Logo: Patrik Söderlund, Porin taidemuseon ikkuna-aukko

Exhibitions
Coming exhibitions ---



Current exhibitions
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Upcoming exhibitions
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Previous exhibitions
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COMING EXHIBITIONS



HISTORY BLEEDS UNDER YOUR FINGERNAILS – HISTORIA VALUU KYNSIEN ALTA (2016)
AZAR SAIYAR
[31.01.2017 - 02.04.2017]

STAIRCASE

We used to believe that being left-handed could lead to criminality, stupidity and immorality. Children were punished for using their left hand, and all kinds of methods were used to educate them to forgo the use of it. History Bleeds Under Your Fingernails is a video about the history and culture of taming the left hand and bodies that do not fit.

The exhibition programme for the latter part of 2017 in the Staircase gallery will be confirmed at a later date. The gallery will feature shows highlighting interesting and emerging phenomena in the field of moving image art, including innovative things bubbling under the surface, as well as forgotten and topical pieces. The venue allows fast responses and the programme evolves over time.
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UNDER THE GROUND OF OUR TIMES - (DE)CONSTRUCTION OF COLLECTIVITY IN AND THROUGH COLLECTION
[01.02.2017 - 27.08.2017]

PROJECT ROOM

The exhibition is divided into two parts: Process 01.02.-31.05. and Exhibition 01.06.-27.08.
Under the Ground of Our Times – (De)construction of Collectivity in and Through Collection is a curatorial project that delves into the incomplete and contingent aspects of archives and collections, the fractures in representational schemes: discarded histories and disparate temporalities, uncanny encounters and uninvited collaborations. In so doing, the aim is to open up new spaces and occasions for rethinking the artistic, epistemic and political roles of the contemporary museum.

The project is based on a temporary re-mounting of the museum collections in a large exhibition gallery. This exceptional entwining of the institution´s exhibition and storage functions lays the museum in a bare state of potentiality, lacking the usual thematic boundaries. Taking this inspiring situation as their starting point, students of the CuMMA (Curating, Managing and Mediating Art) MA programme at Aalto University will explore and work on the collection, with a special focus on the art collection of the Maire Gullichsen Foundation.

During the project, attention will be diverted from individual works to the spaces and interrelations opening up between them. As a result, the exhibition engages in re-animating the museum collections, not in order to fill the gaps, but instead to occupy them, as spaces for thinking different forms of re-collections, re-configurations of temporalities and communities.

Against this background, this process will expose a kind of para-museum, a shifting in-frastructure that is simultaneously located within and outside its ´host organisation´, equally involving the museum as facilitator of change and events in the surrounding society. Through such tensions, the para-museum seeks to activate the agency of the museum as the progeni-tor of collective spaces and as the challenger of entrenched ideas. To achieve these goals, the Under the Ground of Our Times – (De)construction of Collectivity in and Through Collection project will aim to establish site-specific interrogations in the form of installations, work-shops or public discussions, as well as events in the public urban space in Pori, through coop-eration with the Pori Urban Platform of Aalto University.
The project will be conducted in collaboration with students of the CuMMA major at Aalto University School of Art and Design (under the supervision of Lecturer Marko Karo and Professor Nora Sternfeld), the Aalto University Pori Urban Platform - PUPA, and the Pori Art Museum.

In co-operation with Aalto University’s MA program Curating, Managing and Mediating Art.

Curators: Alina Belishkina, Miina Pohjolainen, Elina Nikkanen, Elina Hämäläinen, Vera Ka-valeuskaya, Elham Rahmati, Pamela Medina Lopez, Nemesia Arranz Ruiz, Ziva Kleindienst, Vanessa Kowalski

Marko Karo is a lecturer for the CuMMA major at the School of Art and Design at Aalto University. He is a visual artist, curator and researcher based in Helsinki. In addition to his own artistic practice, Karo also works as part of the Gruppo III collective (Mika Elo, Marko Karo, Harri Laakso), which created the Finnish exhibition for the 2013 Venice Biennale.

