Thursday, February 23, 2012

Lyhytelokuvia Malmitalolla Helsingissä huomenna...

Elokuvaklubi Kino Kaiku
Lyhytelokuvia tarjolla huomenna pe 24.2.! Klo 18 nähdään KinoKompo 2 -koosteen valitut palat, tässä teoslista:

HIGH HOPES (2007) Mazdak Nassir, 14min
Pariskunta sulkeutuu ulkomaailmalta kasvattaakseen lapsen omalla tavallaan.

DEEP SIX (2007) Sami van Ingen, 7min

GHOST (2008) Jan Ijäs, 15min
24 tuntia turvapaikanhakijoiden vastaanottokeskuksessa.

VIIMEINEN ELEFANTTI (2008) Antti Laakso, 9min
Elefanttipoika viettää onnellista lapsuuttaan krokotiili-isänsä kanssa pilvenpiirtäjässä. Jokin on kuitenkin kauhistuttavalla tavalla pielessä!

UNIEN VÄLISSÄ (2008) Iris Olsson, 10min
Unien välissä on lyhytdokumentti Venäjän halki matkaavan Trans-Siperian junan kolmannen luokan makuuvaunusta. Mistä kukin näkee unta ja mitkä unista toteutuvat?

OMA ELÄMÄ (2008) Kari Yli-Annala, 9min
Novellimainen scifi-tarina, jonka rinnalla kulkevat lähes abstrakteiksi käsitellyt kuvat. Teos kertoo kuvit-teellisesta tulevaisuudesta, jossa trooppinen vyöhyke on ilmastomuu-toksen myötä laajentunut eteläiseen Skandinaviaan asti.
Elokuvaklubi Kino Kaiku

Thursday, February 16, 2012

Kino Kaiku 17.2

Huomenna 17.2. klo 18 lähtien: osuuskunta Animaatiokoplan musavideoita sekä Joann Sfarin kokopitkä elokuva Gainsbourg - Tarina Legendasta!

Wednesday, February 15, 2012

Eija-Liisa Ahtila 35 mm film screenings 16.2.2012 in Helsinki

In Artova Kino 16.2.2012 On Thursday 18:00

Artova Kino, Arcadan iso sali (Jan-Magnus Janssonin aukio 1, Helsinki 55).
Tram 6, Buses to Arabia, Helsinki /

Eija-Liisa Ahtila:

Me/We, Okay, Gray (1993)

"Originally shown on Finnish television in the breaks between mainstream
programmes, these three short films consider issues of identity, sex, control
and the boundaries of the ego. At first glance, they resemble TV commercials,
with their snappy dialogue and swift visual techniques - jump-cut editing,
camera movements replicating the protagonist's pacing. However, their
disconcerting emotional territory is far from the upbeat world of advertising.

Me/We features the archetypal nuclear family, whose story is told by the father. He begins by addressing the camera directly. As the plot unravels, other members of the family start to embody his voice, and it becomes unclear who is speaking or whose story we are watching.

In Okay a solitary woman strides up and down her room, as if incarcerated,
analysing the frustrations and desires of her sexual relationship with a man,
who is not revealed on screen. The voice of the character switches gender,
consequently blurring the meaning of the narrative.

More collective anxieties and catastrophes are considered in Gray. Three women discuss the chain of events connected with a nuclear disaster as they descend in an industrial elevator towards a watery chamber. Their conversation may refer either to an impending calamity, or the onslaught of foreign influences on their own language and culture."

Tänään / Today (1996)

"Today is the study of the relationship between a father and daughter. Pivoting on the accidental death of the man's father, it is told in short episodes from the viewpoint of three different characters. (...)

In the first section, a teenage girl repeatedly throws a ball in her backyard,
whilst explaining, in unsentimental detail, the circumstances of her
grandfather's death. Her monologue is punctuated by the anguished cries of her grieving father.

In the second part, entitled Vera, an old woman moves around a darkened
apartment, espousing her views on society and its inherent problems. The
identity of Vera is left ambiguous. She might be the elderly man's widow, the
girl's grandmother or perhaps the girl herself, now an old woman.

