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Artist Alexandra Carter 4 800 € The Fruits of (In)fertility

I was born into a family of cranberry farmers in New England. These origins are the foundation of my latest body of work exploring fertility in terms of agriculture and the female body. The berry is a repeated icon in my visual lexicon: the fruit is like a garnet ambrosia, an exalted potion that seeps through all the works and intoxifies its subjects. Photographs of berries and botanical illustrations replace and adorn parts of the female body. Breasts become globular appendages that bubble up, guzzle down, shrivel, leak, and lactate.

My paintings, made with layers of puddled pigment and collaged imagery on translucent drafting film, mimic explosive, liquid bodies splashing out of their own skins. I also use cranberry as a medium; in some of the works the juice stains antique linens, connecting the mark to an intimate bodily history. Influenced by folklore and mythology, I quote deities of jest, filth, lust, and light. Wanton figures of myth and fairytale embroil themselves within the monstrous feminine and the maternal grotesque. Meanwhile, finding challenges in starting a family of my own, I have put much research into my own body--into my infertility. The process of monitoring my own reproductive system through the medical lens of fertility specialists has brought a whole new equation into my language of “fertility”--one not only defined by roots, soil, and vine but now by ovaries, eggs, and sperm.

I would use this residency to more clearly delve into this subject matter--not only the fertility folklore that I explored in recent work, but relating this to my own body, now more informed by biology and the phases through which women go that make or break their ability to, as we do in art, create. I would use the time and space to manifest this into new paintings and drawings, using new dialog to direct my compositions and for reference imagery.

Work about motherhood (or about wanting to be a mother) and reproductive issues is met with much stigma. It’s referred to as embarrassing, as overtly emotional, and yet it is an ever-present desire for many. I wish to confront this, speaking from a lens of both body--the viscera that we live in-- and nature-- the soil we live on. Based on recent feedback I have received, this topic is not popular in the art critical realm, even in this #metoo era.

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PhD candidate Jack Faber 4 800 € We're Wolves is a Virtual Reality and Expanded Cinema art project through which we can shape-shift ourselves into Northern wolves and experience live from their own unique perspective.

'We're Wolves' is an art project integrating virtual reality application and video installation, to be shown internationally and in Finland by the end of 2021.
'We're Wolves' gives us an innovative way to shape-shift ourselves into Northern wolves and experience lives from their own unique perspective. By taking the wolves point of view - through a sensory environment created by immersive sound, video and virtual reality technologies - the project seeks a different, deeper understanding of human-animal relations.
The project aims to connect people with each other through nature, a crucial matter in these times of uncertainty, isolation, limited mobility and inaccessibility to physical locations. 'We're Wolves' suggest instead new forms of closeness, movement and togetherness as social survival strategies, realized through compassion and caring for others.
By enabling us to experience the life of other species we share our existence with, we can better understand our mutual relations with each other as well as the great importance of treating nature and its dwellings with respect and equality. Creating such an emphatic link is invaluable to our sustainability and shared responsibility as a society.
With its non-invasive innovative approach, We're Wolves hopes to enhance public awareness by Creating a positive immersive experience for the audience to take part in. While also enabling remote experience from the safety of homes through a VR application, the work reflects upon the ethical and emotional aspects of humans and other species relations. The art work raises questions on how we define culture in relation to the wild, what is a home and what is native, while offering the ability to co-exist between them. 'We're Wolves' looks at the deep climatic connection between humans and animals wellbeing, and purpose to show how - by accessing new spaces which connect art and VR - we can explore ways for humans and animals to create a contemporary common story.

The project takes wolves prism as a way to see the wonders of life from a fresh perspective, as well as a metaphor for our current precarious position. Once apex predators, many wolf communities struggle to survive and hold a vulnerable position today. They became soft targets for populistic political parties (as in Germany) who raise ancient fears based on folklore - portraying them as invaders to the land, an analogy for for foreigners to be afraid of. 'We're Wolves' offers empathy instead.

