magazine of the Espoo Museum of modern art Spring 2013

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Exhibitions + Contents

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Whose slice of the cake?

PER MANING Oscar, 1988. Bugs Bunny Copyright © Warner Bros., Inc. Eggert Pétursson Untitled (Nordurland Tröllaskagi), 2011.

4 A DOG TURNED PER MANING INTO AN ARTIST

Per Maning / A Man Does Things / Photographs and Video Works 1983-2012 / 6.3.-9.6.2013

The Art of Warner Bros. Cartoons / Original Artwork and Films from 1930-1960 / 6.3.-19.5.2013

10 THE ART OF WARNER BROS. CARTOONS

Animated cartoons at EMMA

16 A Dive into the Sea of Violets

Birger Kaipiainen, a Life Dedicated to Art

19 Upcoming programme

The World in a Suitcase / Juhani Harri’s Assemblages / 11.11.2011-17.3.2013

The Saastamoinen Foundation Art Collection / Permanently

Events in Nature / From 26 April

Birger Kaipiainen / Exhibition on a Finnish Classic /   1 9.6.2013-12.1.2014 Publisher EMMA – Espoo Museum of Modern Art / Editor-in-chief Tatu Malmström / Editorial board Pilvi Kalhama, Ari Karttunen, Päivi Karttunen, Nana Salin, Hannele Savelainen, Päivi Talasmaa / Image editor Ari Karttunen / Graphic design and layout Dog Design / Printing house Lönnberg Painot Oy

THE MAGAZINE OF ESPOO MUSEUM OF MODERN ART

Print edition 25 000 / Next issue autumn 2013 / Change of address, orders (gratis) and feedback: [email protected] / Contact information on back cover / Front cover: Oscar (1988), copyright Per Maning.

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Whose slice of the cake?

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hink up a title for an exhibition, vote on the best work in a collection, tell a story, or come and paint graffiti in the museum. I’ll show you how to do it. Is this then real participation, the museum visitor’s slice of the cake? An art museum is a place where culture can be seen and experienced by all. At its best, engagement and participation in a museum means continuously listening to, working with and sharing experiences with the public; the courage to give the public the feeling that the museum is theirs. The job of a museum is to provide space, oppose differences and create successful experiences. Next autumn, students on the CuMMA Programme at the Aalto University will be given space at EMMA to carry out their own public project. The ability to engage is one of the most essential tasks of the project. Here at EMMA we consider it vital to learn and develop through this kind of cooperation. Public engagement and participation methods are the best way, for example of ensuring the wellbeing of young people. This year we are taking up the challenge of the pro-youth KOLMIO (Triangle) Project, together with tenth class students, and aided by music and art. Cooperation plays a central role in engagement by the museum to promote public dialogue and well-being. How to offer the public this kind of active partnership? In addition to museum exhibition and collection activities, time must be set aside for dialogue, togetherness, meeting and sharing. After all, museums were discussion forums back in Ancient Greece. The opening of a similar public form by museums is even more important than ever.

If museums and their collections become too divorced from the rest of the world and social realities, the future will not look so bright. Museums must have an understanding of contemporary social relations and the human need for dialogue, and act as a social conscience. It’s risky to ignore visitors’ comments on how art or its content fails to appeal to all or just to a certain age group. At its best, art is an enabler, a resource and a mirror to reflect different kinds of social dialogue and needs. It should not open up merely to the few and the enlightened, but offer an open encounter and respect for others without fear of performance or entrenchment on the one hand, or over-explaining and popularising art on the other. This spring at EMMA we shall be using art to consider meetings and interaction, recognising ourselves in others, approval, respect for life and the loneliness of humans vis-à-vis other species. How each image is a self-portrait. Concerning the need for interaction, it’s interesting to note the results of EMMA’s latest non-visitor study: the best reason for visiting a museum would be an invitation from a friend, a shared pleasure. Would you like a slice of the cake, or shall we bake one together? Recommended reading: the Paul Hamlyn Foundation’s report on the success of museum engagement: Whose cake is it anyway. A collaborative investigation into engagement and participation in 12 museums and galleries in the UK. •

Nana Salin Chief Curator, Education and Accounts, EMMA

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text / Timo Valjakka Photos / Copyright Per Maning

