Gallery TAIK is delighted to present the renowned Finnish artist Elina Brotherus with a solo exhibition in Berlin in relation to the Month of Photography 2012. The title of the exhibition Artists at Work, refers to the corresponding series (2009) from which a variety of works will be displayed. Furthermore, a selection of photographs of Brotherus’ complete works will be presented. A reception will be held with the artist on Friday October 19, 2012. The exhibition is supported with a generous grant from the Finnish Embassy in Berlin, and during the exhibition the new monograph Artist and Her Model by Elina Brotherus will be released.
Gallery TAIK is delighted to present the Finnish artist Mikko Sinervo with his exhibition "Authentic Music from Another Planet". Sinervo´s most recently produced series "Do the Stars Look the Same the Other Side of the World?" (2011-) is being shown in Berlin for the first time. Through the use of various photographic techniques, the artist of the Helsinki School pursues an aesthetic approach seeking to provide possible answers to matters that engrossed scientists and laymen alike. The exhibition opening takes place in presence of the artist on September 6th, 2012.
The initial starting point of Mikko Sivervo´s newest works is the preceding series "Afterimages" created in 2008 and 2009, which is motivated by the problem in what way visual perception of light can be captured, fixed and represented. In reference to James Turrell and Olafur Eliasson, Sinervo´s engagement with this issue has a particular focus on the aspect of human memory and the question as to how visual perception is processed in terms thereof. Perceived sensation as subjective memory presents the underlying theme of his entirely abstract photographic works.
If daylight produced by the sun provided the raw material for Sinervo´s "Afterimages", it is the light generated by stars of the nocturnal sky that inspired the artist to his newest series of works "Do the Stars Look the Same on the Other Side of the World?". Sinervo´s interest to expand a scientific viewpoint in dealing with the subject is triggered by his fascination for the boundless nature of the universe, consciousness of which arises when watching the stars at night. In his view, the pictures that serve as text illustrations in science books never suffice to satisfy; the objects being too far away, and their images too overclouded with particles of dirt, they are able, merely, to transport an idea of what might be there. This is where the works of Mikko Sinervo aim to intervene. Conceptually alluding to the tradition of photography employed as a means to fulfill scientific purposes, Sinervo creates aesthetic images of his own: celestial bodies bearing individually shaped forms, colors and constellations; literally, products of imagination.
An important influence as to the development of Mikko Sinervo´s ideas is the Swedish writer and painter August Strindberg (1849-1912). In his so-called "Celestographs" of circa 1890, Strindberg attempted to create quasi-images of the orbit by exposing copper plates, which had been treated with an emulsion, to the nightly sky lit with starts. As described in his essay "Chance as Artistic Creation" of 1894, for Strindberg, these developed plates presented the possibility of transferring immediate portraits of celestial constellations. The beauty that lies within that magical sphere existing between the imitating process of a presumed real image and the creation of the imagined idea also permeates the works of Mikko Sinervo.
-Jenny Rosemarie Mannhardt
Gallery TAIK is delighted to present the Finnish artists Tanja Koljonen and Jaana Maijala with their joint show "Repetitive gestures". It is the first time for the two young Helsinki School artists to be exhibited in Berlin. The selection of works displayed in the exhibition is based on the artists' dealing with the notion of gestural repetition, which in both cases is formulated in a highly individual way.
Tanja Koljonen works with found objects and fragments of text. Her interest is aroused by things that bear the marks of human usage and existence in a special way. Mutual influence and constant interplay among elements of unknown chance and possibility, on the one hand, and the human properties of reasoning, intuitive action and freedom of choice, on the other hand take on a prominent role in Koljonen´s artwork. In "On Constant Practice" (2011), the deck of playing cards, affixed to a wall and photographed by the artist, is displaced from its original functional framework. At the same time, the idea of playing gains a new context of meaning: hung and aligned in a repetitively patterned movement, the cards may be comprehended as a metaphor of the perpetual cycles, by which the course of our being as humans is continuously defined. "On Constant Practice" reveals the game as an existential experience, the goal of which lies in practicing adaptation to situations that are shaped by contradictory factors.
Jaana Maijala´s starting point as an artist are her drawings. Not aimed at the representation of objects in a conventional sense, they are to be understood rather as immediate expressions of a current, experienced reality. The drawing paper, covered completely with pencil hatches, and described by the artist as "filled" with "traces", evidences the presence of a lived moment embedded in specific time and place. Through rhythmically repeated gestures of the pencil line, Jaana Maijala attempts to capture this moment. In a second step, the artist takes photographs of her drawings. In her view, the use of the photographic medium allows for the possibility to arrest the continuous movement of shadows and textures, the color, depth and gravity reflected in the graphite of the pencil lead, and which forms that particular moment. What is more, through the process of photographing a new materiality of space is generated - that "what used to be pencil on a sheet of a notebook is now an illusion of mass" (Jaana Maijala).
-Jenny Rosemarie Mannhardt
Gallery TAIK is delighted to present Helsinki School artist Sanna Kannisto with her solo exhibition Close Observer in Berlin.