Nora Sternfeld is professor of the CuMMA major at the School of Art and Design at Aalto University and co-director of the Exhibition Theory and Practice Master´s programme /ecm at the University of Applied Arts in Vienna. She is co-founder of trafo K, an office for art education and critical knowledge production in Vienna and a member of the freethought collective (Irit Rogoff, Stefano Harney, Adrian Heathfield, Mao Mollona, Louis Moreno), which focuses on research, education and cultural production. Within the latter, Sternfeld was one of the cura-tors of the 2016 Bergen Assembly
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EXHIBITION PROGRAMME FOR PROCESSWALL IN 2017
#läsnäolo
[07.02.2017 - 26.03.2017]

PROCESSwall / Café, Muusa

PROCESSwall is an exhibition space that showcases the processes of public programming and audience experiences in the Pori Art Museum. Exhibition programme for the space is drawn up by Pori Art Museum in collaboration with Pori Centre for Children´s Culture – Network of Children´s Culture in Satakunta.

07.02.–26.03. #presence
Art can be appreciated in many ways. This exhibition presents the museum’s Saturday Yoga programme in which art is used as inspiration for yoga sessions. The sessions are conducted by instructors from the Pori Yoga Association and visiting instructors. Organised by Pori Art Museum in cooperation with Pori Yoga Association and Pori Region Adult Education Institute.

04.04.–21.05. CROQUIS
The theme of the Croquis exhibition is coordination between the hand and the eye. The word ‘croquis’ refers to quick sketching of a live model. The works in the show were all created by young people and adults during croquis sessions. Organised by Pori Art Museum in cooperation with Pori Centre for Children´s Culture – Network of Children´s Culture in Satakunta.

01.06.–10.09. PROCESS Summer
PROCESS Summer presents ongoing public programming in the Pori Art Museum. Organised by Pori Art Museum in cooperation with Pori Centre for Children´s Culture – Network of Children´s Culture in Satakunta.

22.09.2017–21.01.2018 ART TESTERS
What does art feel like? The exhibition showcases Art Testers, a campaign launched by the Finnish Cultural Foundation that gives all eighth-graders in Finland an opportunity to acquaint themselves with different types of institutions and organisations in art. One of the institutions to be tested is the Pori Art Museum. Organised by Pori Art Museum in cooperation with Pori Centre for Children´s Culture – Network of Children´s Culture in Satakunta.
ww.taidetestaajat.fi
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OPEN STORAGE – REMEMBERING FOR THE FUTURE
[03.03.2017 - 25.02.2018]

Hall

Memory and its processes have in recent years become increasing prominent in the exploration of the preconditions of human creativity and problem solving. OPEN STORAGE – Remembering for the Future is the main exhibition at the Pori Art Museum during the centenary of Finnish independence, FINLAND 100. The exhibition highlights the past and the present as both sources and facilitators of the future. Investigating art and the art museum as an institution in surprising and novel ways, the exhibition features a display of the museum collections in its main gallery, Hall. Eschewing conventional exhibition concepts, the show instead presents a layered whole that consists of processes and which gives the public a glimpse into the core of museum work: the management of collections and archives. It also highlights the complexities of the constant flux of phenomena in art and the history of interpretation and reinterpretation over the decades.

The individual as the subject who experiences, sees, hears and interprets events has often been ignored in historical research, which has instead traditionally relied on archival sources. The increasing prominence in the past few decades of research methods based on oral history has nevertheless underlined the significance of subjective information, both its interpretation and its potentiality. The volume of source materials applicable in research has grown, and its use has diversified. While a work of art in a museum collection represents the world of art, it is also a document, an original source of material. However, the way it functions as a source is not based primarily on the ‘facts’ that it represents, records or documents. It is instead a facilitator of interpretations and emotional and intellectual responses and a route on the path of subjective human existence.

