Open Art Gallery: Artists
Open Art Gallery
Camping By The Dandelions, As Well As The Last Sold Plastic Bag From The Supermarket, Modern Bathroom Suite, Climbers in a beautiful home, Tulips In a Chocolate Milk Vase, Sack Lunch I , A Trip to the Shop by the Highway, The Handyman’s Shopping Spree Of 1985, Dandelions In a Paintbucket, Playing Croquet On a Sunny Afternoon In The Backyard Of a Back Alley, Wild Celery In a Tobacco Container, A Trashcan After The New Years, Cotton Grass Growing Wild Somewhere In The Neighborhood Close To Álftamýri, Safamýri & Starmýri, Gardening Summer Camp, A Millet Sleeve Soaked In a Puddle, The Clothing Line
”This is a collection of my personal favourite work of mine. The collection balances everyday life, simplicity, minimalism and nostalgia. It tells a story of a normal life, but the stories can become odd when there are tiny objects in the artwork that don’t belong to the main narrative.”
Loji Höskuldsson (b.1987, Reykjavík, Iceland). Graduated from the Iceland Academy of the Arts in 2010. Loji has played music with various Icelandic bands, such as Sudden Weather Change 2006-2012, Wesen, IBM, Prins Póló, Tilfinningar vina minna and solo under his own name. He has performed at Icelandic Airwaves and Sónar festival Reykjavík, as well as touring many European cities over the years. Loji has written two radio plays; Hafið hefur 1000 andlit (2015) and Eftir súpuna sérðu liti hafsins (2010) that were broadcast live in the Reykjavik Art Museum in 2010 and by the Icelandic National Radio Station (RUV) in 2015. His visual art primarily explores new and traditional ways of embroidery, a technique he inherited from his mother who is a professional seamstress and embroidery expert. In his embroidery, Loji most often depicts a sort of still life with focus on everyday objects, plants and fruits. The subtle poetic situations in our domestic lives are elevated in his works. Loji has a great interest in Icelandic modernist architecture, specifically buildings by Sigvaldi Thordarson. He has an ongoing research where he is documenting Thordarson’s works for a future publication, traveling Iceland with a photographer and simultaneously posting on an Instagram page which he manages.
Una Björg Magnúsdóttir: Changling
A mundane object changes into another object, different in matter and shape. Its an animation of a shapeshifting object, spontaneously initiated by the object itself. I paired together things that I thought to be different from each other in shape, matter and practicality. All the same, it seems like we always manage to find a connection or an affiliation no matter how different the paired objects are.
Una Björg Magnúsdóttir (b. 1990), is a visual artist based in Reykjavík, Iceland. She studied at the Icelandic Univeristy of the Arts and completed her MFA from ÉCAL in Switzerland in 2018. Magnúsdóttir works mainly in sculpture. She channels her works into various objects and arrangements, which are in fact staging for the works themselves. Her works are often kinetic and/or emit sound, making them familiar to the viewer, while at the same time challenging their assumtions.
Yves Being Holy / Sofokles / Sveta Dancing With Cherries / Tyler Matthew Oyer Sharing His Project Calling All Divas Sitting Down Before Shiazlegz Takes Us Out To Dance / Anti-Diva (Cati) / Isu With Mirrored Flamingos And A Good Read)
Constance Tenvik began painting portraits in 2017. These ones are all 200 x 100 cm, more or less life size, and they are all painted live in the studio while conversing, snacking, sometimes dancing. Yves, Sofokles, Sveta, Tyler and Isu are inspiring friends from New York, Berlin and LA.
Constance Tenvik (b. 1990, Oslo, Norway) lives and works in Berlin and Oslo. She received her MFA from Yale University School of Art in New Haven, CT and BFA from the Academy of Art in Oslo. With a multi-disciplinary approach spanning sculpture, performance, textile work, costume, painting, drawing and video work with an exuberant aesthetic, Tenvik is a creator of worlds within worlds in immersive installations. Solo exhibitions include Astrup Fearnley Museum (Oslo), Kristiansand Kunsthall (Kristiansand), Kunstnernes Hus (Oslo), Loyal Gallery (Stockholm), Prosjektrom Normanns (Stavanger), Fortezza Vecchia (Livorno), Deli Projects (Basel). Group exhibitions include Château du Feÿ (Bourgogne), Abrons Art Center (New York), Carl Kostyal (Malmö), Tidenes Krav (Oslo), and Charlottenborg Kunsthall (Copenhagen).
Anna Jarosz: Another profound lapse
“Another profound lapse” is a series of short animations created from physical sculptures and text written by the artist. Anna Jarosz’s body of work touches upon so called gendered trauma and abjected bodies and this work is a continuation of a long term project exploring how abuse and trauma affects the physical body and a human’s ability to function. The sculptures, with their anthropomorphic shapes, resemble body-like objects, somewhat tangible and soft yet ungraspable and repelling. By animating still images of the objects, Jarosz attempts to enliven them and sketch a line of understanding between the self and the other. The fusion of the artwork and the public space brings together interdisciplinary art-making and activism. The animations of sculptures and text in common spaces on the map of Helsinki offers not only a new visual impression of its cityscape but also a sensation that allows its visitors to be part of the work. In “Another profound lapse” bodily experience holds everything together. People looking at enlarged, animated objects and text become breathing bodies gazing and experiencing, through their own physical body, metaphysical abstractions of daily existence. Forcing those that encounter the screens to abolish the distance between themselves and the artwork and to capitulate their gaze.
