Emilia Tanner
Dusk
3.6.–4.6.2022
I have been trying to observe the changing light. I follow it with my eyes as it slowly vanishes and returns again. I marvel how the light that surrounds us appears and disappears so imperceptibly. The changes around me happen so slowly that I can barely notice them.
In my work, a strong beam of light removes a layer of paper as the surface balances between breaking and remaining intact. What fascinates me the most is how a beam of light from the laser yellows the paper and burns the surface, much as the light from the sun does. When the light disappears, shade descends on the paper and a record of the path the light has taken becomes visible on its surface.
340 x 260 mm
12 pages
Laser etching on paper
Edition of 80
Emilia Tanner (b. 1990) is an artist working and living in Helsinki. In her work, she often uses paper as a raw material to explore ideas of time and temporality, space, the perception of space and ourselves. She approaches paper as a three-dimensional material that can be sculpted, transformed, manipulated and altered. Actions of repetition and manipulations of the paper bring forth an intense desire to scratch the surface of what lies in front of us and discover something new. Recently she has been focusing on installations and working with light.
Dusk
3.6.–4.6.2022
I have been trying to observe the changing light. I follow it with my eyes as it slowly vanishes and returns again. I marvel how the light that surrounds us appears and disappears so imperceptibly. The changes around me happen so slowly that I can barely notice them.
In my work, a strong beam of light removes a layer of paper as the surface balances between breaking and remaining intact. What fascinates me the most is how a beam of light from the laser yellows the paper and burns the surface, much as the light from the sun does. When the light disappears, shade descends on the paper and a record of the path the light has taken becomes visible on its surface.
340 x 260 mm
12 pages
Laser etching on paper
Edition of 80
Emilia Tanner (b. 1990) is an artist working and living in Helsinki. In her work, she often uses paper as a raw material to explore ideas of time and temporality, space, the perception of space and ourselves. She approaches paper as a three-dimensional material that can be sculpted, transformed, manipulated and altered. Actions of repetition and manipulations of the paper bring forth an intense desire to scratch the surface of what lies in front of us and discover something new. Recently she has been focusing on installations and working with light.
Felix Bardy
Selected Screenshots 19-22
5.6.–6.6.2022
Selected Screenshots 19-22 is as its name states a collection of screenshots from the past three years.
Smartphones have revolutionized photos as a concept - everyone takes them daily and the amount of existing images has skyrocketed. Photographs have mostly switched from being carefully thought out compositions to quick snaps, even notes. Screenshot as a tool has made collecting visual material easy - almost everyone does some form of ”internet scavenger hunting”.
The content of this magazine has ended up to my photo library solely because they have provoked a feeling that I might want to see them again. They’re not supposed to ”represent” anything. They’re just images - real contemporary images. This could be compared to the change in art history from romanticism to realism. Instead of for the content to be ornate and romanticizing things are shown raw and naked. Like in Coubert’s or Millet’s paintings, iPhone photos represent real life - modern day realism at it’s best.
289 x 380 mm
44 pages
Digital offset
Edition of 70
English
Felix Bardy (b. 1998) is a visual artist working and living in Helsinki. He mainly works with photography and painting. ”I approach making art in a photojournalistic way. I want to capture the times we’re living in”, he says.Lately, he has been painting works of an almost dystopian world enslaved by consumer culture. ”A cyberpunk-like idea of a spoiled future fascinates me. I paint views that look like the end of the world and picture things leading to destruction.”Self-examination plays an important role in Bardy’s working process – what he prioritizes and considers important.
Selected Screenshots 19-22
5.6.–6.6.2022
Selected Screenshots 19-22 is as its name states a collection of screenshots from the past three years.
Smartphones have revolutionized photos as a concept - everyone takes them daily and the amount of existing images has skyrocketed. Photographs have mostly switched from being carefully thought out compositions to quick snaps, even notes. Screenshot as a tool has made collecting visual material easy - almost everyone does some form of ”internet scavenger hunting”.
The content of this magazine has ended up to my photo library solely because they have provoked a feeling that I might want to see them again. They’re not supposed to ”represent” anything. They’re just images - real contemporary images. This could be compared to the change in art history from romanticism to realism. Instead of for the content to be ornate and romanticizing things are shown raw and naked. Like in Coubert’s or Millet’s paintings, iPhone photos represent real life - modern day realism at it’s best.
289 x 380 mm
44 pages
Digital offset
Edition of 70
English
Felix Bardy (b. 1998) is a visual artist working and living in Helsinki. He mainly works with photography and painting. ”I approach making art in a photojournalistic way. I want to capture the times we’re living in”, he says.Lately, he has been painting works of an almost dystopian world enslaved by consumer culture. ”A cyberpunk-like idea of a spoiled future fascinates me. I paint views that look like the end of the world and picture things leading to destruction.”Self-examination plays an important role in Bardy’s working process – what he prioritizes and considers important.
Hikari Nishida
The series on sun – June
7.6.–8.6.2022
The series on sun – June, is a publication part of a larger scope of projects from the artist, dealing with temporality, sunlight and collaborating with an inkjet printer. It consists of a poem written by Hikari Nishida and handwritten by Léa Girardot (type designer), an A4 image printed by Inkjet HP Deskjet 4120e, as well as visuals playing in the edge between abstraction and figuration:
«You are holding in your palms and between your fingers a narrative of the days passing by below the hurried sun of Helsinki. Carefully made to read and age, please, keep it dry and under direct sunlight.»
