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 2004

 


A FREE AND ANONYMOUS MONUMENT
05.03.2004 - 23.05.2004
JANE & LOUISE WILSON

Pori Art Museum presents the extensive film installation A Free and Anonymous Monument by the English artists Jane & Louise Wilson. The 13-screen film installation produced by and first shown in BALTIC, England has been adapted especially to the exhibition premises at the Pori Art Museum.

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MG04. SPACE-SURFACE
05.03.2004 - 23.05.2004
KAIN TAPPER, TOR ARNE, PEKKA RYYNÄNEN, CAROLUS ENCKELL, JUHANI BLOMSTEDT, SILJA RANTANEN, KIMMO KAIVANTO, PER STENIUS, OLLI MIETTINEN, SAM VANNI, ERIK ENROTH

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Pori Art Museum presents in its spring exhibition, “MG04. Space – Surface.”, the guidelines of Finnish post-war modernism and the theory-based thinking that reflects the role of pictorial surface and colour.

According to the painter and theorist Unto Pusa (1913-1973), art is a dynamic that creates its own environment. One of the most significant figures of Finnish modernism referred in his statement to the changing role of painting in the 20th century. To him painting was no longer a window opening up the reality behind the canvas, as it was for a Renaissance painter. Painting was no longer an image projected onto a two-dimensional surface from a three-dimensional world in the same sense that Albrecht Dürer had taught in his book Underweysung der Messung in 1525. According to Pusa’s way of thinking the painter should study the elements of the pictorial surface and their relationships with the aim of finding a universal and independent language.

Timo Valjakka wrote in 1982 about Pekka Ryynänen’s art: “Painting advances according to its own conformities, synthesis and contrasts towards its own completion. An artist must remain faithful to his original concept- if that is lost, there will be no work of art at all.”

The MG04. Space - Surface exhibition examines the role of modernism and the thinking represented by Pusa in Finnish post-war fine art, and the collection of Maire Gullichsen Art Foundation’s role in Finnish fine arts and modern culture. Based on late Cubism and the concretism of the late 1950’s, the exhibition opens up in various directions ending with the colour theoretical questions of the Free Art School at the end of the 1970’s and beginning of the following decade. As well as Unto Pusa’s work, the exhibition presents works by Per Stenius, Sam Vanni, Juhana Blomstedt, Carolus Enckell, Tor Arne and Pekka Ryynänen. In addition, the exhibition includes the works from the Collection of Maire Gullichsen Art Foundation, and two works from the museum’s other collections.


ARCHITECTURE OF PICTURE
05.03.2004 - 23.05.2004
SAMI LUKKARINEN


The “Architecture of Picture” exhibition presents paintings by Sami Lukkarinen completed between the years 2001 - 2003. The starting point of the paintings is modernist Finnish church architecture and international functional architecture. The series is a continuation on Lukkarinen’s project examining the relationship between digital image and architecture.

The churches Lukkarinen has painted were built during the 1950’s and 1980’s and are located in the suburbs across Finland. The churches selected are stylistically and environmentally interesting and represent to Lukkarinen the highest quality of suburban architecture.

A central tool in Lukkarinen’s working process is the Photoshop software in which he chooses the image he will paint and composes it. Lukkarinen works on the image by reducing the information on it, making the pixels appear clearly. By increasing the pixels he renders visible the computer’s logic to calculate the colour information. In the final picture there are from 800 to 2000 pixels and hundreds of different colours. Lukkarinen seeks to copy the colours as separate pixels onto the canvas as accurately as possible. An important analogic element is present in his work through the shortcomings and errors of the process.

“I firmly believe that digital image and digitalisation offer new technical as well as contextual possibilities for painting. In my paintings the different colour systems of digital image and painting meet as well as their immateriality and materiality. In the final painting I seek to find a balance between modern architecture, digital image and oil painting”, explains Lukkarinen.


