For what I feel, I hear

tisdag, december 3, 2019 - 13:00 till torsdag, december 5, 2019 - 18:00
SOLU (Bioart Society)
Fritt inträde
Exhibition by Sound Art & Sonic Arts students

Sound Art & Sonic Arts students' exhibition in SOLU (Bioart Society, address: Luotsikatu 13, 00160 Helsinki). 

Works by: Markus Tapio, Eetu Palomäki, Nóri Varga, Anna Prstková, Ruben Kotkamp

Exhibition dates/times:
03.12. @ 13:00–20:00 (opening party from 17:00–20:00)
04.12. @ 13:00–20:00
05.12. @ 13:00–18:00 

Artist statements​

Markus Tapio

Markus Tapio is a Helsinki-based sound designer and sound artist working in the fields of installation, contemporary theater, dance, and circus.

In his works, Tapio explores the spatiality of sound, site specificity, and space as a material for artistic work. He is also interested in the concepts of performance and performativity, often using tensions between presentation and representation as a conceptual basis for his work. His current works focus on themes of empathy, visceral resonance, and the physical bodily affections of sound.

Tapio is interested in the potential of multidisciplinary artistic collaborations and finds himself most comfortable in friendly, conversational, and open-hearted working environments.

Eetu Palomäki

My artistic practice is rooted in multidisciplinary fields, working both individually and with various forms of collectives. My work is often situated between installation and live art. I often utilize voice, video, or different materials with the interest of exploring their various forms of connections and their relations to the surroundings.

I often begin with relating to the space and materials that comprise the piece. What does the space want, what does it ask for? What is the essence of the material, how does it resonate within me? How does it interact with the space? The process is a dialogue between the intuitive and the conceptual. At first, the vague idea of what I want from the piece appears, and by concentrating on the genuine being, experiencing, and asking, I often notice the piece moving to directions formerly unexpected.

My works often depicts their processes in ways that don’t make strong claims or strive for answers. They invite us to meditate in their presence. 

Nóri Varga 

I am struggling with my voice, the ideal time the optimal space and the cultural context of using it. I am not really happy with its pitch either. We have a controversial relationship, but I know one thing for sure: my voice is powerful, if I want to be so.

My work currently focusses on non-normative and uncanny bodies, the materiality of bodies, and the relationship between bodies and objects from a gendered perspective. Coming from a theoretical academic background, I frequently create pieces inspired by texts or different sociocultural events. 

Anna Prstková

I am interested in the connections between natural landscape and cultural concepts: one forming the other, searching for performative aspects of interaction within the environment. I am strongly influenced by the work of Wassily Kandinsky, particularly his texts for theatre—stage compositions where the boundaries between theatre and other art forms dissolve. His idea of the ‘inner sound’ of things has led me to explore the problematics of synesthetic perception.

In my past work, I have mainly focussed on directing devised theatre performances. A recent project entitled Vodnik helped established a certain direction for me. Vodnik was an all-day performance held around and in a forest pond, focusing on a mythical creature living at the border of the human and supernatural worlds. There, all of the participants simultaneously observed and acted around the pond as they watched subtle changes and actions in their surroundings. This brought me to the idea of ambient theatre, where the possibility to choose how much attention the spectator devotes does not inherently affect understanding the performance.

Ruben Kotkamp

The work of Ruben Kotkamp is always inherently experiential, concerned more with evoking a physical or emotional response rather than an intellectual one. He tries to approach and treat image, sound, and music as equals, creating situations where none are ever more important than the others.

 

Ämnesord