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Writer, musician, artist Leif Holmstrand 7 000 € "Karen From Finance", or "The Actual World"

Secular or Fake Magic and Shamanism as Game, Change Management and Survival Activity: Artistic Method or Consequence of Art?
Three starting points from my own production:
1. "Berlin Magic Model Project", a month long set of performance rituals dealing with male and trans-feminine prostitution and personal borders, Berlin, Germany 1999.
2. "Fake Bones", ten days long happening/performance cooperation with OLTA (an artist collective from Tokyo), dealing with the idea of non-authenticity and fake as serious material for magical and paranoid creation and procreation, Malmö, Sverige 2015.
3. "Nonsense Translation", an action or happening dealing with waste and refuse as not only readable and valid cultural artifacts but as parts of a larger ongoing magic act, and the essence of fake-shamanistic, very sincere ceremonies, Vladivostok, Russia 2018.
I wish to produce a book of fiction about re-defined urban shamanism, contemporary magic, queer rituals, queer prostitution and related paranoia. This book will be structured around the three pieces mentioned earlier, but more as framework for impressions of art outside my own practice. Probably a novel. My own personal experiences of selling sex and dealing with psychosis/schizophrenia included (no such social or health problems these days – a lot of time has passed).

If it is bold, it is because I don't really see representation of self-experienced queer/gay prostitution in the art scene or in contemporary literature, at least not in the way I would like to, and I think this depends upon judgemental, aloofed positioning. Also I want to point out with this project that there is no need to chose between intellectual and emotional work, and not between the individualistic and the collective either: I chose to see traps and maybe false dichotomies here.

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Visual artist and biologist Krystyna Jędrzejewska Szmek 5 465 € Professional Orchestra of Plant Amateurs

The inspiration for this project is one of the dynamically developing internet phenomenons - AMSR videos (autonomous meridian sensory response), which are based on soft sounds on the border of audibility, which stimulate a kind of tingling sensation, often accompanied by a feeling of relaxation. Interestingly most of the clips are based on artificial situations such as e.g. the clatter of nail tips on “My collection of Modern Luxury Handbags”. Although AMSR is still unconfirmed by science, films have millions of views and many people point out their therapeutic role in fighting insomnia, tension, loneliness.
For me the popularity of AMSR is interesting in the context of loneliness as a massive problem of many modern societies and which is being underlined as one of the civilisation diseases. Playing with the convention I would like to set up an “orchestra”, which would be a collective and off-line experience based on micro-sounds generated when people contact plants. We tend to express a longing to recall the time in which humankind was a part of nature. Is this a stage that has passed and we no longer need, and whose reproduction is only nostalgia? Or is it a real bond, the loss of which causes sadness and loss? During the residence, I would like to make trial sound and visual recordings that would become material for later work with a group of non professional performers. Their memories/experiences of contact with plants would become a material to carry out a performance in which a kind of noise is created, composed of many micro sounds, e.g. crushing snowberry fruit or the rustle of thistledown. The effect could be compared to a bustle of a multi-voice human conversation with plants. A conversation that is less and less audible with the modern changes of lifestyle and the technologization of agricultural practices. This event acts also as an excuse to be together and to act together, both between people and plants and people themselves.

AMSR is one of the big trends on the Internet, but it is still new and puzzling. While it’s popularity was bottom up, both science and art are just beginning to explore it. This project would innovatively play with it’s convention, contradicting it at the same time - leading to collective work, conversations, experiencing and redefining our relationship with nature. In addition, loneliness is a growing social problem and this project raises important questions about it’s sources.

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DNSEP (kuvataiteen maisteri Ranska) Elina Juopperi 5 600 € Kollaasipiirustuksia maisemasta, työvälineenä nettiyhteys, nettikarttanäkymä.

Valokuvaamisen tarpeellisuus ja tarpeettomuus matkustettaessa. Matkustamisen tarpeellisuus ja tarpeettomuus. Piirrän maisemakuvia, mallina käytän nettikarttasovellusta, google-auton kuvaamaa dataa, sekä muita mapsissa olevia kuvapisteitä. Ilmastonmuutos todellisuudessa tuntuu turhauttavalta matkustaa, nähdä maisemia, niitä kun voi kurkkia nettikarttanäkymän kauttakin. Toisaalta on turhauttavaa olla kokematta maisemaa, koska nettikartan kuvat ovat dataa. Niissä ei ole muuta järkevyyttä tai johdonmukaisuutta kuin auton katolla oleva kamera ja pyrkimys ajaa kaikki tiet läpi. Tätä informaatiota käyttäen luon sarjan maisemakuvia. Kiinnostuksen kohteina ovat erityisesti kipupisteet, alueet jotka eri syistä ovat kärsineet tai kärsivät ihmisen yliaktiivisesta toiminnasta. Usein tällaiset alueet näkyvät muusta ympäristöstä poikkeavana datana satelliittikuvissa. Useinkin tuho sateliittikuvissa voi olla kaunista. Ymmärtääksemme tuhon merkityksen on ajateltava kauniin satelliittikuvapinnan ohi. Pyrkimyksenäni on nähdä maisema näyttöpäätteeni kautta ja tulkita se. Näihin piirustuksiin liitän satelliittikuvia alueelta, joiden pitäisi -teknologiauskoisesti- antaa vedenpitävää tietoa alueesta. Se mitä me näemme tai ymmärrämme on kuitenkin aina tulkintaa.

