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I meet Oskar Partanen in Annantalo in Helsinki, to see his solo exhibition Self Titled and talk about his cute but eerie sculptures that move and make sounds. His creatures live side-by-side in one room, but somehow seem to all exist within each their own universe. We talk about repurposed items, pragmatic choices in materials, and Oskar explains how he has hacked electronic audio devices and built motorised constructions to give his figures life. We get into childhood dreams, discuss how children might be better art critics than adults, and reflect on how to make work that speaks adult language in a child-friendly way. Also, on this episode you hear me speak a bit more Finnish, we have an actionpacked live-moment with an artwork, and we have a surprise cameo of Marloes van Son's interactive sound work!

Oskar's Instagram

Annantalo's website

Oskar's exhibition on Annantalo's website

Marloes' website

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I return to Asbestos Art Space in Helsinki, to see Kamila Śladowska's solo exhibition Growing Interconnectedness, which has turned the gallery into a surreal painting installation of water, plants, and morphed shapes of naked, human bodies. Kamila tells about foraging herbs and finding inspiration in nature's ecosystems, and guides us through her assemblage of deconstructed paintings and sculptural elements. She explains how her art is an existential and political tool to deal with topics such as ecology, sexuality and gender, and how growing up in a country dominated by oppressive Catholicism has created a need for rebellious commentary within herself. Kamila also tells a bit about how she relates to the concept of hydrofeminism and how water is an essential element in her work, and we get to hear a small concert on her collaborative hydrophone Herb Brew Instrument (this is best heard with headphones or decent speakers).

Kamila's website

Kamila's Facebook page

Kamila's Instagram

Asbestos' website

Asbestos' Facebook page

Asbestos' Instagram

And the Herb Brew Instrument collaborators:

Robert Prakapovich's Instagram

Mark Reid Bulatovič's Instagram

Kristīne Tukre's Instagram

Wanda Kamińska's Instagram

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I meet Paola Fernanda Guzmán Figueroa in Oodi library in Helsinki, to talk about her video work Nanita, para siempre. Paola explains how her Colombian roots grew stronger while living in Finland, and how she keeps a close connection to her family by making them a focal point in her art. We discuss different techniques for working with film- and video, and Paola talks about the process, and feeling, of making one thousand drawings of her grandmother for the animation film projected in the library. We also talk about showing art in public spaces not created for exhibitions, and how an audience reacts differently when they are surprised by art rather than looking for it.

Paola's website

Paola's Instagram

Kino Club's Instagram

Kino Club's Facebook page

Oodi's website

ALA Architects' website

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In this crossover episode with OOO Radio (Out of Office), James Prevett guides me through his exhibition Together With in Forum Box gallery in Helsinki. James explains how ongoing collaborations with other artists, the public, and his daughter, helps him reconsider and reinvent himself as sculptor, teacher and curator, as we look at years of different initiatives of socially engaged sculpture displayed side-by-side. We talk about material translation, travelling artworks, methods of public participation, and how every project entails its own set of practical, ideological and aesthetic premises.

This episode was broadcast live on OOO Radio at the time of recording, as a crossover with the community-radio component of the exhibition. Contact OOO Radio on hello@oooradio.live if you are interested in getting involved.

James' website

James' Instagram

OOO Radio (Out of Office)

Forum Box's website

Parties for Public Sculptures

Malmö Monument

Parts (for Muuri) scores

Listen to Conversation Pieces (Things for Homes / Homes for Things)

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I finally sit down with Niko Nordström, to talk about his solo performance This Is Why I'm Late, in The Theatre Academy in Helsinki. We talk through his semi-fictionalised self-portrait of monologues about clocks, dreams and the struggles between thought and time, all the while dipping into the history of structured time; the societal needs for, and science behind, these structures. Niko explains how the framework of his performance is inspired by experiences in his immediate life, and how he embodies the act of storytelling from various positions, via different characters and as writer/actor. We talk about time as collaborator, time as antagonist, time as a premise for planned out events, and time as an uncontrollable element of surprise. We discuss shared feelings of ambiguity towards the concept of lateness, and reflect on how internal perception of time does not always align with external expectations.

"We proclaim the environment we act in to be subjective to the core, and believe that it unravels itself differently to each individual...we strive to include the aspect of Time in the context of accessibility, which so far has primarily concerned itself with the dimensions of physical space...In a society that increasingly, constantly and actively demands, steals and feeds off our concentration, energy and Time through demands of activity...The more we sleep, the less we consume scarce resources...we deem the current neoliberal capitalist system that bases itself on endless economic (and other) growth to be both unsustainable, illusionary and naïve in its core."

- excerpts from The Late Party's Explanatory Party Program

This episode contains sound bites from the performance This Is Why I'm Late, recorded as video by Willjam Tigerstedt, ripped and edited by me.

Niko's Instagram

The Theatre Academy Helsinki's website

The Theatre Academy Helsinki's Facebook page

Artist at Work by Bojana Kunst

Momo by Michael Ende

I could not find the exact article I mention, but I found a few other interesting reads:

Emotions & Time

Language & Time

Neuroscience & Time

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I join Tangmo's participatory performance memory field in The Academy of Fine Arts in Helsinki, and meet her there later to unpack it. Together we talk through the performance from beginning to end, and Tangmo expands on how she developed the project and incorporated multiple collaborations with other Thai artists. She tells about the horrific background of the piece: The Thammasat Massacre in 1976, a student uprising event in Thailand which was violently shut down and almost completely erased from common history, and explains some of the differences to working as a student and artist in Thailand and Finland. We discuss student activism, censorship, and how to be brave in your position as artist and reclaim your voice in your work. We also talk about interactive poetry, audience engagement, and psychological aspects of the architecture of the new academy building.

memory field working group: concept and performance by Ladapha “Tangmo” Sophonkunkit, costume design by Pin Nicha, sound design by fluffypak, graphic design by Suwapat Rodprasert, Chiw Uparsin, Sirada Darikarnonta, patches by Jayda Sakulpoonsook, Naraphat Sakarthornsap, Beam Wong, Maya Jett, Praejeen Kunawong (Jeen Ku), bo nawacharee, Banana blah blah, Julibakerandsummer and Thanakorn Dean Siriraks.

This episode contains audio documentation from the performance recorded by me.

Tangmo's website

Tangmo's Instagram

memory field on Uniarts' website

The Thammasat Massacre

LAPS' website

LAPS' Facebook page

The Academy of Fine Arts' new building

And many of the collaborators:

fluffypak's Instagram

Jayda Sakulpoonsook's Instagram

Naraphat Sakarthornsap's website

Beam Wong's Instagram

Maya Jett's Instagram

Praejeen Kunawong (Jeen Ku)'s Instagram

bo nawacharee's website

Banana blah blah's Instagram

Julibakerandsummer's Instagram

Thanakorn Dean Siriraks' Instagram

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