http://espacelouisvuittontokyo.com/
AWAKENING shines a spotlight on the contemporary Finnish scene through the most recent works of Finnish artists Pekka JYLHÄ, Hannaleena HEISKA and Sami SÄNPÄKKILÄ.
For this loosely thematic exhibition, independent curator Laura KÖÖNIKKÄ (who served as curator for the Finnish Pavilion at 2011 Venice Biennale) has selected artists who create artworks that communicate with the curiosities and peculiarities of life. All pieces displayed in our gallery can be interpreted in the light of the title, AWAKENING which refers not only to the things we all perceive, but can also be understood as simply being aware.
In the dimmed and quasi-mystique atmosphere of a modern cave-like setting, we invite you to discover the peculiarities of life viewed through different lenses, from Surrealist-like to Goth culture.
http://espacelouisvuittontokyo.com/
AWAKENING shines a spotlight on the contemporary Finnish scene through the most recent works of Finnish artists Pekka JYLHÄ, Hannaleena HEISKA and Sami SÄNPÄKKILÄ.
For this loosely thematic exhibition, independent curator Laura KÖÖNIKKÄ (who served as curator for the Finnish Pavilion at 2011 Venice Biennale) has selected artists who create artworks that communicate with the curiosities and peculiarities of life. All pieces displayed in our gallery can be interpreted in the light of the title, AWAKENING which refers not only to the things we all perceive, but can also be understood as simply being aware.
In the dimmed and quasi-mystique atmosphere of a modern cave-like setting, we invite you to discover the peculiarities of life viewed through different lenses, from Surrealist-like to Goth culture.
Directed by Hannaleena Heiska
Cinemathographer Anu Keränen
Lights Kasper Hämäläinen
Stagesound Jaakko Hyvärinen
Grip Torsti Hyvönen
Camera assistant Mika Ailasmäki
Editign Oskar Franzén & Hannaleena Heiska
Music Erik Satie Gymnopedie no.1
Sound Roy Bosswel
General assistant Camilla Vuorenmaa
Special thanks to Lighthouse Project, Foreseen, Marianne Vesala, Samuli Nieminen
Work with the support of Espace Louis Vuitton Tokyo
Directed by Hannaleena Heiska
Cinemathographer Anu Keränen
Lights Kasper Hämäläinen
Stagesound Jaakko Hyvärinen
Grip Torsti Hyvönen
Camera assistant Mika Ailasmäki
Editign Oskar Franzén & Hannaleena Heiska
Music Erik Satie Gymnopedie no.1
Sound Roy Bosswel
General assistant Camilla Vuorenmaa
Special thanks to Lighthouse Project, Foreseen, Marianne Vesala, Samuli Nieminen
Work with the support of Espace Louis Vuitton Tokyo
In my upcoming video work I am filming young people in a mosh pit during a punk gig. I’m interested in moshing and mosh pits as an expressive visual action and as a symbolical gesture in which you can attach various levels of meaning.
With this new work of art, I’m not trying to explain the world, but to document a racing moment and the aggressive motion it entails. The gestures and the controlled chaos of a mosh pit can be difficult to capture in all of its beauty. When standing in the proximity of a mosh pit, you feel the fear of being crushed to the wall because of the power of the churning mass of people, but at the same time the pure energy of the movement produced by the ritualistic event will make you laugh. That feeling can be compared to the feeling of being in love; it is addictive and makes your blood boil – you can feel the need to be taken by the energy of the mosh pit again and again.
When I was writing this, I had not yet done the filming of the art piece. I’m going to arrange the filming session to be held at a local club. I have invited two Finnish hard core punk bands to the event, the Lighthouse Project, Foreseen and some of their fans. The session can also be described as a social experiment, where it remains to be seen does the camera bother the participants? As a director of the film, I’m not going to interfere with the activities of the audience. I like to keep the situation as authentic as possible.
In my imagination the motion of the final art work is slow and dream like, with the imagery being graceful and almost feels like a stopped moving picture, and the original music is replaced with the orchestrated version of Eric Satie’s (1866-1925) piano composition series Gymnopédies no 1.