En ole piirtänyt vuosiin, hyppään veteen, jossa en mahdollisesti osaa uida.

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Artist, film director Oksana Kazmina 4 800 € The backstage histories. Daily routine, festive rituals and other bodily practices of some unfitted groups of Ukrainians. Incompetent and loose field study, Kyiv, Ukraine, 2014-2020.

In 2014, as the revolution, annexation of Crimea and war took place in Ukraine, I started filming my friends and myself.

New aspects of reality, such as militarization and rising of far right movements, pierced Ukrainian social body, and my own body, as well. I felt I have to register alternative modes of being and people who usually fail to create official history.

While filming everything most important for me - like stray dogs, daughter of my friend feeding birds in the garden, my partner taking the shower or people dancing at home “fuckgender" party - I felt I am not merely registering, but, actually, creating a story.

This story unfolds on the back stage.

While on the main stage glorification of the heroes and branding of the enemies takes place, creators of the alternative histories - artists, musicians, queer activists - make their invisible work. They obscure binaries during (anti)fashion erotic shows and at home feminist exhibitions, oppose violence by shooting deconstructive porn horror video art, they abandon capitalism by sharing resources with each other.

Presenting these archives of Kyiv underground life, which I’ve been filming for 5 years, I would love to propose an alternative history, a new collective experience of the place and time.

What would be the official history if we could apply a different montage to the events? What would be our today if we could create new experiences instead of reproducing already existent once?

We need to collage the world into Utopias in order to bring the magic back to it.

This 5-years long field study of Ukrainian underground life has around 100 contributors, who shared their intimacies and fragilities with me. Its unique energy gave rise to my another initiatives like documentary trilogy "Underwater" and interdisciplinary project "Body Practices". In other words, this is not mere a film, it's a collective experience, a memory of love and care, which I now have to put in readable visual massage so it reached the world and said it's empowering “hi".

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Esitystaiteilija, toimittaja Katriina Kettunen 4 800 € Läpinäkyvä esitys – kriittinen tarkastelu

Keskityn residenssijaksolla työskentelemään läpinäkyvien esitysten parissa. Filosofi Byung-Chul Han väittää, että läpinäkyvyydestä on muodostunut yksi nykyajan sitkeimmistä ideologioista ja että kyseessä on viime kädessä uusliberaali voima, joka ajaa ihmiset uhraamaan yksityisyytensä taloudellisen hyödyn nimissä. Hanin mukaan läpinäkyvyys korreloi kontrollin tarpeen, ei luottamuksen kanssa, ja hyvin usein nämä kaksi seikkaa sekoitetaan keskenään.

Työssäni pureudun tähän kriittiseen havaintoon ja seuraan sen avaamia johtolankoja eri suuntiin. Luon syksyn 2020 ja vuoden 2021 kuluessa joukon esityksiä, jotka tarkastelevat 1) millaisia merkityksiä läpinäkyvyys nykyajassa saa, 2) miten läpinäkyvyyttä esitetään tai tuotetaan eri yhteyksissä, sekä 3) miten kunnioittaa tuntematonta, yksityistä ja salaista esityskontekstissa? Esitykset tapahtuvat niin fyysisessä, rakennetussa ympäristössä kuin digitaalisessa todellisuudessa.

Työ muodostaa jatkumon uutistyön performatiivisuutta tutkineelle, taiteelliselle ja kirjalliselle työlleni, jonka toteutin Taideyliopiston Teatterikorkeakoulussa vuosina 2019–2020. Teokseni käsittelevät usein yhteiskunnallisia aiheita, mutta kevyellä otteella: autobiografiset elementit, monimediaisuus, yleisön lempeä osallistaminen, absurdi huumori ja improvisaatio ovat esityksilleni tyypillisiä piirteitä. Näyttämökielessäni yhdistän niin broadcast-journalismin, stand up -komiikan kuin ruumiskeskeisen performanssin tekniikoita.

Kyseessä on rohkea avaus, sillä se kulkee valtavirtaa vastaan ja ehdottaa, että myös pidättäytyminen vuorovaikutuksesta voi nykyaikana olla hyve. Työ tarkastelee kriittisesti paitsi ympäröivää yhteiskuntaa myös rakenteita, joissa se itse toimii (ml. tämä residenssihaku). Lisäksi hankkeeseen sisältyy paradoksi, jollainen on mahdollinen vain taiteessa: haluan samalla kertaa tulla nähdyksi ja pysyä piilossa.