In the third segment, Dad, the scene and nature of the accident are revealed.
The drama is conveyed by the bereaved father, who discusses his relationship
with both his daughter and his own dead father, expressing his feelings of
inadequacy. As with much of Ahtila's work, the viewer is implicated in the
story: in addressing the camera directly, the characters speak to the viewer,
as if engaging us in the conversation."

Where is Where? (2008)

"A true piece of Cubist cinema, Ahtila — who has been amassing an interesting body of short, brilliantly filmed pieces through the decade, mainly centered on female characters — manages to conjoin the bruising and true tragedy of two Algerian Arab boys who killed their French playmate during the Algerian war of independence with a Finnish poet (played with compact energy by Aki Kaurismaki’s favorite, Kati Outinen) ferreting out the essence of the event in poetic terms across the decades and across continents. Ahtila is onto something important, and may have created a true breakthrough for a new kind of narrative cinema by breaking up the screen into four equal and conjoined frames. Unlike the multi-split-screen images of a film like Mike Figgis’ failed experiments, Timecode (2000) and Hotel (2001), in which the viewer’s eye nearly or totally shut down from the sheer information overload of six or ten or twenty actions happening without a cut simultaneously, or the briefer split screens of multiple scenes periodically during episodes of 24, scenes in Where Is Where? naturally unfold one by one, with multiple views of a scene (the poet working at home in her study or taking a dip in an adjacent lake at dawn, or the boys’ murder) expanding the depth and dimensions of the setting and exchanges instead of frantically bifurcating multiple scenes into a single viewing timeframe. For Ahtila, the multiplicity of split-screen cinema is an opportunity to expand within scenes rather than stack them up in a pile; darned if at times she doesn’t actually re-create some of the effect of Cinerama, with two adjacent frames combining for a panoramic shot, echoing Cinerama’s optical joining of multiple lenses for a super widescreen aspect ratio. Dialogue scenes no longer require standard cross-cutting, but instead preserve each actors’ face on screen for the viewer to consider as long or as briefly as you wish; a particularly powerful use of this occurs late, when both boys are separately interrogated by a trio of doctors and supervising adults about the morality and motivations for their confessed crime, so that each frame is taken up with close-ups of the four characters locked in a profound and emotionally taxing exchange. Ahtila elegantly grasps Cubism’s principle of fracturing perspective, and has found a cinematic means for it. It doesn’t stop there: she marries it to montage, so that as one scene and location shifts into another (Finland to Algeria, and back again), the shift happens frame by frame, sometimes so invisibly that the eye is caught short at the magical transference.

This is, importantly, not a visual trick, but the substance of the film’s theme
of universal responsibility and guilt. The poet’s sense of a terrible
event—introduced to her by none other than Death made up to look like Bergman’s cloaked guy in The Seventh Seal (1957) — gradually unfolds for her as a visual phenomenon (first, as a troop of French soldiers literally stomps through her study en route to their massacre of an Arab village’s male population) and then as a matter of words. For as visually layered and wrapped as the film is,

Ahtila’s concern for the value and purpose of words is just as important:
Often, the poet and Mr. Death talk about words as things (she tells him at one
point, “I will put the words into a room and watch what happens,” which she
does by then describing an Algerian scene that she experiences in suspended
time). Another scene, which again flirts with, and avoids being absurd by
parodying Bergman (this time, Winter Light [1962]), involves the poet and her
female priest debating the value of guilt and forgiveness. The difference
between Ahtila and Bergman (who is by leagues the lesser filmaker) is that
Bergman positions the conversation as theatre; Ahtila expands it into a
cosmically funny episode of pure cinema, capped by the priest levitating and
following the poet out of her office, as if she were the devil. (Later, the
levitating priest re-appears dressed in red.) If the symbolism sounds arch on
paper, the ultimate impact of Where Is Where? on screen (as a multi-screen
installation, which is the work’s other form presented in gallery spaces, I
can’t say) is profound as a demonstration of how grand formal exploration can be woven into the fabric of great historical and moral notions, hinged to
something that starts in drama and poetry, and then moves beyond both, into
what can be termed new cinema."

(format 35 mm film copy)

Duration of the screening: 70 min. / language: finnish / subtitled: english / K7

Free entrance ! Tervetuloa !