A dog turned Per Maning into an artist

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he Finnish writer Erno Paasilinna once said: “People are not born as writers. They have to live the kind of life that turns them into one.” Paasilinna’s aphoristic pronouncement springs to my mind when I think of the Norwegian Per Maning and his works. He is one of those whose eventful lives have turned them into artists. In his youth, Per Maning (born 1943) was an amateur boxer, played the trumpet in the Norwegian Royal Guards, studied at the Royal Danish Academy of Fine Arts in the 1960s, graduated as a graphic artist and established an advertising agency in Oslo at the beginning of the 1970s that became internationally successful. Although Maning no longer performs, music plays an important role in his life, rather like an extension of the spoken word or written language. For him the trumpet is the greatest of all instruments, a means by which breathing becomes music and the inner self takes on a sensually perceptive form. His studio normally

r­ esounds to the recordings of such classic players as Miles Davis and Chet Baker. Maning became an artist because of a Labrador retriever called Leo, acquired by he and his wife Anne-Ka at the beginning of the 1980s. They had the idea of keeping a pictorial diary of the puppy growing up, but then Maning noticed that he was taking pictures that had no place in the book. These he produced as paper prints. Whilst still a puppy, Leo fell seriously ill and Maning began spending more and more time with him. Ultimately he gave up his share in the advertising agency to devote himself to the dog. “I didn’t like what the frenzied advertising world and success was doing to me,” Maning says. “Being with Leo brought a new kind of sincerity to my life, giving me a new direction.” Maning photographed Leo conscientiously for almost four years, until they had to put him down. The photos tell a moving story of the friendship and closeness of man and animal, also of the animal as an individual.

Leo, 1983-1987.

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Crucial to Maning’s art is that he never differentiates between man and animals. “The similarity between man and animals is in animals,” he says.

From series Maggie, 1997.

Per Maning lives and works in Ekely on the outskirts of Oslo, in one of the many houses built on a plot of land bequeathed by Edvard Munch for Norwegian artists. The houses are surrounded by the fruit trees planted by Munch and the master’s own studio is but a stone’s throw away. Maning’s studio features prominently in his latest works as many use the white, vertical boarded walls as backgrounds. Leo, the genesis of it all, is present in a tiny, icon-like portrait, which will be in this spring’s exhibition. When moving in, Maning discovered a paintsmeared stone in the studio left behind by the previous occupant, a sculptor. He became so interested in the stone that he used it as a model in both the series of photographs Stone No. 1 (2008) and the video The Perfect Stone from the same year. In these he examines the essence of a stone, how it lives and functions. Once when he was out walking in the forest with his father, he recalls him saying that there’s life in everything.

“Even in that stone?” Per asked. “Yes, even in that stone,” replied his father. Per Maning is best known for his photos of animals from the 1980s and 1990s, and for his videos of seals, pigs, horses, cows, and even a small angry owl. The monumental animal series began with ­a cow Maning saw in a field in rural France. He relates being surprised at recognising the now deceased Leo in the cow. Upon his return, he spent several weeks on a Norwegian farm photographing animals. He wished to get as close to the cows as he had been to his dog. He also tried to become accepted into the herd. And he succeeded, as we can see in the video Breather (1999). Maning’s camera takes us so close to the cows that we can imagine being at one with them.

From series The Abandoned, 2012.

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Old Man, 2010.

Two Young Girls, 2012.

Crucial to Maning’s art is that he never differentiates between man and animals. “The similarity between man and animals is in animals,” he says. His art is a question of equal communication between species on the one hand and of animals as individuals rather than anonymous representatives of their species on the other. Maning has no interest in the wild and exotic beasts of nature documentaries. He prefers animals that are accustomed to people and thus easy to approach. He looks for them not only on farms, but also in zoos and even homes. Some of those

that appear in his works were found on an English farm which was training them as film extras. According to Maning, animals are easy subjects to photograph. Unlike humans, they are guileless and natural. They don’t stiffen in front of the camera or put on a face. Maning tried to photograph people, unsuccessfully, until it dawned on him that actors are people who have been trained to be looked at and thus behave naturally in front of a camera. This realisation led to one of the most important works in the exhibition, the photo series

