PREVIOUS EXHIBITIONS 2000
S.E.L - PERFORMANSSI
11.01.2000 - 12.01.2000
ON THE BORDER
12.01.2000 - 13.02.2000
Jenni Hanhilammi, Petra Kuntsi and Mailis Saralehto
Jenni Hanhilammi, Petra Kuntsi and Mailis Saralehto Final project exhibition of the Pori Art School, class IV.
GARDEN OF TIME
28.01.2000 - 18.02.2000
Timo Heino´s installation. The work belongs to the collections of Pori Art Museum, and it will be introduced in a brochure, which starts the series of publications Omat to present the collections of the art museum.
Timo Heino: Ajan Puutarha, sarjasta omat 1
Toimittaja: Jari-Pekka Vanhala
Kirjoittajat: Marja Jalava, tutkija, Helsinki
Jari-Pekka Vanhala, amanuenssi, Porin taidemuseo Käännökset: Mats Forskåhl
Valokuvat: Erkki Valli-Jaakola
Ulkoasu: Sami Kortemäki
Salpausselän kirjapaino, Kukkila_© Porin taidemuseo 2000
MICHEL VERJUX: ÜBERSICHTLICHE DARSTELLUNG
28.01.2000 - 03.12.2000
ROSEBUD SIOUX - KANSA MUUTOKSEN TILASSA
12.02.2000 - 26.03.2000
17.03.2000 - 24.04.2000
Obsession The video and photographic installation of the Polish artist Maciej Toporowicz (born 1958) elaborates on the connection between German sculpture and architecture of the 1930s to the American commercial aesthetics of the 1990s. The black & white photographs and video projections punctuated by music delicately portray the relation of the ideal images of people of our own time to the superhuman ideals of Fascism. Toporowicz combines the stylish logos of the American Calvin Klein brand - Eternity, Obsession, Escape - to photographs of sculpture and architecture of the Nazi era and to details of incinerators and heaps of personal objects.
01.04.2000 - 23.04.2000
Torsten Andersson, Kari Cavén, Kristjan Gudmundsson, Georg Gudni, Jan Håfström, Jussi Niva
08.04.2000 - 31.05.2000
Alexander Rodtsenko: La Femme enjeu/ Kohteena nainen
Ranskasta kääntänyt Päivi Sihvonen
28.04.2000 - 28.05.2000
Satakunnan ammattikorkeakoulun kuvataiteen ensimmäiset ammattikorkeakoulusta valmistuvat kuvataiteilijat
MAIRE GULLICHSEN JUHLANÄYTTELY: KUVATAIDE, TAIDETEOLLISUUS, ARKKITEHTUURI
10.06.2000 - 05.11.2000
Maire Gullichsen: Kuvataide, taideteollisuus, arkkitehtuuri
Porin taidemuseo 10.6.-5.11.2000
Julkaisun toimittajat: Esko Nummelin ja Emilia Siltavuori
Kirjoittajat: Erik Kruskopf, Kaisa Koivisto, Kirsi Leiman, Elina Melgin, Kaarina Mikonranta, Esko Nummelin, Riitta Ojanperä, Kristiina Paatero, Susanna Pettersson, Emilia Siltavuori, Pekka Suhonen
Kääntäjät: John Arnold, Camilla Ahlström-Taavitsainen, Maija Kärkkäinen, Ylva Kosonen, Erik Rosendahl, Kaija Valkonen, Seppo Siuro
Graafinen suunnittelu: Sami Kortemäki
Kirjasintyyppi: StoolSans (jonka on erityisesti tätä julkaisua varten muovannut Sami Kortemäki)
Paperi: sisäsivut ja kannet: Lessebo Design Smooth Natural 150 g/m², esilehdet: Havanna Kaakao 200 g/m²
Salpausselän Kirjapaino, Kukkila 2000/8760
Julkaisun tukija: Ahlström
TRIPTYCHOS POST HISTORICUS
10.06.2000 - 03.09.2000
or Finnish Rhapsody with a Touch of Suprematism
The Yugoslavian artist Braco Dimitrijevic (born 1948) has realized a series of works since 1976 named Triptychos Post Historicus where he sets works belonging to the collections of art museums into a new context. Dimitrijevic's triptych always contains three parts selected by the artist: a work of art from the museum's collections, an object and a natural product. The context created by the elements combined in the same space and time frees the work of art from established interpretations. By breaking the conventional ways of placing works on display Dimitrijevic exposes the expectations and preconceived interpretation models connected with the work of art.