Friday, February 10, 2012

WOW! Seminaari taiteen markkinoinnista

Kuinka markkinoida taidetta? Voiko museo saati taiteilija enää selvitä hengissä ilman brändiä? Miksi Guggenheim on seksikäs, vai onko se?

SARVin (Suomen arvostelijain liiton) kuvataidejaos järjestää keskustelutilaisuuden taiteesta, brändäämisestä ja mielikuvista lauantaina 11.2. klo 14–16 Kiasman Seminaari-tilassa. Puhujina kulttuuriantropologi Taina Kinnunen, kirjailija Anna Kortelainen, markkinoinnin ja viestinnän konsultti Markus Leikola sekä Hasan & Partnersin toimitusjohtaja Eka Ruola. Puhetta johtaa taidehistorioitsija Juha-Heikki Tihinen.

Tapahtuma toteutetaan yhteistyössä Kiasman kanssa.

Tilaisuus on kaikille avoin. Tervetuloa!

Kino Kaiku tänään perjantaina: luento Serge Gainsbourgista

Tänään perjantaina 10.2. klo 18:00 Kino Kaiku klubilla: filosofi Juha Olavinen luennoi Serge Gainsbourgista.

Serge Gainsbourg (1928 -1991) - syntymänimeltään Lucien Ginsburg - oli Venäjältä vallankumouksen jaloista Ranskaan paenneiden vanhempien alkuunsaattama suuri boheemi ja hurmuri. Taidemaalarina, runoilijana, laulajana, säveltäjänä, ohjaajana sekä näyttelijänä Gainsbourg kynti mieliinpainuneen uran ranskalaiseen 1900-luvun kulttuurielämään. Erityisesti muusikkona ja säveltäjänä Gainsbourg osoitti kiistattoman lahjakkuutensa ja monipuolisuutensa. Esimerkkeinä vaikkapa vuoden 1965 voitto Euroviisuissa Luxemburgin edustajalle tehdyllä kappaleella "Poupée de cire, poupée de son" (suom. Vahanukke) sekä valtavan kohun aiheuttanut vuoden 1969 sävellys ja ennenkuulumattomia erottisia äännähdyksiä sisältänyt "Je t'aime... moi non plus" -biisi. Gainsbourg oli myös elävä todistus siitä, kuinka naiset aina rakastuvat renttuihin -. poimihan hän matkansa varrella kainaloihinsa sellaisiakin ranskalaisen eroottisen kulttuurin ikoneita kuten Brigitte Bardot ja Jane Birkin.

Thursday, February 9, 2012

FixC in Galerie Suvi Lehtinen, Berlin

Vernissage February 09, 19:00-22:00hr.

Helsinki-based FixC is an independent artists co-operative which was launched in April 2007 to generate, distribute and promote video art, media art and experimental cinema and to produce curated touring exhibitions, arrange screenings and special venues with artists talks.

Our goal is to create a living network between individual artists and organisations. Although we mainly promote our member artists works, we are also accepting other artists to participate in our projects.

FixC co-operative are: Mi Duncker, Juha van Ingen, Erkka Nissinen, Seppo Renvall, Jarkko Räsänen & Kari Yli-annala

"Jump Cut" at Galerie Suvi Lehtinen is supported by: the Arts Council of Finland, the Finnish Fund for Artist Exchange (FRAME), Norden, and the Northern Video Art Network (NOVA).

Related Special Events:
Super NOVA- a screening of video works by artists participating in Northern Video Art Network. Screening February 16, 18:00hr. More information to come.

Wednesday, February 8, 2012

A job offer for an animation artist / graphic designer with animation skills

Nicole Willis (, an american-born singer-songwriter living in Helsinki is looking for an artist that has skills to do an animation for a music video. Let us know (or you can also contact her directly), if you are a skilled animation artist and you´d think that you´d be a right person to get the job. Here is what she wrote:

"Our concept would be to present our graphics that will be designed for  our new album as well as still photography. We may also include some  of the graphics and photography from our prior album so that we take  advantage of the success of that artwork.

Our prior LP is Keep Reachin' Up released on Timmion Records, 2005. We  have had a nice underground success with that record and we would like  to have a music video ready for the release of our first single of the  coming album, hence using promotion in a timely manner and releasing 
the album in a multi-lateral fashion with a music video.