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DLA Gábor Arion Kudász 6 950 € Indian Summer (this was the title of the first chapter made in 2012)

Zsigmond has special educational needs. He is a funny and intelligent boy, who speaks an invented language we hardly understand. He is my youngest son.

In 2012, I spent a month in Finland with my older son. We invented a game somewhat similar to Chinese whispers, which was a combination of drawings, texts, photographs and a few objects. The game was played in a way that one had to describe an experience he had in drawing, then that drawing became the inspiration for a photograph, which inspired a story, that was recorded in a drawing, and so on.

In collaboration with Zsigmond, during our time at Saari Residence we will further develop this game into a method of communication, a supplement to therapy, and ultimately an artist book that could give hope and simple solutions to families, just like ours, who fear the difficulties of being special and who desire to be just normal.

Father and son take a long trip to find new ways of expression. They slow down to be able to focus on what they have to say to each other. Both use a variety of artistic tools to somehow through experience, and trial-and-error contribute to the toolkit of SEN therapy. They play a game of vivid fantasy that may add a much needed spice to the plain functionality of the therapy practice. Their story may help families in similar situation.

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Artist Joshua Legallienne 6 220 € Immateriality

For the Saari residency I would like to adopt the theme of 'immateriality' to explore sustainable and unconventional methods of sound production using air as the primary medium. The outcome will be a series of new works: three-dimensional sculptures that produce un-amplified acoustic sound through kinetic movement and material interaction, in a simplistic yet captivating manner. In line with my previous work, these artworks will create high fidelity sound through low-technological means (without using electronics, loudspeakers or mechanical elements). As well as developing works in the studio, I will produce site-specific and site-responsive artworks that utilise the natural variations in air pressure to forge a dialogue with the sonic environment of Mynämäki.

For almost a decade I have dedicated my artistic practice to creating work that explores simplistic ways of producing sound with as few constituents as possible. On a fundamental level, sound can be considered as the perception of air pressure variations. This collection of works will examine the core processes of sound creation and perception within this context. This project will deeply explore the relationships between the audible and inaudible; visible and invisible; material and immaterial.

Thematically, the project aims to outline how air (and gases in general) can be utilised in the creation and perception of sound. Air is the primary medium in which sound travels, but what other roles can it play in perception? Air can be experienced directly as audible phenomena but it can also be used to excite other materials, producing sound indirectly. In addition, gases can be utilised to modulate or modify existing sound waves; and also as apparatus for distributing sound sources in a spatial field.

I will dedicate time during this residency to deeply consider the theoretical and philosophical framework surrounding these ideas, formulating an extended text on the topic.

My work focuses on the production of acoustic sound in the present moment, as opposed to being reproduced or mediated through computers or electronics. In an age where many of us are always connected, inundated with information; witnessing something being created directly in front of you with no trickery becomes a radical proposition. I believe that committing to single-focus listening and giving one's full attention to our environment becomes a political act & can increase agency in one’s life.

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Writer and editor Mauricio Montiel Figueiras 7 000 € No Woman is an Island

My plan is to work on a novel tentatively titled “No Woman is an Island” that will give voice to Rachel Chiesley, Lady Grange (1679-1745), the wife of James Erskine, Lord Grange, a Scottish lawyer with Jacobite sympathies, during her seven-year exile in St Kilda, the most remote archipelago of the Outer Hebrides –– an experience of extreme solitude and utter abandonment that took place in Scotland in the eighteenth century, during the Jacobite Risings, and that to this day remains something of a mystery. In order to reconstruct Lady Grange’s banishment after what was called her shotgun marriage I will use two narrative devices –– her own monologues and the letters that she put in bottles and threw to the sea in vain hope of reaching the continent and getting some help. Her story, a complex mix of injustice, infidelity, madness, violence and tragic destiny, is a good and extreme example of human rootlessness and cosmic loneliness. I intend to emphasize the possible bipolar disorder that afflicted Lady Grange and that probably caused her violent outbursts, which eventually costed her the loss of custody of her children. I will split my working day in two: mornings for writing and afternoons for expanding my research –– in books and in internet –– and making notes. I intend to advance as much as I can in the novel since I will be away from my daily chores which can be quite exhausting and also a powerful distractor.

I urgently need to get away from the noisy and cluttered environment in which I live in order to convey the solitude, silence and peace of mind that are essential for the kind of literary project that I want to develop. Immersing myself completely in writing and reading is my main motivation for applying for this residency. Since my literary work has always moved in the crossroads of different genres, my idea is to write this novel using tools of both narrative and poetry to enrich the story.