The Triptychos Post Historicus installation draws a parallel between culture and nature. It coincides values that are traditionally held both physically and conceptually opposed such as aesthetic and practical value and nature, as well as reverse concepts of time: the historical value of the art work is reflected against a backdrop of everyday and the cycle of nature. Braco Dimitrijevic's installation deliberates on the formulation of meanings, the accumulation of historical significance and the process of aesthetic perception. The tensions between individual elements of the work arise from their physical connection, as the object serves as a pedestal for the work of art.
The Triptychos Post Historicus to be realized in the Pori Art Museum is the last part in the series of the artist=s installations. The installation combines musical instruments and products of the traditional woodworking industry of the Satakunta region with works selected from the collections of the Maire Gullichsen's Art Foundation. The collection is personalized to Maire Gullichsen through photographs that portray a subject, a cultural personality and a collector.
COWS IN NEW YORK CITY: REINTRODUCING THE SPECIES
16.09.2000 - 05.11.2000
16.09.2000 - 05.11.2000
Fabrice Hybert: Nelikulmaisen pallon pelisäännöt
Porin taidemuseo 16.9.-5.11.2000
SPIRITUS EUROPAEUS 1980-2000
11.11.2000 - 01.07.2001
A Photographer´s retrospective on spiritual illumination and ordinary people from the fringe cultures of Europe.
For last twenty years, Rax Rinnekangas has been using his camera to capture the ordinary people of Europe behind the news pictures, people from Utsjoki to Gibraltar and from the Atlantic to the Urals. This exhibition shows the results; how do people look in a psychological light? What about the everyday elements without people in them at all in different cultural circles where different languages are spoken?
Rax Rinnekangas' camera has looked at light in fourteen different cultures. Out of the results grows a journey respecting the special charasteristics of different cultures, a journey towards the
light of the old continent and into the soul landscape of Europe that lies behind the news.
In Rinnekangas' photographs light has the leading role. Henri-Cartier Bresson's decisive moment is replaced by decisive light. The light of a landscape, contre-jour, the light thrown by a single lamp, the lifeless laboratory light and the impudence of a neon light create an atmosphere of expectation, premonition, unexpectedness or threat.
Rinnekangas does not construct nor set things. His ideal is an image that, in fact, says nothing. His artistic genre is nadaism, a philosophy of eptiness and meaningless. Anything is good enough to be the surface of a wall, flicker of a shadow. This very demarcation of the boundaries of meaninglessness and ambiguity, unimportance and importance, is the content of his photographs.
Rinnekangas has worked also as a film director, a journalist and as a writer: he has published books, novels and essays. This year he is making three movies. Rinnekangas has had over twenty exhibitions, some of them international, and has published eight photographic books. He has received the State Prize for Photography 1989 and the State Prize for Literature 1992.
SPIRITUS EUROPÆUS -exhibition was seen at Amos Anderson Art Museum in sipring 2000 and at Reykjavik Art Museum, Island, in summer 2000. For Pori Art Museum Rinnekangas has made a special nine meters long Le Nord-Sud Express photographic train.
11.11.2000 - 31.12.2000
Jodi Bieber, Jean Brundrit, Kay Hassan, Senzeni Marasela, Santu Mofokeng, Ruth Motau, Zwelehtu, Mthewa, Cedric Nunn, Tracey Rose, Joachim Schönfeldt, Penny Siopis, Minnette Vári