You may do a google search for images of Keep Reachin' Up and see the  artwork for that LP. We are hoping to work with the same team of Pablo Steffa on graphics and Mikko Ryhänen on photography. Our idea would be  to use lyrics in our graphic font with movement of the lyrics as the 
song progresses, set before some still photography that may change 
positions and turn.

This is an example of something that we might like it to resemble.

Good Feeling by Flo Rida Lyric Video

(...) The fee is negotiable, and we hope an experienced artist will be able
to estimate an appropriate fee to time put in in work."

Friday, February 3, 2012

30'' -situaatioita ja ravintolapäivä MAA-tilassa

Welcome to MAA-tila -gallery (Albertinkatu 19, Helsinki) on Saturday 4.2. 10:00
- 17:00 (Taidekoulu MAAn ravintolapäivä / Restaurant day of Art School MAA)


= A piece of cake for your photo. In KuKa? café you can purchase delicious cakes
with money or a piece of your own identity; You will be photographed with your
consent in the photography studio. The photograph will be on display f.ex. in
the café and possibly in the works of MAA Art School students. Other parts of
your identity will be possibly a valuable asset in purchasing pastries in our

All are welcome to KuKa? Café in MAA-tila (Albertinkatu 19) on Saturday 4th of
February 2012 from 10 a.m. to 5 p.m. In addition to tasty pastries and cakes
among other things some video art and a guest speaker.


Kuka = Kuvasta Kakkua. KuKa-kakkukahvilassa voit maksaa maukkaista kakuista niin
rahalla kuin palasellasi omaa identiteettiäsi; Sinusta otetaan suostumuksestasi
valokuva kuvauspisteessä ja sitä tullaan käyttämään mm. paikan päällä ja
myöhemmin mahdollisesti MAAn opiskelijoiden töissä. Muutkin osaset
identiteetistäsi tulevat mahdollisesti olemaan arvokkaita kaupankäynnin
välineitä KuKassa.

KuKa vaan on tervetullut kahvilaamme MAA-tilaan (Albertinkatu 19) lauantaina
4.2.2012 klo 10-17. Luvassa lukuisien makuelämysten ja iloisen tunnelman
lisäksi mm. videotaidetta ja vieraileva puhuja!


30'' - SITUATIONS AND SUNDAY-BRUNCH 4.2. - 5.2. Kokeellisten taiteiden nomadisen
akatemian "liikkuvia kuvia situaatiossa" -kurssi yhteistyössä Arttu Merimaan
(Galleria Alkovi) pitämän Taidekoulu Maan Ravintolapäivän kanssa / "Moving
images in situation" -cource by Kari Yli-Annala/Nomadic Academy of Experimental
Arts together with Arttu Merimaa´s course Restaurant Day in Art School MAA

30 seconds - half a minute

The international situationsts defined the situation as "a moment of life
concretely and deliberately constructed by the collective organization of a
unitary ambiance and a game of events."

It can begin in half a minute. We look around, feel the ambience of the place
and start to build in our minds a situation based on that "scanning". In 30''
-exhibition the artists have made moving image works taking that situation as
their starting point.

The exhibtion is installed first in restaurant day event in MAA-tila gallery in
"KuKa? - recycling the identitities" -event
( 4.2 and then
one day more in Sunday 5.2 when there will be sound performance, warm
coexistence and videobrunch.

Saturday 4.2 10am-5pm
Sunday 5.2. Noon-5pm (video performance by Mary Strange at 1pm)

Welcome to the situation!


30" - situaatioita liikkuvassa kuvassa ja sen ulkopuolella

30 sekuntia - puoli minuuttia

Kansainväliset situationistit määrittelivät situaation "yhtenäisen tunnelman ja
tapahtumien pelin kollektiivisen järjestämisen avulla konkreettisesti
rakennetuksi hetkeksi".

Sen ei tarvitse kestää kauempaa kuin puoli minuuttia. Katselemme ympärillemme,
koemme paikan tunnelman ja alamme rakentaa mielessämme tilannetta tähän
"skannaukseen" perustuen. 30'' -näyttelyssä liikkuvan kuvan teokset ottavat
lähtökohdakseen senkaltaisen minuutin puolikkaan. Kuten laulussa, puolikas ei
suinkaan riitä vaan teokset kasvavat pidemmiksi tutkielmiksi koetun keston
mittaamisesta liikkuvassa kuvassa.