The dual role of the artwork as both an original source and the foundation for ever-changing interpretations of itself intermingles the past and the present in fruitful and interesting ways. Viewers become aware of their own active role as producers of knowledge and content, of meanings and interpretations. Information relating to the date of the work’s creation and contemporaneous interpretations – all these are recounted and examined from the temporal horizon of the current moment of viewing, using the instruments and interpretative concepts of the present. This is the case irrespective of whether the work being examined was made years, decades or even centuries ago and originates possibly from a completely different environment. Within the encounter between a work of art and its viewer, the past manifests itself as an interpretation, a process that unfolds in the present, unique and contingent to each moment and the participants.

As well, the patterns of understanding and interpreting of everyday life change surreptitiously, like those of art. Some patterns have been completely altered or replaced by new ones. Yesterday was, indeed, different. In the midst of rapid change, museums of the digital age are increasingly feeling the burden of their dual role in the present – their responsibility for recording the past and building the future, for presenting rapidly evolving, and in many ways increasingly technological, art.
OPEN STORAGE – Remembering for the Future will be mounted in stages during the spring and will open in its entirety on 1 June 2017.
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STAGED
ANNA ESTARRIOLA
[03.03.2017 - 27.08.2017]

WING

Born in Catalonia and living in Finland, Anna Estarriola is interested in the connections between visual and media art with performing arts and technology. She is both baffled and fascinated by human communication and behaviour and interested the presence of bodies, images and matter. In Estarriola’s works, the viewer often comes face to face with a person, a creature or even an object, and is invited to contemplate both the absurdity and the magnificence of being. To be held in spring 2017 at the Wing and MEDIApoint venues of the Pori Art Museum, Estarriola’s Staged will consist of masterfully crafted sculptures in which audio-visual technology blends with hyper-realistic and surrealist expression. Estarriola’s show in Pori will feature new works, most impressively The Future of Humanity (working title), which consists of sculptures, architectural structures, images and sounds. Alongside new pieces, the show will also include a sample of her earlier work from the past few years.

Anna Estarriola earned an MFA from the Department of Sculpture at the University of Barcelona in 2004 and another from the Department of Time and Space Arts at the Academy of Fine Arts in Finland in 2009. She has also studied contemporary dance. Estarriola has rapidly become one of the most interesting young talents in Finland. She has exhibited her works in galleries and theatres in Catalonia, Finland, Germany, Iceland and Norway. STAGED is Estarriola’s first major museum solo exhibition.
www.annaestarriola.com/
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CROQUIS
[04.04.2017 - 21.05.2017]

PROCESSwall / Café, Muusa





MUSEUM OF PRESERVING CITY - KAUPUNGIN SÄILYTTÄMISEN MUSEO
[22.09.2017 - 31.12.2017]

PROJECT ROOM

Curator Abir Boukhari
Born in Syria, Abir Boukhari is a curator who lives and works in Stockholm. Museum of Preserving City is a project that aims to build an archive based on artworks that record the history, recent past, present and vision about the future of the City of Damascus. All participating artists have experienced the city personally. Some are still living there, while others have left or are about to leave. They are either citizens of Damascus or have explored it as visitors. The project is an attempt to build a conceptual archive of Damascus as the oldest capital city in the world – while also establishing an idea of the current situation in the city. The exhibition mounted in the Project Room at the Pori Art Museum will consist of works selected from the archive that open up a vision of the current situation in Syria, which goes beyond media imageries.

Abir Boukhari is the director, curator and co-founder of AllArtNow, the first contemporary art space in Syria, founded in Damascus in 2005. Previously, Boukhari was the artistic director for Living Spaces Festival for Contemporary Arts, the artistic director of Studio (an informal school for contemporary arts in Syria) and the co-founder of Boukhari House for Artist Residencies and the culture center Maktab Creative Zone, all of which were located in Damascus. She augmented her training through internships at the Tate Modern (London) and Hamburger Bahnhof Museum (Germany). Abir Boukhari graduated from the University College of Arts, Crafts and Design Konstfack in Stockholm, where she was awarded the prestigious Ulla Fröberg-Cramér stipend for excellent success in studies.

