magazine of the espoo museum of modern art

magazine
of the Espoo
Museum of
modern art
Spring 2013
2
emma
Exhibitions + Contents
3Viewpoint
Whose slice of the cake?
PER MANING Oscar, 1988. Bugs Bunny Copyright © Warner Bros., Inc. Eggert Pétursson Untitled (Nordurland Tröllaskagi), 2011.
4A 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
10THE ART OF
WARNER BROS.
CARTOONS
Animated cartoons at EMMA
16A Dive into the Sea
of Violets
Birger Kaipiainen,
a Life Dedicated to Art
19Upcoming 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: info@emma.museum / Contact information on back cover /
Front cover: Oscar (1988), copyright Per Maning.
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Viewpoint
Whose slice
of the cake?
T
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
T
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
T
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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W
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
T
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.
17
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
EMMA
tickets
Box 6661, FI-02070 ESPOON KAUPUNKI
WeeGee, Ahertajantie 5, Tapiola
+358 (0)9 8165 7512
www.emma.museum
weegee ticket 12/10 €
(the whole building = 5 museums)
with S-card 11 €
visitors under 18 AND OVER 70
ARE ADMITTED FREE
open
tue, thu, fri 11–18
wed 11–20, for free 18–20
sat, sun 11–17
book a guided tour
mon-fri 9-12
+358 (0)9 8163 0493
www.emma.museum/en
PER MANING
6.3.-9.6.2013
Passage
EMMA Shop
Saastamoinen
Foundation Art Collection
The Art of
Warner Bros.
Cartoons
6.3.-19.5.2013
stairs
BUSes
FROM HELSINKI KAMPPI BUS TERMINAL: 106, 110
BUSES IN ESPOO: 15, 18, 18Z
WWW.HSL.FI
the WEEGEE Exhibition Centre
FIVE MUSEUMS, GALLERY,
MUSEUM SHOPS, SIS.DELI + CAFÉ,
CONFERENCE ROOMS
+358 (0)9 8163 1818
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