Given the actual topic of this issue, it is consequent and almost necessary to dislocate the conditions of displaying artworks within this “magazinal institution”. But such twist is not an immediate subversive reaction, it is a responsive gesture based on deconstructive inclinations.
Why not to turn a curatorship into a collaborative proposal and a dialogical relationship?
Can a virtual solo exhibition become (part of) an ongoing dialogue?
How are analysis and discourse interwoven within making? Or how are analysis and exploration driving and motivating making and its discourse?
Is it necessary to investigate through the same media in order to approach one question?
Can different artistic positions and backgrounds become reciprocal and complementary?
What kind of transdisciplinary outputs can be composed within one week of experimentation?
How to keep a list of actions in continous genesis, in a state of potential becoming?
Mireia c. Saladrigues was invited to display her works in here, but she finally chose to work tête-à-tête with Vincent Roumagnac.
Mireia is a visual artist and researcher who inquires into cultural inscription of the body, understanding the museistical institutions as spaces of social production, with a particular attention on the definition and fixation of the roles of the public and on the surveillance systems used by art centres and museums. Vincent is a theatre director and researcher who investigates on theatrical heterochrony, implementing on queer temporalities of live (re)presentation out of paradigmatic copresence in between actors and spectators.
The two are now undergoing a PhD at what -since the merging of the academies of Fine Arts, Theatre and Music- is the University of the Arts Helsinki.
Mireia and Vincent became closer as they both re-route artistic and professional activities while undergoing collaborative and transdisciplinary experiments, most of the times questioning the productivist logics of art-making, not creating 'artworks' or 'pieces' but artistic settings or experiences.
Rautatientori is Helsinki's biggest open square downtown, immediately east to the central railway station. In such location there are placed the Ateneum and the Finnish National Theatre; one in front of the other.
A bit of the history explains that the Art Museum of the Finnish National Gallery began with the founding of the first Finnish Art Society, which focused on developing a knowledge of art among the public, and creating a framework for basic art studies, while selecting its members, organizing art education, art raffles and exhibitions. It is interesting knowing that when the Ateneum was built in 1887, apart from the Art Society and its collections, the building also housed the society’s Drawing School (today the Academy of Fine Arts, where Mireia undergoes her PhD), the Finnish Association of Applied Arts (today the Design Museum), as well as the School of Applied Arts (today the Aalto University School of Arts, Design and Architecture).
Primarily as a touring company, the first Finnish National Theatre was established in 1872. It did not acquire a permanent home until 1902, when a purpose-built structure was erected prominently in the heart of Helsinki. There, until the Theatre School was founded in 1943, the Finnish-speaking actors were formed.
The word näyttää means to look like, to appear, to seem, to show.
Stage and scene are näyttämö while an exhibition is näyttely.
Näyttö is both display and screen, like the one you are looking at.