Kun koettu hetki otetaan lähtökohdaksi ja sitä aletaan muovata yhdessä muiden
kanssa jaetuksi tilanteeksi ja tapahtumaksi, konkreettisten situaatioiden
rakentaminen tulee mahdolliseksi. Sekin tapahtuu 30" -näyttelyssä, jossa
liikkuvan kuvan teokset ovat esillä MAA-tila -gallerian ravintolapäivän "KuKa?
-identiteetit kiertoon" -tapahtumassa väliaikaisessa kakkukahvilassa
( lauantaina 4.2. Sunnuntaina
5.2. näyttely jatkaa olemassaoloaan vielä yhden päivän ravintolapäivän
kulisseissa ääniperformanssin, yhdessäolon ja videobrunssin keinoin.

Lauantai 4.2. klo 10 - 17
Sunnuntai 5.2. klo 12 - 17 (Mary Strangen ääniperformanssi alkaa klo 13)

Tervetuloa situaatioon!

Videoteoksista (täydentyy tapahtuman lähentyessä):

Nooralotta Ikonen: JAKSAAJAKSAA (2012)

Video work Jaksaajakssa tells about the everyday situations, where the thoughts
wander in the events of the past and the future. The relation of the events is
distorted; we walk around in thinking how did we got there where we are and how
long it took from us to get there. We feel like the moments of the journey in
between had vanished and the waking hours would consist of absurd moments
linked together as in dreams. Small and big realisings of the everyday mix up
with the endless vortex of thoughts, where the time matters only as a mapping
tool: You are here.

Videoteos Jaksaajaksaa kertoo arkipäivän tilanteista, joissa ajatukset
harhailevat menneissä ja tulevissa tapahtumissa. Huomion harhaillessa
nykyhetkestä tapahtumien suhde vääristyy; Kuljemme ympäriinsä miettien kuinka
päädyimmekään määränpäähämme ja miten pitkään meillä kestikään saapua sinne.
Tunnemme kuin välissä ollut matka olisi jäänyt kulkematta ja valveillaoloaika
koostuisi unien tapaan toisiinsa absurdisti linkittyneistä hetkisistä. Pienet
ja suuret arkipäivään havahtumiset sekoittuvat loputtomaan ajatusten
pyörteeseen, jossa ajalla on merkitystä vain kartoittavana tekijänä: Olet

Aleksi Jaakkola: CAVE CAVALIER (2012), DURACELL (2011), VARIAATIOITA 30"(2012)

My concept was to investigate a movement in different variations of time, taking
a clip of 30 seconds in duration as starting point. How would the perception
change when the time of the clip is bent away from the original duration to
either smaller of longer time units.

Movement study I

One started with an idea of choreographed dance performed to video but soon it
was changed to improvised interaction between a man and a plastic bag on windy
day at dockyards in Suomenlinna island. Due the unpredictable behavior of a
light weighted plastic bag with high winds, the video footage did not turn to
be anything close what was intended. The situation took over this attempt and
as a end products were 2 videos with a loose narrative. On the other words, the
material took over and it started to live its own life.
- Cave Cavalier - luola kavaljeeri (2012), 7´22 HD

Movement study II

Fast action recorded in high frame rate which has been played around in video
- Duracel (2011), 1´34” DV-Pal 16:9

Movement study III

Partly old material based video potpourri which study movement in time. Videos
follow the theme of 30 seconds with their original length or outcome length.
Various clips and speeds applied.
- Variaatioita 30” (2012), 9´26” DV-Pal 16:9

Susanna Jurvanen: BLACK BOX (2012)

When two humans have seen at the same situation, they remember it differently.
Our consciousness picks up things that are familiar to us before of fit to our
schemes otherwise. There is no pure perception to be saved or repeated, because
there are the gates forinterpretation already in realising the perception.

