PORI ART MUSEUM
Eteläranta, FI-28100 PORI, FINLAND
Tuesday to Sunday 11am to 6pm , Wednesdays 11am to 8pm
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Previous Exhibitions in 2002

 


PATTERNS: BETWEEN OBJECT AND ARABESQUE
12.01.2002 - 10.03.2002


PATTERNS: BETWEEN OBJECT AND ARABESQUE presents artists who in the course of last 40 years have worked with patterns, either in the form of arabesques - organic, intricately ornamental patterns - or structured and simplified, geometric patterns where form and colour establish the work as an independent object. The exhibition starts from the simplified abstract paintings of the 1960=s and presents artists of the >Pattern & Decoration= movement as well as young contemporary artists who have shown a marked interest in working with patterns.

The >Pattern & Decoration= movement originated in the United States it the 1970=s. Their work was characterized by the use of patterns and ornamentation in combination with figurative and abstract signs. Sources of inspiration were Islamic and Maori architecture, quilting and Pop Art.

Artists in the exhibition: Franz Ackerman (D), Polly Apfelbaum (USA), Jesper Christiansen (DK), Poul Gernes (DK), Marianne Therese Grønnow (DK), Jim Hodges (USA), Valerie Jaudon (USA), Alfred Jensen (USA), Joyce Kozloff (USA), Robert Kushner (USA), Jonathan Lasker (USA), Konrad Lueg (D), Agnes Martin(CAN/USA), Lisa Milroy (UK), Robert Rauschenberg (USA), Frank Stella (USA), Fred Tomaselli (USA), Christopher Wool (USA).

The exhibition is produced by Kunsthallen Brandts Klædefabrik, Odense.

|Press conference Friday 11 January at 12am | Opening on Saturday 12 January at 5pm.|


Publiacations:
ISBN 951-9355-74-X
Kuvioita: Objektin ja arabeskin välissä/ Patterns: Between objects and
arabesque
Porin taidemuseo 12.2.-10.3.2002
Suomennosliite näyttelyluetteloon
Käännökset: Tomi Snellman
Porin taidemuseon julkaisuja 56 / Pori Art Museum Publications 56


DEUS PROTECTOR NOSTER
01.02.2002 - 10.03.2002
ANNE KOSKINEN




PLAY & CONTROL
22.03.2002 - 02.06.2002


The exhibition Play and Control is about the tension between the desire to play (the precondition for every creative process) and the necessity to have a legitimated form.
The curator asked the artists to start focusing their attention on the child at play. The child moves its object and toys countless times. It does not play with a previously formulated result in mind. The aim of the game is the game itself. The child is free and without obligations. Now its educator comes and says, ‘make a house’ or ‘draw a horse’. In so doing they have a very specific aim in mind. The play is given a structure. But at the same time the child loses its pure desire to play, its unbridled, totally free creativity.
The artist is able to retain some of this original childlike ability. This is after all the precondition for creative work. But then a new obstacle arises: the unwritten rules and regulations of the art world. In order to be visible, tangible and discussible (not to mention ’saleable’), both the creative process and the way it is presented have to be cast in a very specific mould. This mould is subject to trends. To what extend should the artist to be prepared to compromise? When the form becomes more important than the content there is a danger of academic dullness setting in.
To summarise: the creative process itself, which comes very close to a young child’s play, does not lead to really visible results, and too much attention paid to form and presentation brings with it academism and repetition. What is interesting is the tension between the two. The work of the eight artists shows evidence of it.
ALICE BOURCEREAU (F) is putting with the complicity of the Museum’s staff marbles in the pockets of the visitor’s coats. MARIE BELENOTTI-BELLOT (F) shows a videotape were a young woman is blowing on a waffle full of sugar. The sugar is dispersing in slow motion. ELISA COISSARD (F) lives in Berlin. She’s preparing a moveable puzzle as a 3D labyrinth. JULIEN COLLIEUX (F) is also living and working in Berlin. He is making a marionette of 8 meters height. The visitors can make a drawing by handling it. The drawing will become part of the exhibition. There will be a permanently changing installation of enlarged playing cards by JOSEPH JESSEN (D). NADIA NAVEAU (B) is showing a big playground with monumental sculptures inspired by war games and toy soldiers. TANJA RAU (DK) is making a colourful bas-relief on the phenomena of bus-stations. And finally TEREZA VELIKOVA (CZ) will show an installation inspired by her memory as a young child trying to take a ball to big for her tiny hands.

CURATED BY KOEN BROUCKE


Publications:
ISBN 951-9355-75-8
Play & Control
Porin taidemuseo 22.3.-2.6.2002
Teksti: Koen Broucke, Antonio Domènech, Juha-Heikki Tihinen, Alice Bourcereau, Marie Belenotti-Bellot, Elisa Coissard, Julien Collieux, Joseph Jessen, Tanja Rau, Tereza Velikova, Volker Rattemeyer
Kuvat: Tomas Rasl (p. 10,11,15,28-31,33-35,41-44,47,58,61,62,64); Petra Stein (p. 53); Alice Bourcereau (p. 12-14); Marie Belenotti-Bellot (p. 16-21,59); Elisa Coissard (p. 22-27, 60); Julien Collieux (p. 32); Joseph Jenssen (p. 36-39); Tanja Rau (p. 46, 48-50); Tereza Velikova (p. 52,54-57,65)
Design: Lies Schrevens
Käännös: Jean Ramsay (p. 3,5-7,12-13,17-19,24-25,29-31,35-37,42-43,48-49,54-55)
Teija Lammi (p. 2,4,47,53)
Paino: Halewijn n.v.
Fontti: A Garamond, Gill Sans, The Sans
Paperi: Satimat, Challenger recycle
© 2002, kirjoittajat, taiteilijat, valokuvaajat ja Stiching germinations Europe
Porin taidemuseon julkaisuja 57 / Pori Art Museum Publications 57
Laajuus: 68 s


WIM DELVOYE
08.06.2002 - 01.09.2002
WIM DELVOYE

The Belgian artist Wim Delvoye (b. 1965) is known for his ironic and innovative way of dealing with cultural themes. His art is often characterized by fanatical decoration and altering the original functions of objects. The exhibition presents Delvoye´s works from the 1990´s and his latest works specially made for this exhibition tour. The exhibition is produced in collaboration with the museum kunst palast of Düsseldorf and the Musée d´Art Contemporain of Lyon.

