AV-arkki’s Distribution Catalogue 2019-2020 is intended for professional preview. The catalogue is distributed via AV-arkki’s international distribution programme for professional audiences in numerous events, film festivals and art fairs worldwide.

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Distribution Catalogue 2019-2020

Single channel works have been selected for the Distribution Catalogue 2019-2020 by guest curator, Rachael Rakes (US), together with AV-arkki’s staff.

Hanna Arvela: Bird’s-eye View (2019|05:31)

Exact words from artist interviews are mouthed by other professionals.

Maija Blåfield: The Fantastic (2020| 29:59)

The Fantastic is a film about imagination and encountering the unknown. Former North Koreans recount their experiences of watching forbidden foreign films. What did they imagine the outside world to be like, when instead of news outlets their information came from smuggled fiction films? The Fantastic isn’t a film about North Korea. The film reverses the set-up where westerners are peeping in on the everyday life of the closed-off state. In this film, it is the North Koreans who direct their curiosity at the outside world. Visual effects are used in addition to the documentary footage.

Laura Horelli: Newstime (2019| 39:11)

“Newstime” is a found footage film which discusses cultural differences, being an outsider, the Namibian independence struggle, and Finland’s long-term ties with the southern African country. Ellen Namhila recites her autobiography “The Price of Freedom”. Namhila spent seven years in Tampere in the 1980s as a refugee on a scholarship, studying library science. 

Joonas Hyvönen: Bog Body (2019| 16:41)

In an animated short film Bog Body, a human cadaver moves layer by layer deeper into a swamp somehow retaining sentience. Descending, she gets evermore entangled in a hive mind of everything the bog has preserved in itself through time. She, however, gets resurrected into a future society, just as the bog bodies of our times have been raised from the swamps.

Jonna Kina: Akiya (2019| 04:50)

“Akiya” is a composition from the phenomenon of millions of empty and abandoned houses in Japan. However, the work does not show images of uninhabited buildings, but serves as a poetic and conceptual element of the work. The vocals of the song are performed in the style of Nō musical drama. The lyrics of the poem are translated to archaic muromachi period (1333-1573) Japanese language. It is based on newspaper articles and poetic fragments, metaphysics and peculiar humour, giving character and personality to the voice we hear. The work is shot on 35mm film consisting only a single shot: showing an analog reel-to-reel tape recorder playing back the song against a neutral background. The song is associated with the machine rather than with the human. The performer becomes a machine and the machine becomes a performer. The work explores the transience of objects, languages and people. It creates a future mythology, a dialogue between past and present by juxtaposing the old traditional storytelling form with contemporary interpretation of desolation phenomenon.

Minna Långström: The Other Side of Mars (2019| 56:00)

Vandi Verma has an exceptional understanding of the Martian landscape because of her work as a NASA Mars mission rover driver and roboticist. Her work of operating the rover in the Martian terrain relies to a large part on images and the technological use of them. Shot at NASA’s Jet Propulsion Laboratory and neighboring observatories, the film creates a philosophical journey into the peculiar world of Martian photography. Through the lenses of various scientists and engineers, we learn how NASAs’ images are made, used and manipulated for the sake of science, but also public information. Mars is the ideal place for an investigation into our paradoxical relationship to photography. Do images reflect reality or shape it?

Jaakko Pallasvuo: Medusa (2019| 22:20)

How quickly the footage of the empty art school takes on the eerie quality of ruins. A putty sculpture becomes the chipped-away head of a Greek medusa from a thousand years ago. Now medusa becomes myth. Art education is relegated to the ancient past—and is then juxtaposed with the future, figured in the stark Nordic architecture of a residency program that doubles as a start-up hub.

Vesa-Pekka Rannikko: Multi-Faith Prayer Room (2019| 05:13)

Animated drawing “Multi-faith Prayer Room” combines limbo zones of travelling to assosiativeness of memory. Constantly shaping animation juxtaposes images from transit areas of airports and humanised birds to fragmented written narration. The starting point of the work is Heathrow airport’s hybridised prayer room.

Iona Roisin: Muistatko (A Method) (2019| 04:00)

In ‘Muistatko (a method)’ a singer attempts to decipher a song they are singing in a language they do not speak. The 1955 song ‘Muistatko Monrepos’n’ was the first Finnish record to go gold and is still the fourth best selling single in Finland. The location it refers to occupies a specific place in Finnish cultural memory, as somewhere that was ‘lost’, and as such the waltz is highly loaded. What meaning remains, when the music is stripped away? At present, the nostalgic is not a neutral territory, it can be hard to separate weaponised nostalgia from its more well-intended forms. When its affective qualities are combined with notions of national identity, a potentially difficult space opens up. Muistatko (a method) is about trying to feel the weight of this context, from the outside. 

Azar Saiyar: Tell Me (2019| 07:44)

A narrator asks: “Do you know this bird?”. The video quotes both public and private archival images in which birds are in the centre – birds as individual living beings but also as creatures habiting the world and stories created by humans. 

Axel Straschnoy: The Finnish Astronautical Society (2019| 33:00)

The Finnish Astronautical Society is a short film on an amateur society dedicated to the launch of model rockets that is, paradoxically, the main astronautical organisation in Finland. Founded in 1959 by enthusiastic schoolboys who, inspired by the space race, set out to build the country’s first rocket, the society continues to be a place where aspiring rocketeers come together to figure out the challenges of rocket flight.

Pilvi Takala: If Your Heart Wants It (remix) (2019| 15:03)

Taking place annually in Helsinki, SLUSH is a three-day super event that aims to invigorate the tech-startup community by bringing together entrepreneurs with venture capitalists in a party-like environment. If your heart wants it (remix) is grounded in research Takala conducted at the 2018 edition of SLUSH. Together with an interdisciplinary team and camera crew, they fabricated a startup in order to gain entry.

Salla Tykkä: Untitled (White – Alps) (2019| 01:08:00)

A travelogue film about looking and the human need to see and understand the world and about the limits of the sensory system as mind penetrates deeper in the matter, time and space. 

Milja Viita: When We Are Nothing Left (2019| 07:11)

A minimalist film about time, infinity and life cycle, created in the spirit of William Blake. The film is shot and hand processed at the Film Farm in Ontario, Canada, during the summer 2018.