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Curator Eva Neklyaeva 6 900 € Curating Performing Arts - A Handbook

I am applying for writing residency to focus on research and writing of the first handbook on curating within the field of performing arts. The term “curator” came into the performing arts from the visual art field in the beginning of 2000s, and since then firmly took roots, developing into a unique set of practices. With the increasing popularity of the profession, as well as appearance of new training programs within the academic field, there is a need for a practical, easily accessible handbook on the subject that can serve both as a guide for people entering the profession, as well as developing the discourse on curatorial strategies for practitioners. The handbook will rely on a large number of interviews and case studies from a global community of the performing arts, giving visibility to smaller institutions, new models of production, strategies for decolonizing curatorial practice, as well as the actual reality of producing complex projects in performing arts, working with limited means, in a constantly shifting and precarious environment.

At the moment I am collecting data for the handbook and plan the online platform for the public conversation. The bigger part of interviews will be done in the fall 2021, and I plan to have the text ready for publishing in the end of 2021. The writing residency in the spring on 2021 will give me a possibility to write the first draft of the book.

This project will have a wide-reaching impact on the global community of contemporary performing arts, by providing the first ever practical handbook for curators in the field. It aims at generating new knowledge about the curatorial practice, and creating a global community around it. It aims to draw a completely new map of the curatorial initiatives globally, connecting the curators and institutions and enabling collaboration.

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Psychologist and Filmmaker Mariangela Pluchino 4 800 € MRZ-664

The idea of the Saari 2-month residency program is to have the spatial, temporary and economical conditions in order to be able to write the script for a short fiction film and compactly think about some pre-production tasks.


The film will be about a group of girls that pretend to be drunk and take a taxi to Jarvenpää because is so late that trains don’t go there anymore. When they’re on their way, they kidnap the taxi driver and drive around the suburbs of Helsinki during the whole night.

The plot of this film takes place during a whole night and it ends with the sun rising. The film will be mainly narrative fiction but it will include elements of dance and fantasy. The art direction will be crutial to stamp the mood that balances the violence in the plot with elements of beauty in the scenography, lights and photography. This is not a gore film, this is a fantasy film with a strong element of rape and revenge genre.

Brief director’s statement & intro

Me and my friend were having drinks in the city center of Helsinki, the taxi driver dropped me at my place in Kallio and then tried to kidnapped her, when she realized he was driving towards a direction that wasn’t her home but towards the suburbs of the city, she attacked him by throwing a falafel in his face with the moving car. He stopped the car in the middle of a highway, grabbed her by the hair and threw her to the highway and drove away.

Before this episode, when I got out of the taxi, I wrote the license number, I wasn’t sure if it was MRZ-334 or MRZ-664. My friend didn’t report him, because she was scared that she “attacked him first”. This project is titled MRZ-664 and it’s a multimedia denounce to that event.

During this period of time in Saari residence: I plan to finish: logline, synopsis, treatment, a first draft and after taking feedback from other residents and collaborators, have a final draft of the script.

Moving vehicules driven by strangers are one of the most dangerous spaces for women or bodies who don’t identify as cis-gender males.
I want to depict narratives that are absent in our imaginaries, like groups of young girls taking control of the moving vehicule as a methaphor of narratives of women and non-male bodies taking control over this moving machine called world.
I also want to use dance, performance and light-costume and set design as powerful ressources to make an action-art piece.

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Kuvataiteilija Harriina Räinä 4 800 € The Other as Matter - taiteellinen tutkimus

Työstän residenssissä taiteellisen tutkimuksen projektiani “The Other as Matter” vesiväripuupiirroksen ja tekstin keinoin. Projekti tutkii eläinperäisen materian roolia vesiväripuupiirroksen prosessissa ja lopputuloksessa eläintutkimuksen, ekokritiikin ja etiikan viitekehyksistä käsin.

Japanissa kehitetty vesiväripuupiirros on myrkytön ja ekologinen taidegrafiikan menetelmä, joka on kasvattanut suosiotaan länsimaissa. “The Other as Matter” tarkastelee vesiväripuupiirrosteknologiassa runsaasti esiintyvää eläinperäistä materiaa: hevosen harjaksista valmistettuja harjoja, vedostuspapereiden eläinliimauksia sekä osterin kuorista tuotettua valkoista pigmenttiä. Projektin tavoite on löytää uusia - kestävämpiä - tapoja toimia yhdessä muiden eläinlajien kanssa kuvataiteen kentällä.