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Self-Portrait (1997). It has to be said straight away that the man in the dark shirt in the picture is not Maning, although the title might so indicate. He’s a famous Norwegian actor called Nils Sletta, whose delicate facial movements imitate not only Maning, but also his state of mind. The work could be described as a kind of unusual mirror image in which everybody can recognise themselves. But the photo itself poses the question: are all of Maning’s photos similarly mirror images? Do I recognise myself in Oscar, the seal, or Maggie, the baboon? Collaboration with artists, starting with Nils Sletta, brought Maning several theatre-related projects. Sletta has since been replaced by another Norwegian actor, Anders T. Andersen, and their finely tuned collaboration has led to an entirely new kind of thinking about naturalness. Maning’s art has clearly become more relaxed and acquired absurd, humorous, almost grotesque tones, as for example in his Man Doing

Per Maning exhibition seminar 3.4.2013, Kino Tapiola, Espoo text / Nana salin

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hrough his works, Per Maning (born 1943) invites us to consider various encounters or interaction, to see oneself in others and the loneliness of the human species vis-à-vis other species. The original impulse to embark on a photographic career was his pet dog Leo’s illness. His photos of Leo tell of the friendship between man and animal, and of the animal as a personality. But as exhibition curator Timo Valjakka observes, “They are not animal documentaries or humanisations of animals.” In connection with the exhibition,

Timo Valjakka is the curator of the Per Maning / A Man Does Things / Photographs and video works 1983-2012

a seminar will be held at Kino Tapiola, Espoo, on 3.4.2013, to discuss the relationship between humans and animals in our culture, and Maning’s technique of projecting the viewer as a self-portrait and people’s roles in photos. The speakers will include photographic artist Nelli Palomäki, animal-actors trainer Tuire Kaimio and directoractress Liisa Mustonen. Nelli Palomäki made her breakthrough in Finland and internationally with her classical, touching portraits. Rather like Maning, her portraits challenge the idea as to how much a photograph, the artist’s self-portrait, can tell about ourselves. Liisa Mustonen is a Finnish theatre director, actress and scriptwriter. She wrote the script and directed The Family from Hell play now showing at KokoTheatre, which discusses the meaning of reality, memory and the contrast between our external and internal worlds. She has been twice nominated for a best actress Jussi award for her roles in the 2003 film Stripping and the 2007 film The Leaning Tower.

Anders T. Andersen

Every image is a self-portrait

Things and the video installation When he is a young man, when he is an old man (2012). As with animals, Maning seeks out people to photograph with whom he has a personal relationship and who allow him to get close. Impressive examples of his continuing efforts to penetrate behind masks and poses are Old Man (2010) and Young Girl (2012). The old man who has seen it all can no longer be bothered to put on a mask; children on the other hand, because of their age, haven’t even learned to do that yet. There’s something Rembrandtesque about the photos. The subjects appear to be deep in thought, looking inwards. However, when you look at them, you feel they’ll wake up if you snap your fingers. •

Portrait of the maker of portraits.

In addition to films, Mustonen has acted extensively on TV and in the theatre. Tuire Kaimio trains animals to appear in films and plays. She trained the Caucasian sheepdogs for the film The Tempest, the lynx in the film The Boy and the Lynx, the pigeons used in the State Railways adver­ tisements and the dog Jeppe in the Olvi beer advert. Kaimio has trained many thousands of animals in addition to lecturing and writing about animal behaviour and training. For more information on the seminar and registration: www.emma.museum > tapahtumat

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text / Päivi Talasmaa Photos / ari karttunen, Copyright © 2013, Warner Bros., Inc

Animated cartoons at EMMA

The Art of Warner Bros. Cartoons Bugs Bunny & Co. is an exhibition of original animated cartoons produced by Warner Bros. Cartoons Studio to be shown at EMMA this spring. The studio functioned from 1930 to 1969.

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arner Bros. Cartoons is best known for its short cartoon films, Looney Tunes and Merrie Melodies. The Studio’s boundarybreaking and snappy humour gradually became the characteristic feature of cartoon shorts. EMMA’s exhibition contains more than 150 character drawings, background paintings and cartoon films from the private collection of American critic, journalist and film historian, Steve Schneider, who is also the curator of the exhibition. The exhibition has been previously shown in the United States, at the New York Museum of Modern Art (MoMA). It comes to EMMA from its first European showing at the National Cinema Museum in Turin, Italy.