Anna Jarosz is a Polish born artist based in Gothenburg, Sweden. Having previously studied at FAMU in Prague and Valand Academy in Gothenburg she has received both a BFA and MFA in fine art photography respectively. Her main focus of interest is gendered trauma and abjected bodies. By investigating these issues through the lens of still and moving camera but also by building spatial installations that combine sculptural objects, sound, video and other media, she focuses on trauma. Trauma either as a very personal experience to an individual or as a collective experience shared by many. Jarosz uses art as a tool to reverse socially constructed terminologies of gender and norms by emphasising the objectification of bodies (often in the context of her own experiences, social background and nationality). She touches upon the general obsession of gendered bodies and the unspoken weaknesses that are so often connected to the alienation of different kinds. Inspired by contemporary feminist thought, existentialist philosophy and psychoanalysis, she looks into deep aspects of trauma.
Ville Andersson: Choreography for a hand
The work consists of x-amount of still pictures that together create a series of hand movements.
Ville Andersson (b.1986) is a versatile artist, both in his use of different media and in his variety of styles and themes. His series comprise, among others, photographs, drawings, 3D computer design, paintings and texts. Andersson lives and works in Helsinki. Andersson has exhibited actively, including at: EMMA – Espoo Museum of Modern Art; The National Art Center, Tokyo; Weserburg Museum für Moderne Kunst, Bremen; FOMU – Fotomuseum provincie Antwerpen and Tokyo Metropolitan Museum of Art, Tokyo . He was named Young Artist of the Year 2015 in Finland. Andersson has been awarded also with the Grönqvistska stiftelsen prize, Anita Snellman Foundation grant and the Stinka Krooks Foundation prize. In 2020 Andersson was awarded the Watermill Center’s Inga Maren Otto Fellowship. Besides exhibitions, Andersson is actively involved in many communal and interdisciplinary projects. Previous projects include: a series of stamps for the Finnish postal service, tableware for the company Arabia, and stage-set and costume designs for a theatre play, collaboration with the Academic Bookstore and a visual identity for a home for senior citizens. In 2020, Andersson is creating graphic patterns for the roofs of tram stop shelters in the city of Tampere. Currently he is also working with Kerava Health Care Center. Andersson’s works are in several public collections, including: Museum of Contemporary Art Kiasma; Saastamoinen Foundation Art Collection and the Amos Anderson Art Museum.
In Between, 2015 (Images 1-5): In Between, 2015 (Videos 6-19): Longing II, 2012 (Image 20)
Nayab Ikram (b.1992, Mariehamn) is a photographer, visual artist and artist-curator of Pakistani diaspora from the Åland Islands, based in Turku. Ikram works with concepts dealing with the feeling of in-betweenship, cultural identity, the collective memory and post-internet. She explores the concepts using symbols, rituals and abstract form of expressions through photography, performance and installations. Ikram graduated with a Bachelor of Culture and Arts degree in 2015, majoring in photography, from Novia University of Applied Sciences in Jakobstad, Finland. Together with multidisciplinary artist Ramina Habibollah, she also forms the curatorial duo in a way. Ikram has had numerous solo exhibitions and participated in group exhibitions. She has exhibited her work at The Åland Islands Art Museum (2018), the Embassy of Pakistan in Brussels, Belgium (2017), Platform Nord, Norway (2017) Rotterdam Photo Festival, The Netherlands (2017) and Moderna Museet, Sweden (2016). In 2017 she was the winner of the Portfolio Review for Young Nordic Photographers at Landskrona Foto Festival. In 2019 she was awarded with a culture award from the Swedish Cultural Foundation in Finland.
In the body of work ’In Between’ I’m focusing on the feeling of in – betweenship. I use photography and video performance to explore the feeling. Looking at the symbolic meaning of hair from a historical perspective, and how the meaning is influenced by society and personal experiences. Hair has always played a significant role in both ancient and modern cultures and has been used as a symbol for individuals and societies. It’s been used to communicate ones status, emotional state and membership of a group. It has also been the subject of magical rituals and as a symbol of power. In the Pakistani culture and religion, you are suppose to bury the cut hair and nails into the ground, since it’s dead. In the past, such rituals were also performed in the Nordic countries of Europe and was done to make sure that nobody could find them to use them against you through black magic. This shows that there is some power that hair possesses, that knows no cultural or religious boundaries. In the video performance I portray my feeling of longing to belong in both the western and eastern cultures. I cut my hair in an attempt to assimilate into western culture and to bury the hair is in my place of origin in a symbolic act. By burying the hair in Pakistan, I wanted to reunite with my roots on a physical level. But after it was buried, I decided to dig up the hair on an impulse, in fear of leaving such a big part of myself behind. Not wanting to give up that part of me.
Arja Kärkkäinen: Sleeping Beauty Ind.
Sleeping Beauty Ind. is a 18-channel video installation designed for advertising platforms. The piece consists of several video loops documenting the local, present-day industrial manufacturers. Sleeping Beauty Ind. examines the contradiction between value and disappearance of human labor in traditional production. It strives to raise questions of origin and the change in Western work.
Arja Kärkkäinen (b. 1986) is a Helsinki based visual artist. She graduated from the Lahti University of Applied Sciences as a fashion designer and the Academy of Fine Arts Helsinki with a MA in sculpture. Kärkkäinen works mainly with moving image and sculpture but a variety of techniques play an important role in her work. Her current themes explore questions of involvement, structures of society and social life. Kärkkäinen’s works have been presented in exhibitions in Finland and internationally.