The Unfolding – Themes & Variations, the first new album of new music/sound from me in six years (since Khôra of 2013). As the title indicates, it is based on recordings made for the installation The Unfolding (2018), developed further to work as five individual sound pieces (sans the installation’s projected imagery) that together form a 71 minutes whole.
Recommended mode of digestion: alone, in a darkened space, with good soundsystem or headphones.
Additionally, there’s a ‘Special Research Edition‘ limited to only 20 copies (!), including the CD, download and an exclusive 24-page research document featuring artwork, articles, and related things. As of writing this, a few copies remain unreserved, secure yours now.
My latest solo exhibition opened on Tuesday at Galleria Uusi Kipinä in Lahti. The audiovisual installation The Unfolding (in finite space) will be there to be experienced up to July 14. Despite the usual difficulties with funding and the like, the installation turned out pretty awesome.
On a whim I decided to make a small edition CDR album that collects various soundscapes produced for (or otherwise related to) The Unfolding. However, due to sudden problems with the printer, I got only 6 copies made! That’s a future rarity, if something. A few of these are for sale on the PARAFERAL shop, grab yours now!
The album, called The Unfolding – Themes & Variations, is also available as a download via a bunch of codes that can be found at the gallery, while the exhibition is on.
To briefly break the silence, my next solo show opens on Friday the 29th March at GalleriaKONE, Hämeenlinna. It’s the premiere of my new work called BLACKTOP/DISSECTION, a two-part two-channel video installation.
My Master of Arts thesis for Aalto University School of Arts, Design and Architecture is called Uneasy Ride. It consists of an artistic part, a cinematic installation, and a written part called Uneasy Ride: Chasing Freedom, Facing Devastation, presented in the form of a 80-page book. Completed in September 2018.
A batch of thesis books fresh from the press.
This thesis examines the essential themes of the road movie film genre and their relation to certain contemporary issues and my own artistic practice. The point of view is that of a visual artist who works with moving image and sound and who reveres sovereignty and equality, suffers from climate anxiety and drives an automobile. In addition to the written part, the thesis consists of an artistic production which is a video installation.
The research material consists of a selection of films, beginning with classic American road movies. The thesis also examines a number of films that are not road movies per se, but they serve as a continuation of the themes, illustrating a vision of a near future that is undesirable but at worst inevitable. Additionally the text examines selected experimental films that are either relevant to the subject matter or influential to the author’s working methods and aesthetic practices. The literary research material includes books and articles that elaborate on the themes brought forth in the films from various points of view.
The research begins with various phenomena influential to the emergence of the road movie genre, from the developments in cinema and technology to the counterculture movements of the 1960s. The themes selected for further study are the pursuit of freedom, the rebellion, and the transformation of the passenger enabled by the journey. The themes are entwined with the Western notions of freedom and the human condition, the long history of consciousness expansion, and environmental disasters.
Additionally the text describes the two-channel video installation also called Uneasy Ride. The artistic process at the crossroads of image, sound and the selected themes is discussed. Most of the material for the work was filmed on the road. The filming trips and the writing overlapped and influenced each other, in particular the experiences of being on the road sustained the written part.
The written part of the thesis uses the films as a metaphor of the human condition and the current global problems surrounding us. The artistic part attempts to communicate on an emotional level and by audiovisual means something unattainable by words alone.
I still agree with David Lynch on what he says on the video above, about watching movies on an iPhone. That was a decade ago, but the point remains. It’s impossible to achieve the kind of immersion that you get on a large screen in a dark movie theater, no matter how pristine your phone’s or tablet’s retina screen is.
For similar reasons, I’ve been hesitant to share online some of my videos and cinematic works, since many of them are installations designed for specific site and setting. Oneline, one cannot achieve the same experience as on large projections, special screens and darkened spaces.
Now I’ve partly changed my mind. I still think one should experience the works in the environment and setting meant for them, but if that’s not possible, online streaming is better than nothing at all.
That said, my video works from 2011-2017 (most of them, at least) can now be viewed on Vimeo. They’re also found on my website where there’s more info, stills, photos and related stuff.
So, feel free to watch wherever, whenever and however you prefer. In general: the larger the screen, the louder the sound, the darker the room, the fewer the people and other distractions between you and the work, the better.