Steve Schneider’s collection – a love for the art of animation Without Steve Schneider’s early interest in collecting, it is possible that these character and background drawings would never have been collected. Staring out as a hobby, over the years his collection became a rare and important part of American movie history. In reply to my question as to why he began collecting, Steve Schneider said: “The reasons are many, but above all it’s been a labour of love: I’ve loved these films from the time I was a little kid and collecting became a way of expressing that passion. When I started collecting, it transpired that no-one had bothered to preserve a concrete record of Warner’s cartoons (objects, equipment, drawings). Collecting became a sort of archaeological mission, an attempt to collect and preserve the relics of a lost civilisation. Ultimately my objective became to create a Warner animation archive, which otherwise would never have happened.”

Warner’s animated films Warner’s animated films are part of American popular culture, but they became known and loved throughout the world because of their Left: Detail, exposure sheet from Daffy Doodles , 1946. Right: Detail, Bugs Bunny from Rabbit Hood, 1949. Painting on cel and paper.

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Model sheet of Porky Pig, 1935.

Publicity drawing for Ain’t She Tweet, 1952.

distribution alongside Hollywood feature films. In the States, cartoons became part and parcel of the viewing experience of children and youth in the 1950s once these films, originally intended for cinemas, began to be shown on TV. Ever since 1935 cartoon films have been immensely popular, and even now, 70 years after his first appearance, Bugs Bunny comes top of the polls. In the 1970s, the attitude towards “cartoon” culture changed when film buffs became interested in Warner’s animated films. Gradually the Warner animation tradition spread to full-length films, as well as to graffiti art. Steve Schneider’s collection gives a good idea of how, in a creative atmosphere, dedicated humorists could inspire each other to create these legendary, classical cartoon characters. It also cleverly illustrates the colossal amount of skill and work put in by studio workers in producing these films.

Daffy Duck, Elmyra Duff, Bugs Bunny, Tweety, Pepe le Pew, Sylvester, Yosemite Sam, Foghorn Leghorn, Road Runner, Wile E. Coyote and many others. The Studio’s first character was Porky Pig in 1935, who coined the immortal sign-out line: “That’s all, folks!” Porky’s counterpart was ­often Daffy Duck and they began to appear ­together in 1937. Originally, Bugs Bunny was a secondary character. Chewing his carrot, the self-confident Bugs always had the situation under control. Bugs often appeared with Sylvester, Elmyra or his rival Daffy Duck. Bugs Bunny, who took shape at the beginning of the 1940s, has his own star on Hollywood’s Walk of Fame street. Tweety and Sylvester were combatants, the big cat always chasing the tiny yellow canary. Already their first appearance together in 1947 brought them an Oscar.

Bugs Bunny & Co. – from animator’s desk to the Walk of Fame Drawing and writing are among the oldest forms of expression. When looking at Warner’s cartoons you can see that the makers had fun. The style and technique was adapted to the demands of film. Warner Bros. Cartoons Studio created more cartoon stars than any other studio. Familiar faces (in order of creation) included Porky Pig, Tex Avery and Bugs Bunny. Photo: National Audiovisual Archive of Finland

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Robert McKimson: Model sheet of Bugs Bunny, 1943.

text / Maria Vähäsarja

The Miracle of Animation More that a hundred years ago the public were entertained and enthralled by thaumatropes, zoetropes and flick books. These sleight of hand tricks give the illusion of movement when the images were shown in rapid succession. Even now, animation never fails to amaze. Was it really so difficult to get Bugs Bunny running or Daffy Duck to bellow? Did one simple movement really need dozens

of hand-painted frames? The first animated cartoon was Gertie the Dinosaur from 1914 in which each frame was drawn separately by pencil on paper. But nothing better illustrates the medium’s diversity than the experimental avant-gardist animated films from the Twenties to the Fifties. Although animation techniques developed rapidly over the decades, it still required hundreds of hours of work. The basic types of animation were stop-motion animation (cel and cut-out animation), pixelisation (clay, puppet and object animation) and drawn animation. In the cel animation process, drawings were traced by hand on transparent sheets and shaded on the reverse side. During the heyday

of animation, a single artist could produce from 700-1000 drawings a month. When digitalisation came along many things changed and gradually traditional techniques became marginalised. Whether animation is produced by changing the position of a clay figure or moving cut-up pieces of paper, they all need a layout and storyboard. Filming can only start once the shot sequences, camera moves and numbers of frames have been decided. Animation is mostly considered a children’s amusement, though rarely a day goes past without flashes and GIF files appearing on the computer screens in front of we adults. Images continue to fascinate and bamboozle. Even if it’s only waving a sparkler.