350 x 500 mm + A4 print
20 pages
Digital and inkjet printing
Edition of 100
English
Handwritten text by Léa Girardot
Hikari Nishida (b. 1997) is an artist living in Helsinki, Finland. She studied publishing as art practice in La Haute Ecole des Arts du Rhin, France.Her practice evolves around publishing, installation art, and creation of experimental art platforms. Selected works have been presented in Kosminen (Finland), Publics (Finland), The Tokyo Art Book Fair (Japan), Saint Remi museum (France) as well as shared in Helsingin Sanomat and Kunstkritikk.She is the founder of The Temporary Bookshelf, a nonprofit art bookshop for independent publishing in Finland.
The series on sun – June
7.6.–8.6.2022
The series on sun – June, is a publication part of a larger scope of projects from the artist, dealing with temporality, sunlight and collaborating with an inkjet printer. It consists of a poem written by Hikari Nishida and handwritten by Léa Girardot (type designer), an A4 image printed by Inkjet HP Deskjet 4120e, as well as visuals playing in the edge between abstraction and figuration:
«You are holding in your palms and between your fingers a narrative of the days passing by below the hurried sun of Helsinki. Carefully made to read and age, please, keep it dry and under direct sunlight.»
350 x 500 mm + A4 print
20 pages
Digital and inkjet printing
Edition of 100
English
Handwritten text by Léa Girardot
Hikari Nishida (b. 1997) is an artist living in Helsinki, Finland. She studied publishing as art practice in La Haute Ecole des Arts du Rhin, France.Her practice evolves around publishing, installation art, and creation of experimental art platforms. Selected works have been presented in Kosminen (Finland), Publics (Finland), The Tokyo Art Book Fair (Japan), Saint Remi museum (France) as well as shared in Helsingin Sanomat and Kunstkritikk.She is the founder of The Temporary Bookshelf, a nonprofit art bookshop for independent publishing in Finland.
Tanja Koljonen
A Horizon, a Point
9.6.–10.6.202
A Horizon, a Point is a story of a thinking process. It is comprised of abstract drawings and words which trace the moods of a character reading in a room. This story could also take place in that reader’s mind, a space inhabited by their thoughts. I would imagine a room with overlapping walls, translucent edges, endless corners and nooks, and all of these as fickle as water.
250 x 170 mm
48 pages
Digital offset
Edition of 70
English
Tanja Koljonen (b. 1981) is an artist based in Helsinki. She earned her MA from the School of Art and Design at Aalto University in 2014. Currently, she is extending her knowledge in printmaking at the Academy of Fine Arts, Helsinki. Her interest lies in the visuality of language in which the boundaries of an image are in constant flux. Her works often include photographs, graphic prints, and artist books.
A Horizon, a Point
9.6.–10.6.202
A Horizon, a Point is a story of a thinking process. It is comprised of abstract drawings and words which trace the moods of a character reading in a room. This story could also take place in that reader’s mind, a space inhabited by their thoughts. I would imagine a room with overlapping walls, translucent edges, endless corners and nooks, and all of these as fickle as water.
250 x 170 mm
48 pages
Digital offset
Edition of 70
English
Tanja Koljonen (b. 1981) is an artist based in Helsinki. She earned her MA from the School of Art and Design at Aalto University in 2014. Currently, she is extending her knowledge in printmaking at the Academy of Fine Arts, Helsinki. Her interest lies in the visuality of language in which the boundaries of an image are in constant flux. Her works often include photographs, graphic prints, and artist books.
Tatu Gustafsson
11.–12.6.2022
I don't want to tell the name of the work, so it's difficult to write about it. It consists of 45 pictures and 46 short thoughts. The pictures taken by the weather camera are collected from the Fintrafic website and the thoughts from here and there. Some thoughts are my own as much as thoughts can be, and others are almost direct quotes from people who may have been in a similar situation as I was while working with this project. They may have also hoped that something different would happen. Something would emerge from the repetition to grab on to. Sometimes you don't even have to wait for it, but then again sometimes all you can do is wait.
370 x 260 mm
48 pages
Digital print
Edition of 50
Finnish/English
Tatu Gustafsson (b. 1979) works with weather cameras, borrowed objects and concepts, among other things. Gustafsson’s work explores technologies, things that are taken for granted and relationships that form hierarchies.
11.–12.6.2022
I don't want to tell the name of the work, so it's difficult to write about it. It consists of 45 pictures and 46 short thoughts. The pictures taken by the weather camera are collected from the Fintrafic website and the thoughts from here and there. Some thoughts are my own as much as thoughts can be, and others are almost direct quotes from people who may have been in a similar situation as I was while working with this project. They may have also hoped that something different would happen. Something would emerge from the repetition to grab on to. Sometimes you don't even have to wait for it, but then again sometimes all you can do is wait.
370 x 260 mm
48 pages
Digital print
Edition of 50
Finnish/English
Tatu Gustafsson (b. 1979) works with weather cameras, borrowed objects and concepts, among other things. Gustafsson’s work explores technologies, things that are taken for granted and relationships that form hierarchies.