Kun kaksi ihmistä katsoo samaa tilannetta, he muistavat sen eri
tavalla. Tietoisuutemme poimii asioita, jotka ovat meille entuudestaan tuttuja
tai sopivat muuten skeemoihimme. Puhdasta havaintoa ei voi säilyttää tai
toistaa, sillä jo havaitsemisen tiedostaminen kulkee tulkintamme porteista

Ida Lindgren: NO WAY OUT (2012)

Stop motion -video about time as journey. I took time who long it takes for a
human to walk in 30 seconds and I photographed the walk. The result is a loop
that goes both forth- and backwards. It is accompanied with the sound of a
violin, going also back and forth.

Stop motion -video tutkii aikaa matkana. Otin aikaa, kuinka pitkän matkan
ihminen kävelee 30 sekunnissa ja kuvasin kävellyn matka valokuvin. Kuvauspaikka
on Suvilahdessa vanhassa satamassa. Mallit kävelevät matkan vastakkaisista
suunnista maahan maalattua vihreää viivaa pitkin. Keskellä he ohittavat
toisensa. Tein kävellystä matkasta loopin, eli mallien ohitettua toisensa video
menee saman pätkän takaperin ja alkaa taas alusta. Henkilöt toistavat
kävelemäänsä 30 sekunnin matkaa sekä etu- että takaperin.

Vihreä viiva toi mieleeni soittimen kielen. Edestakaisin kävely tuo mieleen
kuminauhan, joka kiskaisee henkilöt aina takaisin, päästämättä heitä ulos
kuvasta. Samanlaista jatkumoa on viulun soitto. Jousi menee aina edestakaisin,
jotta kielestä lähtevä ääni ei lakkaisi. Siksi olen tehnyt videon äänet viulua
soittamalla. Halusin äänen olevan myös looppaavaa, ja jollain tavalla maanista,
jotta kokonaisuudesta tulisi mieleen piina, joka syntyy tästä
poispääsemättömästä kuvasta.

Hilla Mäkelä: LOKIT (2012)

Videowork "Seagulls" shows freely flying seagulls againsta the sky, taking the
duration of 30 seconds as its starting point. In the work the perception
changes between the relatively closed, harsh place within the flock and the
vast free space of the sky.

Videoteos ’Lokit’ kuvaa vapaana lentäviä lokkeja taivasta vasten. Teoksen
lähtökohtana oli teema 30 sekuntia. Teoksen toinen teema oli vapauden
leijuvuuden tunne. Videon taustalla oleva taivas tuo suuren syvyysvaikutelman,
vaikka kuvakulman tiukka rajaus tuo teokseen ahtauden tunnetta. Teos jaksottuu
eripituisiin osiin, jotka jäsentävät teosta ja luovat illuusion tapahtuman
jatkuvuudesta. Videon äänimaailma lisää ahtauden ja ahdistuksen tuntua, mutta
toisaalta äänimaailman kaiku tuo mielikuvia avoimesta ja suuresta tilasta.

Mary Strange: KEVÄT / SPRING (2012)

What's northern spring about? Maybe waiting for summer or the silence to stop.
This two hours long expirimental soundpiece could be described to be split in
two different parts: waiting and melting. First we wait for snow to start melt.
Suddenly a falling drop will end the silence and start the real simphony.

The elements of this sound-performance are thus silence/waterdrops falling to
different sized bowls. Sound of water-drops is natural, beautiful and harmonic.
Performance is a live-act so be there at 13.00!

Mitä on pohjoinen kevät? Ehkä kesän odottelua, hiljaisuuden katkemista. Tämä
noin kaksituntinen ääniteos jakautuu vahvasti kahtia: ensiksi odotellaan lumen
sulamista ja jossain vaiheessa hiljaisuus ja odotus katkeaa äkisti
metallikulhoon putoavaan pisaraan, josta varsinainen ääniteos alkaa. Teos
koostuu siis lumensulamisesta aiheutuvista vesipisaroista, jotka putoilevat eri
kokoisiin astioihin aiheuttaen kauniin, luonnollisen ja harmonisen sävelmän.
Teos on liveperformanssi, joka alkaa klo 13.00 be there or miss it!


Tapahtumassa on myös tarjolla edullinen brunssi johon sisältyy aamupuurot,
kahvit/teet, hedelmiä, sekä vohveleita kermalla ja hillolla! Nam nam!

We will serve affordable brunch that includes porridge, coffee/tea, fruits and
waffles with cream and jam! YUMMIE!!