Currently in exile in Sweden, Boukhari continues to create platforms for art and artists through her curatorial work and her current global “Nomadism”, as well as the many exhibitions she has curated through Europe and the Middle East for Syrians and international artists, exploring the effects of displacement on individuals and cultures.
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FIGMENTS & FRAGMENTS
ANA TORFS
[22.09.2017 - 25.02.2018]

Wing, MEDIApoint

For her first solo exhibition in the Nordic countries, Belgian visual artist Ana Torfs brings together two major installations: The Parrot & the Nightingale, a Phantasmagoria (2014) and Legend (2009).
Since the early 1990s, Ana Torfs has been composing a unique, visually striking oeuvre, which addresses fundamental questions of representation and its narrative structures. The relation or tension between text and image plays a central role in her work, and with it all the related processes of visualization, interpretation, perception, manipulation and translation. Torfs enables a topical and authentic perception of the scattered fragments from our cultural and political history. Literary texts or historical documents often constitute the starting point of her works. These material remnants are then reworked into meticulously composed installations—with diverse media such as slide projections, sound, photography and video, to tapestries and silk screens—in which projections and allusions have free reign.

The Parrot & the Nightingale, a Phantasmagoria is based on Christopher Columbus diary of his first voyage to America. Torfs became fascinated years ago with Columbus’s journal, which describes the newly discovered “India” as a cornucopia, a paradise of wondrous flowers, with a thousand variety of trees and remarkable fruits, while he is looking for gold. On three monitors, we see an American Sign Language interpreter signing carefully selected passages from the journal, while one of three Anglophone interpreters, each one fluent in a different sign language and alternating one another randomly, reinterprets the footage in spoken English. In the end we hear only echoes of the original source. All the while, the viewer encounters slowly dissolving black-and-white projections of a tropical forest. While Columbus and his crew were crossing the Atlantic, he noted that the only thing missing was the song of the nightingale, the traditional metaphor for the poet. The only living thing that he mentions in his journal on his first day in “India”—apart from people— is a parrot, the bird famous for its mimicry and repetitive speech. That same day, Columbus also wrote that the “Indians” he encountered were like obedient children who would make fine servants, as long as they could be taught to speak (his language).

For her photographic series Legend, Torfs travelled to La Gomera, the second smallest of the Canary Islands. Assigned to each of nine framed photographs are five engraved metal tags containing a variety of information about this archipelago. The photographs suggest a view through a telescope, and the tags list historical, political, and economic facts; they also tell “legends” in the sense of mythical reports. In Greek mythology, the Canaries were considered to be identical with Elysium, the island located at the western edge of the world, where the favourites of the Gods forgot their earthly sufferings forever. Columbus set sail from La Gomera when he sought a sea passage to India. Yet the history of the Canary Islands is also one of the suppression of its indigenous people, of waves of emigration, and of the terror of Franco’s dictatorship. With each “legend”, a different “(hi)story” is inscribed in this landscape, changing the way we see it. The web of associations creates a multilayered picture that, despite or in fact because of the variety of information, cannot be brought into focus.
Ana Torfs, born in Belgium in 1963, lives and works in Brussels. Among other solo exhibitions, she has shown at Centro de Arte Moderna, Gulbenkian, Lisbon (2016), WIELS Contemporary Art Centre, Brussels (2014), Generali Foundation, Vienna (2010), K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf (2010), Sprengel Museum, Hannover (2008), Argos centre for art and media, Brussels (2007), daadgalerie, Berlin (2006), GAK Gesellschaft für Aktuelle Kunst, Bremen (2006) and Bozar, Brussels (2000). She has developed a web project for Dia Art Foundation, New York (2004). Ana Torfs has participated in numerous international group exhibitions, including Parasophia, Kyoto (2015), 1st International Biennial of Cartagena de Indias (2014), Sharjah Biennial 11 (2013), Manifesta 9, Genk (2012), Montreal Biennial 2 (2000), and Lyon Biennial 3 (1995).

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