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Petteri Cederberg: Median life and / or death (2019, 05:24, in featured image)
Hand drawn stop-motion animation that contemplates both the uniqueness and the averageness of humanity. If all the people of the world would be put together, and from that, a sort of average human made, what would that human be like?
Joonas Hyvönen: Bog Body (2019, 16:41)
In an animated short film Bod Bogy, 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.
Joonas Hyvönen: Dork Factory (2019, 04:40)
In Dork Factory, virtual reality is here, and it’s the ultimate user interface. With it, the interface agent (like the Office Assistant Clippy was) is reborn to help one to adjust to the newly reformatted environment. Now, the question remains: who really benefits, and is the seemingly harmless figure a helper or a deterrent?
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.
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.
Hanna Saarikoski: C (2019, 06:16)
In the video C, a figure in a black costume of charcoal follows a circular route in a white space, leaving light marks on white paper. The fragile, hand-made charcoal costume covers the figure completely.
Thomas Westphal: Extension (2018, 08:21)
Northern seaside in late autumn. On an absurdly narrow path of piled up stones, a lorry and an excavator advance their path into the sea. As powerful as they might seem, forming the wave breaker, they are dwarfed by the sea as their backdrop. The work explores the slow, deep rhythms involved in building and sustaining a culture.
Thomas Westphal: The Nature of Walls (2019, 06:23)
While the overlapping sequences of wall demolition advances, an abstract composition of color surfaces transforms to material substance. Ever changing landscape of compositions moves through different stages and spaces. The actual situation, where the film material was shot in, gives the work instantaneity. The layers are woven into poetry of bodies entangling with the matter.
Thomas Westphal: Vanishing point (2018, 06:42)
A monochrome blue surface becomes substance while big chunks of it get sliced away and discarded. With every slice the sensory quality of one space diminishes to unfold into another reality. A wall section between two offices had to be removed; the video was created by placing a camera and blue light in one room and starting to deconstruct the wall.
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.