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Top: Cel of Bugs Bunny and background drawing from Slick Hare, 1947. Right: Friz Freleng: Cel of Yosemite Sam and background drawing, approx. 1955.

Seven minutes in a year – how cartoon films were made

Cartoon films for grown-ups

Animated films were originally made to be shown before the main feature in cinemas. The exhibition explains the highly complex creative process behind making them and graphically illustrates the different stages this requires. In the early days of cinema – and even today – making animated films was an expensive and laborious process. Warner employed dozens of artists at each stage in production. Before computers came along, the pictures were first drawn on paper and later on celluloid film. Warners’ animators used the cel animation process. Their cartoons were also “fullyanimated”, with each one requiring thousands of drawings in order to produce as smooth character movements as possible. A 6–7 minute cartoon film could take from a few months to more than a year to make.

Originally, animated films were aimed at children, like Disney’s films were. But Warners’ artists turned the idea upside down and began to make cartoons with fast and furious action dealing with topical themes and issues. The legendary creators of animated films included such famous names as Fritz Freleng, Tex Avery, Frank Tashlin, Bob Clambett, Chuck Jones, Robert McKimson and Michael Maltese. Directors transformed the scriptwriters’ stories and dialogues into films and behind them was a veritable army of highly-skilled animators, painters and designers. The writers at Warner created a special language in keeping with the age and culture. The success of these cartoons is perfectly summed up in the words of one Warner writer: “We wrote cartoons for grown-up. That was our secret.” •

Left: Unknown artist (cel), Paul Julian (background). Cel of Tweety and Sylvester from Tweet and Sour, 1956.

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text / Inka Laine

A Dive into the Sea of Violets Birger Kaipiainen, a Life Dedicated to Art

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his spring, EMMA, the Espoo Museum of Modern Art, will launch a major showing of the work of ceramic artist Birger Kaipiainen (1915–1988). It is more than two decades since the last notable presentation of his works, so for many visitors, especially the younger generation, he might be a new face.

King of Ornament, Prince of Ceramics Even though the name Birger Kaipiainen doesn’t ring a bell, many Finns still recognise his work. Known as both a designer and ceramist, his style has been variously described as original, imaginative, poetic, nostalgic, mystic and surrealist; epithets not normally associated with the restrained and ascetic Finnish form language. It is no wonder, therefore, that Kaipianen was nicknamed the King of Decoration and the Prince of Ceramics. The themes Kaipiainen used in his ceramic sculptures, reliefs, wall plates and tableware were lush fruit, trees, birds and flowers. These stylised nature motifs were used repeatedly, particularly those of the curlew and the violet. Some of his works are like small stages replete with mirrors, bureaus, dining tables, chandeliers, pianos, harps and clocks – always showing 12.15 – all appearing to contain a powerful symbolism.

During his career, Kaipiainen also designed theatrical sets and costumes. Birger Kaipiainen was born in Pori on July 1st, 1915, the youngest in a family of seven children. The following year the family moved to Helsinki. In recognition of his artistic disposition, his mother entered him as a trainee student at the tender age of 11 in the evening school of the Ateneum in Helsinki. However, after failing maths at the Lyceum, he dropped out of school and became a full-time student at the Central School for Applied Arts at the age of 17. Although he started off studying decorative painting, he ended up graduating in ceramics. His teacher at the school was the renowned Arttu Brummer and among his fellow students were many who became internationally famous in the 1950s like Tapio Wirkkala, Timo Sarpaneva, Rut Bryk, Antti Nurmesniemi and Dora Jung.

Career at the Arabia Factory In 1937, Kaipiainen was invited to join the art department of the Arabia factory, which Kurt Ekman had set up in 1932 to boost the level of ceramic art. Apart from four years in the Fifties with Rörstrand in Sweden, this is where he spent the next fifty years. Artists working for the Arabia art department could fulfil their creativity free from the demands of serial production and productivity. Among his fellow workers were Mikael Schilkin, Friedl Kjellberg and Toini Muona.

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Design Museum, Pietinen

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Another Kaipiainen classic found in many Finnish homes is The Night of the Skylarks wallpaper. Made by Pihlgren & Ritola following a competition in 1958, the pattern contains many familiar Kaipiainen elements: violets, birds, instruments and clocks. The wallpaper is still in production, as too is another one designed by him, Which is the Most Beautiful Skylark? The most popular colour is night blue, but other shades of blue, as well as red and yellow, also have their followers.