Publications:
ISBN 951-9355-71-5
Wim Delvoye: Skatalog
Porin taidemuseo 8.6.-1.9.2002
Suomennosliite näyttelyluetteloon
Porin taidemuseon julkaisuja 53


TRANSFORMER
18.09.2002 - 10.11.2002


Transformer is an exploration into mental projections of reality and space. The art project are dealing with among others: the archaeology of memory, mental powers, systems of classifications, collective unconsciousness, intermingling of reality and fantasy and expeditions in the undefined. The exhibition includes works by the following artists: Mark Bain (USA/The Netherlands), Gilles Barbier (France), Ansuya Blom (The Netherlands), Leif Elggren (Sweden), Adrianne Gallinari (Brazil), Anna Gaskell (USA), Robert Gober (USA), Rodney Graham (Canada), Iconoclast (Finland), Matt Mullican (USA). The exhibition will be documented in a bilingual catalogue available in october.

Publications:
ISBN 951-9355-78-2
Transformer
Porin taidemuseo 18.9.-10.11.2002
Valokuvat: Jyri Hakala, Erkki Valli-Jaakola, Mark Glynne
Käännökset: Nina Korimo, Sari Kuuva, Teija Lammi, Erik Miller, Margie Mounier, Seppo Siuro, Tomi Snellman, Tomas Tranæus, Kari Vähäpassi
Toimitus ja lay-out: Taija Lammi
Paino: Nykypaino Oy 2002
© 2002 Porin taidemuseo, taiteilijat, kirjoittajat ja valokuvaajat
Kansi: Yksityiskohta Adrianne Gallinarin piirrosinstallaatiosta
Porin taidemuseon julkaisuja 60 / Pori Art Museum Publications 60
Laajuus: 90 s

ISBN 951-9355-79-0
Iconoclast: Ehdotus elävien nykyhetkien monumentiksi Pori, Finland 1935- /
A Monument for Moments of the living Present
Porin taidemuseo 18.9.-10.11.2002
Sisältö ja ulkoasu © Iconoclast 2002/Patrik Söderlund & Visa Suonpää
Englannin käännös: Tomi Snellman, Seppo Siuro ja Iconoclast
Social Toolbox: Tool 3. Iconoclastin julkaisuja 3
Paino: Ai-Ri Offset ky, Pori 2002
Porin taidemuseon julkaisuja 61 / Pori Art Museum Publications 61
Laajuus: 50 s


RYOKAN MOTHER TONGUE
18.09.2002 - 10.11.2002
PEKKA NISKANEN

Ryokan Mother Tongue is the latest videoinstallation by the finnish artist Pekka Niskanen.


MINUN GETSEMANE
20.11.2002 - 19.01.2003
KALERVO PALSA




INTERPRETATIONS, FROM PORI ART MUSEUM’S COLLECTIONS
20.11.2002 - 19.01.2003



MEDIA RELEASE:

INTERPRETATIONS
From Pori Art Museum’s Collections
20 November – 19 January 2003

Who interprets and what or who? Does the artist interpret humans, life around himself, read, analyse and render visible? Or is he only the interpret of his own emotions and sensations or is his way led by the trends and likings of the art world? What is the relationship between coincidence and intention in art, culture or in the search for new? How do art museums make their choices from this cornucopia, decide of their exhibitions, choose works to their collections?

The discourse concerning the museums acquiring policy seems to raise its head on regular intervals. One of the most authoritative statements of this autumn was made by Tuula Arkio, the General Director of the National Art Galleries, Helsinki, who was concerned of the division of duties between the Finnish museums and their identities. “It is clear that no one needs a museum that does not have a clear operational profile, high-quality collections and exhibitions”.

High-quality collection is an opportunity to the art museum, but no contemporary museum can rest solely on its presentation in order to successfully live and operate. The museum collection must link up with the museum’s profile; it is a resource and a starting point on a way forward. Collections form a basis upon which museum lays out its research and exhibition activities. Collecting information, familiarizing with the phenomenons in the field of visual arts forms a basis on which the museum directs itself, makes choices, presents art and artists. Museum’s collection both documents this work and serves as a starting point and an accelerator for new information and research. A successful collection policy tells in a balanced and interesting way of the phenomenons of the art of our times and also of the choices the museum has done in following its operational profile.

Pori Art Museum has regularly presented its collections and new acquisitions. INTERPRETATIONS is one world of possibilities, a multi-edged prism that reflects the artistic currents of our time in Finnish and international level. It does not believe in one single explanation model, one interpretative point of departure, but offers a possibility for the viewer to crab hold of that rich and multifaceted reality that opens itself up in the art works. INTERPRETATIONS includes works by among others the following artists: Jose Bedia, Flavio Garciandia, Kalle Hamm, Ensio Härkönen, Andrei Jahnin, Päivi Jokinen, Ismo Kajander, Markku Keränen, Henry Merimaa, Julien Collieux, Kimmo Sarje, Imants Tillers ja Sándor Vály.

Come and make your own conclusions and interpretations!


 

 

 

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