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Aino Aksenja: Small town girl (escape sketches) (2019, 17:24)
There was a town, two peaks and a river splitting the valley. There were escape plans, that one after another proved ineffective. The town is an endless labyrinth, confined only by the river playing the secondary lead. The protagonist is a small town girl who tries to turn escaping into a game.
Aino Aksenja: Waltz (2017, 07:00)
Waltz is a recording of a performance without an audience made in a residency in Detroit. In it I hear my wedding waltz for the first time since getting divorced. There was only one take. The waltz is performed by Johanna Tarkkanen, who originally composed it for my wedding and played it there.
Risto-Pekka Blom: Please Leave a Message After the Tone (2021, 11:00)
Calls go to the voice mail. Lonely cars and street lights roam the highway by night. People at the street view are connected by threads. The patient leads a perfect life. Please leave a message after the tone is a story about disconnection, about the struggle with real life encounters and about living outside of your own life.
Taija Goldblatt: Hidden (2020, 05:15, in featured image)
A study on non-places and fringes, on seeing and being seen. Webcam-material collected from the net forms the base of the piece: roadsides, parking lots, remote shores and surveillance camera footage from around the world. The piece combines drawing, animation and video-image in multiple layers.
Nina-Maria Oförsagd: Self Creation (2019, 03:02)
Self Creation is inspired by Michelangelo’s Creazione di Adamo, a famous fresco and detail of his large ceiling painting in the Sistine Chapel. In the painting where God is situated and flows with the angels, you can see the shape of one cerebral hemisphere. This detail seems to suggest that the human is the source of the highest knowledge. The ‘self’ is both the creator and a creation.
Nina-Maria Oförsagd: Unsung Address, Seine, Paris (2016, 20:00)
Unsung Address, Seine, Paris is a cross-artistic experimental two-channel video work, where two different stories are played simultaneously, about a place and its historical layers as information and inspiration for the artist. On soundtrack the musicians improvised seeing only the video-channel “Monet” or “Godard”, the voice seeing both channels.
Sari Palosaari: Slicing (2015, 01:15)
The perception of the space in the image changes with one gesture.
Sari Palosaari: Surfacing (2019, 05:03)
Attraction is at play between the objects.
Nastja Säde Rönkkö: Altered Breaths, Future Feelings (2019, 08:25)
Altered Breaths, Future Feelings is a video born out of a sensibility that we are at the end of the world as we know it: current ecological, political and technological narratives and histories are volatile and unstable. A narrator from an undefined future discusses love, hope, future, beginnings, myths, environmental disasters and vanished species. The video investigates possible ends of an era, its entangled histories, open-ended narratives and flux identities. It aims to carefully glimpse into the possible futures of humankind and otherkind: the vital necessity for co-dependence and urgency to remember, preserve and act now.
Nastja Säde Rönkkö: ICELAND (nighttime) (2019, 06:18)
Taking its starting point from a poem written by the artist, ICELAND (Nightime) explores the collective mind-set of anxiety and hope in epic, post-catastrophic landscapes.The video engages the most fundamental of human experiences: love, hope, fear, solitude and togetherness. Set in Icelandic landscapes that are romantic yet inhospitable, ICELAND (Nightime) deals with the sensibility that we are close to the end of the world as we know it.
Nastja Säde Rönkkö: Take Me Anywhere (2016, 10:00)
The artist was riding a horse without a bridle or saddle. She was blindfolded and taken wherever the horse wanted to go. She wanted to give the horse all the decision-making power, so that their power-relationship was reversed. Since she could not use see, she was forced to trust the horse completely. The piece was filmed in Joshua Tree National Park in California.
Nastja Säde Rönkkö: Milk & Decay (2019, 09:32)
In Milk and Decay, a slow female voice intones the names of the months, from one July to the next, describing each month in poetic terms, rich with emotion and imagery that alludes to a recent disaster and its fallout: “Gentle hearts hurt the most. Millions of gallons of black gold.” The language switches from an assessment of the physical surroundings: “soil that bled”, to an analysis of internal states: “The black dot in our soul”, setting up a correspondence between human states and the condition of the planet. In Milk and Decay, lungs turn “plastic” as the voiceover lists the names of supermarkets from different countries, read out from shopping bags. But not all is lost. The work names species known for their ability to survive even the most virulent attacks. Such resilient creatures include cockroaches, coyotes, which even “multiply with death”, and fungi, which colonise the newly transformed world. Between the hilly and the flat, things might carry on as normal, but by portraying life at the extremes, Rönkkö stages a reckoning with life’s fragility, with the potential of its imminent demise. – Ellen Mara de Wachter
Marja Viitahuhta: Dreamscapes (2020, 04:47)
Nieguid Duovdagat is an experimental, minimalist and hypnotic music video. Ánnámáret’s yoik, Ilkka Heinonen’s jouhikko (finnish bowed lyre) and Turkka Inkilä’s electronic music combine with the effected image of the winter landscape created by Marja Viitahuhta. In the video, the nature and landscapes of Sápmi, the Sámi homeland, is transformed into abstract forms, where from time to time one can see similarities to embroidered or engraved crafts. The video deconstructs the assumptions associated with music videos in its own experimental language: for example, it does not show recognizable human figures and the musicians do not appear in the video. The digitally implemented effect reflects the elements of electronic music and the nature catalog takes root in the environment in which indigenous Sámi culture lives. In this way, the video travels between the real worlds on the one hand and the imaginary worlds on the other.