Saaren kartanon residenssissä keskityn eläinperäisen materian vähentämisen mahdollisuuteen vesiväripuupiirroksen prosessissa sekä painolaattojen valmistamiseen paikallisista puulaaduista, erityisesti lepästä ja koivusta. Tutkin vaihtoehtoisia kasviperäisiä materiaaleja vedostuspapereiden pohjusteena sekä pigmenttien sideaineena käytettävälle teurasjätteestä valmistettavalle eläinliimalle.

Työstän residenssissä myös projektiini liittyvää uusmaterialistista julkaisua, joka käsittelee työkalujen filosofiaa sekä mahdollisuutta ottaa työkalut vastaan kumppaneina ja toimijoina. Oleellisessa osassa vesiväripuupiirroksessa ovat vedostukseen tarkoitetut hevosenharjaksista valmistetut harjat. Tavoitteeni on, että eläinperäisestä materiasta vesiväripuupiirroksen prosessissa jäisi jäljelle vain nämä harjat. Julkaisu nivoo yhteen ajatuksia, mitä eläinperäisen materian käyttö osana taiteen tekemisen prosessia tarkoittaa taideteoksen olemuksen kannalta.

“The Other as Matter” lähestyy perinteistä taidegrafiikan menetelmää uudesta eläineettisestä, ekokriittisestä ja uusmaterialistisesta kulmasta. Projekti antaa näkyvyyden ja toimijuuden niille eläimille, joiden ruumiit ovat läsnä vesiväripuupiirroksessa. Projekti tähtää eläinperäisen materiaalin vähentämiseen vesiväripuupiirroksen kentällä sekä paikallisten, kasviperäisten vaihtoehtojen löytämiseen.

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Taiteen Maisteri Nastja Säde Rönkkö 5 600 € Uusien videoteosten käsikirjoittaminen sekä tekstin ja kirjoittamisen roolin tarkastelu omassa työskentelyssäni.

Haen residenssiä uusien videoteosten ja ensimmäisen pitkän elokuvani käsikirjoittamiseen. Lisäksi residenssin aikana pohdin tekstin ja kirjoittamisen roolia ja merkitystä taiteellisessa työskentelyssä. Taiteeni käsittelee sosiaalisia suhteita ja ihmisyyden perusteita: läheisyyttä, empatiaa ja läsnäoloa sekä niiden rakenteita ja merkitystä. Uusimmissa teoksissani olen pohtinut erityisesti digitaalisen aikakauden suhdetta valtaan, inhimillisyyteen ja planeettamme tulevaisuuteen. Oli teosteni lopullinen muoto mikä vain, ne kaikki alkavat kirjoittamisella.

Työstän uusia teoksia Saaren kartanon alueesta inspiroituneena ja muiden tekijöiden kanssa vuorovaikutuksessa. Tekemiseni kautta pohdin ilmastoahdistusta, maapallon tulevaisuutta, kriisejä sekä niistä selviytymistä, hitauden tärkeyttä, vaihtoehtojen löytämistä, yhteisöä, ekologisuutta, valtasuhteita, kuuntelemista, inhimillisyyttä sekä näiden teemojen suhdetta digiaikaan.

Työskentelyni yhtenä lähtökohtana on tuoda kyseiset teemat pinnalle ja tutkia niitä omakohtaisen kokemuksen kautta. Kieli on keskeinen osa taidettani. Se on työkalu, jolla rakennan kuvitteellisia tiloja ja tilanteita. Videoideni käsikirjoitus lainaa muotonsa runoudelta ja laulujen kirjoittamiselta. Työskentelen nykyään pääasiassa videon ja installaation parissa, mutta residenssin aikana haluan tutkia myös sitä, voisivatko tekstini toimia itsellisinä teoksina, esimerkiksi runoina tai kirjana.

Avaukseni on rohkea koska kirjoittamainen ja teksti on aina ollut sivuroolissa tekemisessäni. Haluan kääntää tämän asetelman päälaelleen ja tutkia mitä tapahtuu jos vietän kaksi kuukautta vain kirjoittaen: miten tämä muuttaa ja syventää taiteellista työskentelyäni? Olen tähän asti kirjoittanut englanniksi mutta residenssissä kirjoitan myös suomeksi.