***
Sami Lukkarinen (born 1976 in Jyväskylä) graduated in 2001 from the Department of Media Studies, Academy of Fine Arts, Helsinki. In connection with the exhibition, a catalogue ‘Modern Churches’, presenting Lukkarinen’s works is available from the bookshop.


THE 1930’S AND MAIRE GULLICHSEN
05.03.2004 - 16.05.2004
YNGVE BÄCK, HELENE SCHJERFBECK, GUNNAR ELFGREN


Maire Gullichsen’s role as a significant background figure and promoter of modernism in Finland is well known and the private home, Villa Mairea, with its art collections is internationally renowned. Pori Art Museum’s informative exhibition at MEDIApoint and senior lecturer Renja Suominen-Kokkonen’s research direct the viewer to the roots of the collection and to how the collection was born.

Helene Schjerfbeck’s painting, Self Portrait (1915-26), Magnus Enckell’s watercolour, Youth and Swan (1916), Wäinö Aaltonen’s, Song of My Heart (1932-34) and works by the teachers of the Free Art School such as Yngve Bäck’s, Märta in White (1933) and Torger Enckell’s, Still Life with Flowers (1934) form part of Maire Gullichsen’s early acquisitions. Villa Mairea ,completed in 1939, has received a lot of publicity. Art was acquired to the homes of Maire and Harry Gullichsen even before Villa Mairea. These works are not all ones that have usually been connected to Villa Mairea or ones that have been presented in connection of the Maire Gullichsen Art Foundation’s Collections.

As senior lecturer, Renja Suominen-Kokkonen explains, the beginning of the Gullichsen family’s collection was primarily domestic. High-quality works were chosen for the collection from the very outset. The collection was also influenced by Maire Gullichsen’s own interest in art, the contacts with the Free Art School and the support of artists belonging to the school’s circle.

The 1930’s and Maire Gullichsen is the start of a series of exhibitions presenting the Maire Gullichsen Art Foundations Collection that will be continued in summer 2004 by an exhibition entitled ”Lars-Gunnar Nordström and Jazz’. In fall 2004 a related article by Renja Suominen-Kokkonen will be published in the art museum’s publication series.


RIEN - IS THAT ALL?
04.06.2004 - 05.09.2004
VELI GRANÖ & TUOVI HIPPELÄINEN

The extensive joint exhibition by Veli Granö and Tuovi Hippeläinen explores worldviews and life stories through ideas, images, narrations and memories. The exhibition takes up the theme of travel as metaphor of life. The miniature worlds created by the artists offer viewpoints into collective and individual experiences and to different and alternative ways to perceive reality. The exhibition is accompanied by a self-portrait clay workshop at the museum´s sculpture yard. The self-prtraits produced in the workshop will later be put on display in the museum’s lobby as part of the exhibition. The exhibition is produced by Pori Art Museum and is part of the Visual Community Network –project. After Pori the exhibition will travel to project museums BildMuseet in Umeå, Sweden and BALTIC, Gateshead, England during 2004-2005.

Publications:
ISBN 951-9355-88-X
Veli Granö & Tuovi Hippeläinen: RIEN – siinäkö kaikki?/ RIEN – Is That
All?/ RIEN – är det allt?
Porin taidemuseo 4.6.-5.9.2004-10-06
Tuottaja: Porin taidemuseo
Toimitus: Hannele Kolsio
Artikkelit: Arja Elovirta, Harri Kalha, Juhani Vähämäki, Kari Yli-Annala
Graafinen suunnittelu: Hella Pakaslahti
Käännökset: Tomi Snelmman, Accent Språkservice Sweden AB
Käännökset alkusanoista ja kuvateksteistä: Katarina Torvalds-Wiik
Paino: Salpausselän Kirjapaino Oy, Hollola 2004
Kannet: Rivers Jazz 120g
Paperi: Artic Volume 130g
Valokuvat: Veli Granö, Tuovi Hippeläinen, Hannle Kolsio (s.14), Mirja Ramstedt-Salonen (s. 16-17)
Erkki Valli-Jaakola (s. 4,10,12,24,31,40,74-75,77,124,126,128-129,133,135,140,152-153)
© Porin taidemuseo, taiteilijat, kirjoittajat, valokuvaajat
HUOM! Teoksessa väärä ISBN-numero!
Paino: Salpausselän kirjapaino 2004
Porin taidemuseon julkaisuja 70 / Pori Art Museum Publications 70
Laajuus: 158 s