In relation to Kannisto´s first major monograph "Fieldwork", published 2011 by Aperture, the exhibition gives a broad overview of her oeuvre. Selected works from her series "Close Observer" (2008-2010) and "Field Studios" (2000-2010), including many of Kannisto´s most recent photographs, are presented in addition to works from her series "Act of Flying" (2006) as well as "Private Collection" (2003-2006). The exhibition opens in presence of the artist on Friday, 27th April, 2012.
In 1997 Kannisto started spending several months per year in field stations in the rainforests of Latin America, working alongside with biologists. Having always been interested in biology, natural history and the question of how science is trying to explain the world, Sanna Kannisto adopts methodological elements of scientific research to question its concept of how nature is approached. She amplifies her query by visually trespassing traditional portraiture of nature that usually depicts its objects isolated on white background. Through her concept of crossing both disciplines - science and art - Sanna Kannisto evolves a perspective that alerts to human´s sight of nature and its complexity.
Sanna Kannisto´s idea of ‘visual research´ leads her to approach the observed species in a way that eliminates all attempts to create objectivity. The settings for her "Field Studios" (2000-2010) do not devoid the subjects from a context but put them into mise en scène arrangements that adhere to specific references. When deciding to have both in the picture - the stage as well as the staged - Kannisto deconstructs ironically the claim of truth that is inherent to science as well as to photography.
The series "Act of Flying" (2006) shows a hummingbird with shiny, colourful plumage, being photographed in flight. The motion of the bird is captured against a white background in individual images. Nevertheless, it is not a study of a hummingbird´s flight or movement as it was in Eardward Muybridge´s case in "Animal Locomotion" (1887), but it is a sensitive aesthetical survey of the moment that evolved through the encounter of the observing artist and her object.
Kannisto´s research of how nature is portrayed and represented in the context of art and science results into the conclusion that "it´s more about trying to research human ways of seeing and working than claiming to make research on nature". Continuative she explains that it is "the selection of viewpoint in relation to what is looked at that decides on the result that is presented as truth". Particularly this notion is evident in Kannisto´s work "Close Observer" (2010). It reflects the interdependence of the observing subject and the object of observation and adverts with a humorous wink to the paradoxic concept of capturing reality.
-Jenny Rosemarie Mannhardt
Gallery TAIK is delighted to present the first solo exhibition with the Finnish artist Eeva Karhu in Berlin. The exhibition While unseen presents works from her series Impressio – Path, in which the artist compiles a period of time by accumulating the captured light and color. Reception will be held with the artist on Thursday, March 8, 2012.
Eeva Karhu´s photographs create conceptual bridges that connect one day to another by collecting her patterns of movement as she walks from her home each morning: A visual diary that layers thirty images upon one another to form one month. Their combination composes a luminescent picture that feels itself resting somewhere between the impressionist paintings of Monet and Turner.
This exhibiton was curated to capture those months that best represent the four seasons that touch upon Finland. Karhu draws out the subtle differences that are mutually shared regardless of the time of the year. Finding it in the shadows within these silent landscapes she uses light as a means to elevate this stillness, hightening our awareness that slowly draws us emotionally into the photograph. Karhu´s "Path" becomes our path as she uses these cyclical changings to entrap us within our own secrets.
- Jenny Rosemarie Mannhardt
Gallery TAIK is delighted to present the first solo exhibition of Finnish artist Ida Pimenoff in Berlin. The exhibition A Shadow at the Edge of Every Moment of the Day presents works of the correspondent series from 2005–2011 that was recently published in Pimenoff´s first monograph by Kehrer.
The work of Ida Pimenoff is characterized by the sensitive inquiry of very personal feelings such as losing and longing. In her photographs the artist creates sublime sceneries that play with the ambiguity of emotions adhered in between imagination and reality. A dreamlike atmosphere emanates from Pimenoff´s works depicting intimate portraits, brumous landscapes and close-ups of commonplaces. These umbral silhouettes and reflections are arranged in strong contrasts of light and dark.
"I think of my images as fiction. They are pieces of a story that is very autobiographical but at the same time it is not." the artist explains in an interview about her series. In fact, Pimenoff´s photographs have a strong narrative character akin to film stills. The scenes that the artist intuitively chooses can be seen as fractions of an entire play. The captured moment recommits to a situation that seems to have just passed as well as it refers to something that might befall the forthcoming instant. Nevertheless, both past and future are present in Pimenoff´s depictions.
Further evident dualisms can be perceived in the work of Ida Pimenoff: The interplay of the apparent and the absent results from her initial impellent to depict both what is real and what might be the traces of a dream. In her photographs, Pimenoff composes interesting convergences that allude to the threshold of visible and subconscious reality. It is because of that artistic quality the work of Pimenoff obtains an intense oneiric character. By implementing the dualism of lightness and darkness, the artist creates an atmosphere of an intermediate world. Through the use of these characteristic antipoles and the distinctive selection of detailed fragments Pimenoff´s photographs gain a high level of abstraction that leads to a mergence of space and form. The artist´s intelligent appliance of the oppositions induces a tense relation in between what is ostensibly evident and what is imaginary, fictional, illusive. It is the reference to the suggestive world of dreams that creates the sentiment of consolatory melancholy in Ida Pimenoff works.
- Jenny Rosemarie Mannhardt