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Theater and Performance Artist, Researcher Azade Shahmiri 4 800 € A research-based durational performance project

The project is artistic research for creating a solo performance piece. The performance is tended to be a durational performance that studies the representations of 'nature' and natural elements in the collection of texts from Iranian plays. The narratives that represent ‘nature’ will be selected and used as materials for the performance. From papyrus to paper, natural elements have had a crucial role to help to generate and documenting human thoughts. In this project nature as a concept as well as a material would be explored. Through tracing ‘nature’ in the texts, the system of knowledge about nature would be recognized that is implanted in the published creative texts.
The project requires a research phase to select the relevant texts. Then the collected narratives will be re-written by the researcher/performer on pieces of recycled paper to be used for/in the performance.
In this project, I intend to transform the papers to what they are essentially made of, nature, while they carry narratives about nature. The idea is to plant the papers in the soil after washing them during the performance. Therefore, the tasks of re-writing, re-reading out loud, re-locating, and recycling the narratives take place at different times. The first and the last parts occur before and after the physical time of the performance. However, the performance would end by planting all the papers in transparent soil containers, the cooperation of soil, paper, and water would last as long as the containers are being kept. By installing the container in a certain location, the performance spectators, as well as the new visitors, will be able to visit the installation and follow the slow disfiguration of the materials. During burring /planting the papers, the performer would add other natural-based objects which are personal and of importance to her such as a letter, a photograph or seeds of plants, combining them with the narratives of the past to create an alternative for the future.

The necessity of critically thinking about human behavior towards the environment is beyond question. We need to reconsider our position towards nature and deconstruct nature-culture false binary. Through artistic works, we can hope to raise awareness about the urgency of saving the remaining of the earth for the future. Unpacking the privilege of being human requires rereading the narratives of the past that shaped and empowered the inferiority of nature as a resource to consume.

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Doctor Sumugan Sivanesan 8 272 € Barraca do Sound System — archiving and publication

Barraca do Sound System is a year-long urban/artistic research project funded by Kone Foundation (November 2019, Application 201903764) to investigate the overlap of migrant (media) activism and urban music culture and to further develop these forms. It combines practice-based ‘DJ-as-method’ media experimentation with urban research and academic scholarship. Outcomes will initially be presented as a blog, podcasts, DJ mixes, self-published zines and journal articles. The project will host a series of (web) radio and music production workshops in collaboration with Pixelache, a transdisciplinary platform for emerging art, design, research and activism based in Helsinki. Barraca do Sound System wil culminate in a live radio performance-intervention featuring a bicycle-powered sound system during Pixelache’s 20th anniversary festival in June 2021 (exact dates TBC). Following Pixelache Festival I will use the Saari residency to organise, collate and archive media and documentation produced during the project, to write and reflect on my findings and to finalise texts for publication.

Barraca do Sound System is a public radio shack: a portable recording studio and a bicycle-mounted public radio intervention. The project examines lesser-known social histories and struggles embedded in migrant urban music culture to develop forms of (media) activism.

Approaching radio as a performance/live-art intervention, Barraca do Sound System addresses agendas of diversity in arts by holding space for minority identities, showcase our methodologies and empower us to air our issues.

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Taiteen maisteri, muotoilija, muotoilun tutkija Aliisa Talja 4 800 € Henkilökohtaisen taiteellisen praktiikan kehittäminen: huolenpidon kulttuurien tutkiminen hapanjuuren kanssa performanssin keinoin

Haen Koneen säätiön Saaren kartanon yksilöresidenssiin kehittämään henkilökohtaista praktiikkaani ja tutkimaan huolenpidon kulttuureja performanssin keinoin. Olen urani alussa, ja näinollen henkilökohtaisen taiteellisen praktiikkani rakentamisvaiheessa. Tällä hetkellä haluankin vahvistaa aiemmin jo kokeilemiani, kiinnostavaksi kokemiani työskentelymetodeja. Saaren kartanon residenssissä tulen yhdistämään arjessa harjoittamaani huolenpitoa, hapanjuurileivontaa, sekä performanssia ideoinnin ja uuden ymmärryksen, toisin sanoen tiedon tuotannon, metodina. Hapanjuurileivonta on konkreettinen toisista, niin ihmisistä, elinympäristöstä kuin mikrobeista, välittämisen tapa. Se edellyttää läsnäoloa, kärsivällisyyttä ja hitautta. Työskentelytapana performanssi edellyttää rauhaa, uskallusta ja yksityisyyttä. Yhdistämällä juurileivonnan performanssiin haluan tutkia hoivaan ja huolenpitoon liittyvää kehollista ja toiminnallista tietoa. Näiden lisäksi huolenpidon kulttuurien tutkimista tukee lukeminen, kirjoittaminen ja sekä historiallisen, että nykymuotoilun analyysi suhteisuuden näkökulmasta. Saaren kartanon residenssi tarjoaa tällaiseen työskentelyyn otollisemmat puitteet kuin arkiympäristöni. Työskentelyprosessini on avoin; annan sen avautua lukukokemus, oivallus, ja performanssi kerrallaan tarkkaavaisesti havainnoiden. Dokumentoin työskentelyni videon ja valokuvien muodossa.