International fame

A unique piece by the artist.

Nearly all of Kaipiainen’s output consisted of unique pieces. Arabia provided him with the materials and an assistant, allowing him to concentrate fulltime on being creative. Consequential to contracting polio in his youth, Kaipiainen was unable to operate a treadle potter’s wheel, and so cast everything by hand or in moulds. Later he developed a mosaic-like technique for making his bird sculptures in which pieces of clay and mirror were joined together by iron wire or glued. Apart from the polymorphic forms gleamed from nature, he was also influenced by historical styles and classical ceramics. The figures that appear in his work bring to mind the Gothic and Byzantine, as well as the work of Renaissance artists like Botticelli and Luca della Robbia.

From unique pieces to serial production In addition to one-offs, Kaipianen also left his mark on the decoration of Arabia’s tableware. His richly coloured Paradise collection from 1969 soon became a classic and was in constant production until 1974 when the oil crisis forced the factory to make cut backs. The series was reintroduced in 1988, also in a black-and-white version. At the same time, the original oval shape of the plates and dishes became round.

Birger Kaipiainen was not only appreciated in Finland but also internationally. He received the Grand Prix in Milan in 1951 for his curlews and showed his monumental Sea of Violets at the Montreal World Fair in 1967. Nowadays, this 40.5 square metre relief, which took over half a year to make and used two million ceramic beads, is on the wall of the assembly hall of Tampere City Council. In 1963 Kaipiainen was awarded the Pro Finlandia medal and in 1977 given the honorary title of professor. He received the prestigious Prince Eugen Medal of Sweden in 1982. In 1998, a street was named after him in the newly developed area of Helsinki nearby the old Arabia factory. Birger Kaipiainen loved music, opera and ballet and organising parties. To him the most important thing in life was to avoid dullness. One of his closest friends was Armi Ratia, the founder of Marimekko, who held legendary parties at her country house in Bökars at which Kaipiainen and the famous actor Tarmo Manni was often present. In an interview given on his 60th birthday, Kaipiainen observed that: “Imagination costs nothing. It has no limits and no-one can say where it ends.” For him it ended at the end of an ordinary working day, on July 18th, 1988. • Sources: www.kansallisbibliografia.fi Birger Kaipiainen, Design Museum Publication No. 32, 1989 Vuosisadan klassikot [Classics of the century], Avotakka 5/2009 & 12/2009

EMMA’s Birger Kaipiainen exhibition, 19.6.201312.1.2014, will be accompanied by a lavishly illustrated catalogue. Most of the exhibits are from the Kyösti Kakkonen Collection.

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Upcoming programme

26.4.2013-

Events in Nature The landscapes of contemporary art may owe a debt to the traditional way of depicting nature and the landscape, but most typically, they are something completely different. They ask questions about changes in the environment, time and movement, and call into question our relationship with nature. Are we a part of creation or are we exploiters of nature? The landscapes of contemporary art may faithfully reproduce the visible reality or show us things that cannot be touched: air, wind, water vapour, light, sound, electricity. Or they may reflect emotional states or mindscapes. The exhibition assembled of works in the Saastamoinen Foundation’s art collection looks at these themes from different perspectives. Most of the works on display were created since 2000.

Spring programme at EMMA In addition to the seminar mentioned earlier in the magazine, EMMA offers a wide-ranging programme for visitors: Art Quarter, Art Hour, Art Bridge and Children’s Hour guided tours, workshops, birthday parties, workshops and other events. Reservations Mon-Fri 9-12 / (09) 8163 0493. Full information on the web.

18.6.2013-12.1.2014

Birger Kaipiainen / Exhibition on a Finnish classic Starting in the summer, EMMA is proud to present an exhibition on Birger Kaipiainen curated by docent Harri Kalha. Kaipiainen is a Finnish classic of design and art, whose work spanning five decades will be on display in an exhibition designed by famed current-day designer Ilkka Suppanen.

Birger Kaipiainen, oval wall plate, 1970s, ceramics. Photo: Matti Ruotsalainen

Perpetual motion device combining a rainbow with a waterfall by Kari Cavén, 2003. Photo: Ari Karttunen

Veranda

video

Gallery Events in Nature 26.4.2013-

Agora

RED

Salon elevator

Ilme workshop

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