CAMBECK, (2010)
Binelde Hyrcan
[08.08.2017 - 08.10.2017]
Screening STAIRCASE

«A poignant short video in the Angola Pavilion by the young artist Binelde Hyrcan sums it up: Four young boys sit chest deep in holes in the sand, looking out to the sea, and they talk about the future. The littlest one in front is the limo driver, and the two in the back are the “big shots” arguing about who will have the better life. “I’m going to America,” one says, “and live in a building; you’re going to stay here and live in a house made of cans!»
- the Wall Street Journal.
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MUSEUM OF PRESERVING CITY - KAUPUNGIN SÄILYTTÄMISEN MUSEO
[22.09.2017 - 25.02.2018]
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, 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 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 current situation in Syria, which goes beyond media imageries.
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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), as well as Toast, an iconic photograph she made in 2003, which functions as a connecting element between the exhibited installations.

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.
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