Pohdin, mitä huolenpito edellyttää, ja miten sitä voi käyttää markkinalogiikan vastustaminen, resilienssin kasvattamisen, toimijuuden tukemisen välineenä. Problematisoinnin sijaan haluan alleviivata huolenpitoa muutosvoimaisena yhteiskunnalisen toiminnan keinona tunne- ja suhdetasolla.
Lisäksi koen, että Suomessa ei rahoiteta ja nosteta tarpeeksi esiin muotoilua kriittisenä, poliittisena ja kokeilevana alana. Haluan tehdä kriittistä muotoilua tiettävämmäksi Suomessa.

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Music Producer Geoffrey Wakaba 9 600 € KiiHippie & BoiBlacc - The Blacc Circle Pt. 2

Following the release of their debut collaborative album - The Blacc Circle, KiliHippie & BoiBlacc are looking to carry on their insatiable pursuit to cement their names in the hearts and minds of music lovers worldwide. Using a unique combination of Sheng (a local Kenyan creole) and English, BoiBlacc weaves together tales of struggle and hope that command the attention of any audience. This together with KiliHippie's compelling and hard-hitting production they create a fresh and inimitable sound that they strongly believe the world not only wants but NEEDS.
Following in the footsteps of the great producer-rapper duos like Dr. Dre and Snoop Dogg & Timberland and Missy Elliott they are out to leave an indelible mark on the world for decades to come.

The human spirit since the beginning of time demands of us that we go where others haven't. Blazing trails for those who look up to us and live among us so they can dare to for more. This is what mine and BoiBlacc's artistry has always stood for. This residency does not just present an opportunity for us to overcome our own mental and physical hurdles but also to inspire our peers. Opportunities like these seldom come our way as Kenyan artists. We choose to the bearers of our motherland's flag.

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PhD Alejandro Valencia-Tobon 5 600 € Co-existence: public art, citizen science and post-conflict forest biodiversity in Colombia

After signing a peace agreement with FARC guerrillas in November, 2016, Colombia is transitioning from almost six decades of violence to a post-conflict period. In such a process, members of society have to re-establish dialogue and learn to co-exist. Based on artistic, biological and anthropological evidence gathered during previous interdisciplinary projects in rainforest ecosystems in Colombia (involving anthropologists, musicians, ex-combatants, community leaders and biology researchers), during this residency programme I aim to reveal that bioacoustic data, sound recordings and participatory art can offer a way to enact the multiplicity of relations between humans and non-humans as multispecies entanglement, while at the same time translating scientific knowledge into the public domain. The main product of the residency will be a series of public art strategies produce as baseline guidelines to help in the creation an environmental education programme to train citizen scientists in Colombia. I will contribute to the residency and Saari Well programme by designing two public workshops (during the first and second month of the residency) that will show how in disciplinary terms ‘biodiversity, ‘public art’ or ‘bioacoustics’ are inherently valuable but when combined, in the context of a bio-rich, post-conflict-landscape Colombia, they are also productive of new relations, expertise and development opportunities.

This is a bold initiative because with it I will develop multi-modal practices in which public art and soundscape ecology can become means to address the threats to biodiversity and endemic species raised by the recent IPBES Global Assessment. It is also a bold and efficient initiative because it continues previous problem-led projects that incorporated strong cross-disciplinary collaborations as means to respond to the UN Sustainable Development Goals while taking actions to preserve nature.

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Mag. art. Gernot Wieland 6 600 € Bird in Italian is Uccello

"Bird in Italian is uccello" is a video project based on documentary, photographs and drawings. The main part will be a re-enacted performance of a play which was supposed to take place in the mid 70ties in an Italian psychiatric ward but never took place, because all institutions were closed in Italy.
The starting point for the performance in the Italian psychiatric ward was the book "The Birds" by Daphne du Maurier and the film with the same title by Alfred Hitchcock.

All of my work has to do with my origin, everything we do is based on it, if we work in the garden, read a book, enjoy ourselves, or dream.
I have always been interested in psychological processes, in the invisible, the uncanny, which was and is so incredibly present.
Origin is like a dream, where you know that you are dreaming but cannot wake up. And many of my works talk about these conditions of origin and what it does to you, which social, political processes arise from it.

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