Galerie Suvi Lehtinen present Gravity, Money, Concrete, Fabric, an exhibition that creates an encounter with an array of different media and examines matter as dynamic, significant and tense. Approaching the world as an assemblage where there are no innocent and self-evident objects and in which the agents are not always human.
Chador-dadar by Haleh Anvari, Live installation documentation, slide show
If the chador is the icon for Iran, let it meet the icons for some other nations. Chado- dadar became a live installation in every city it was photographed and ultimately revealed as much about the nature of the people it visited that it did about itself. We made it to Dubai, to Taj- Mahal, the Amber Fort in Jaipur,we went to London and joined a peace protest, we visited Big Ben, then onto Paris, the Louvre, where we were thrown out because the Hejab is a hot button issue and to Istanbul where the only model I could find wouldn’t wear the Chador because she was a secularist, so in Istanbul I became a model and she photographed!
Ihr könnt auch scheitern (You can also fail) by Sarah Michelle Harrison & Lydia Hymen, video.
The works deal with the disindentification, with the production of the self as a distinct individual and the value of systems of cultural capital. In the video, a human body undresses itself from different things and identities while staying thing-like itself.
Sticks: class B by Martin Kohout, different sticks made of aluminium, rubber, leather and other materials – varios lengths-.
This series of fairly similar sticks have handles with straps that you could slip around the hand as with a ski pole. In order to get s better grip, in order to fail: flail the air, exercise, produce pain, produce pleasure, break something. They seem pleasant to be hold, it is hard to resist touching them (because one must touch the handle). However they scape a particular use, they are tools for nothing or they are just almost: almost whips, almost sports equipments.
Contemplating the concept of trust-A script for a lecture by Mikko Kuorinki & Topi Äikäs, booklet, 10cm3 of matter, possibly for practical use, concrete.
It is a script for a performance that took place in Pori, Finland. It deals with trust: how it is born, what its conditions are and its necessity for being able to act. The performer must trust the audience and the audience the perfomer, but also there must be trust for the structures in the performance space, that the concrete around endures. In addition, the work examines the relation between money and trust as well as money as a requirement for artistic activity (that money comes from grants and fees, but mostly from other jobs or family)
Juego de Cama by Almudena Lobera, ink, pencil and collage on paper 34,2 x 25,5.
In Almudena Lobera’s drawing, Juego de cama there is a small trampoline and above it a cloth that gums on the trampoline or is about to land on it for the first time. The trampoline is static and looks almost like an instruction picture: here is a trampoline. It is anchored into gravity and the vibration and elasticity of the mat are always attached to the metal frame. It enables the movements of other things and bodies while staying tightly attached to the ground. In the work, the cloth bundles, opens, flutters and jumps, merging into the air, almost without gravity, nearly a ghost. It carries with it the art story of portraying folds (not the manual, never). There is a tense relationship between the trampoline and the both, they act and move in relation to one another (the movement has either just happened or is about to happen and almost inevitably repeats itself, it is a feature of the trampoline). In Lobera’s drawing, the trampoline and the cloth are material agents, their thingness is vibrant.
Curated by Vappu Jalonen
March 31 – April 21, 2012