LARS-GUNNAR NORDSTRÖM AND JAZZ
04.06.2004 - 05.09.2004


Lars-Gunnar Nordström (born 1924) in the collections of the Maire Gullichsen Art Foundation. Nordström picks music related to his work from his extensive jazz collection.

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WHAT IS IMPORTANT?
3RD ARS BALTICA TRIENNIAL OF PHOTOGRAPHIC ART

17.09.2004 - 21.11.2004


Ars Baltica. The third triennial of photographic art of the Baltic area.
Artists: Knut Åsdam (N), Bigert & Bergström (S), Agnieszka Brzezanska (PL), Aristarkh Chernyshev (RU), Oskar Dawicki (PL), Miklos Gaal (FIN), Ilkka Halso (FIN), Isabell Heimerdinger (D), Elsebeth Jørgensen (DK),

Anne Szefer Karlsen (N), Eve Kask (EE), Joachim Koester (DK), Tatyana Liberman (RU), Wiebke Loeper (D), Wolfgang Plöger (D), Arturas Raila (LT), Gatis Rozenfelds (LV), Johanna Rylander (S), Jari Silomäki (FIN), Florian Slotawa (D), Irma Stanaityte (LT). The exhibition is curated by Dorothee Bienert, Berlin; Lars Grambye, Copenhagen; Lolita Jablonskiene, Vilnius.

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1930´S AND MAIRE GULLICHSEN II
17.09.2004 - 21.01.2005
MAGNUS ENCKELL, ELLEN THESLEFF

An informative miniature exhibition, with a related article by Senior Lecturer Renja Suominen-Kokkonen on Villa Mairea’s early art collection.


THE LAST JOURNEY
17.09.2004 - 21.11.2004
OSSI SOMMA


”I feel I have been understood as an artist when the viewer starts looking for an answer to the question WHY ” says Ossi Somma (born 1926) when asked to describe his artistic career of five decades.


MEN´S ROOM
18.09.2004 - 21.11.2004
KAI RUOHONEN

The threshold to the men’s room is lower than high morals.


FROM CUBISM TO CONCRETISM
01.12.2004 - 30.01.2005


Early Norwegian avant-garde.

In the artist’s work, the avant-garde art of the early 20th century denoted the replacement of the line by the analysis of the meaning of the surface and the plane. In the last century, Norwegian nonfigurative art had two heydays. In the 1920s and 1930s Norwegian artists got to know Cubism and Purism in Paris. In the 1950s and 1960s Norwegian art rose from the ruins of World War II. Ragnhild Kaarbø (1888-1949), Ragnhild Keyser (1889-1943) and Charlotte Wankel (1888-1969) can be regarded as the first Norwegian cubists, pioneers of nonfigurative art. The post-war geometric school of art is represented by Gunnar S. Gundersen (1921-1983) and Jakob Weidemann (1923-2001).

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QUESTIONS AND ANSWERS?
01.12.2004 - 30.01.2005


Dimensions of current Finnish and international art from the collections of the Pori Art Museum.

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DECORATED EVIL II
01.12.2004 - 30.01.2005
TOM OSMONEN

In Tom Osmonen’s (born 1962) wallpaper collages evil disguises itself in the form of beauty. The wallpaper in the works represents phrases used to justify and euphemise such things as political evil. At the same time, the wallpaper reminds us of the evil within, inside the four walls of home, the genetically built-in component in every one of us.

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