Featured Events in Helsinki in November, 2024 (May Updated)

Kristo Saarikoski (b. 1992) graduated from the Free Art School in Helsinki in 2024. He has had several solo and group exhibitions in Finland. His work is held in the HUS Collection, the Pentti Sären Collection and the Finnish Artists' Association Collection. The artist lives and works in Helsinki.

赫爾辛基，這個北歐的瑰寶，即將在2024年迎來一場盛大的展會——我愛我赫爾辛基 2024。這場展會將在風景如畫的Messukeskus舉行，位於芬蘭南部的Uusimaa省，一個充滿活力和創造力的地方。屆時，展會將展示赫爾辛基多彩的文化、創新的設計和獨特的生活方式，讓參觀者深刻感受到這座城市的魅力。在2024年11月29日，不容錯過的我愛我赫爾辛基 2024，必將成為一個展示赫爾辛基風采的平台，吸引無數熱愛這座城市的人士前來參與。詳情和票價將另行公佈，敬請期待。

Kristina Riska’s artistic process harnesses both the delicate malleability and the willful nature of clay. The artist describes herself as battling her material, attempting to achieve the impossible, which is why she was unsure until the last minute before the show’s opening how many of her sculptures would survive intact. When working with clay, one must humble oneself before the material – clay insists upon writing its own narrative. Its size and shape are transformed during firing in the kiln, as are the textures and colors imparted by glazes, thus conferring a key role to chance in the birthing process of ceramic art.

A compositional scheme structured around an off-center circle is the uniting feature of the paintings in Hannu Väisänen’s latest exhibition. The artist describes his new works using the term tondo, which refers to a circular painting or relief. Tondi was popular, especially in high Renaissance painting, but Väisänen draws his inspiration from a very different source. Circular compositions have grown familiar to him through his many years of painting and decorating plates and bowls. He finds the round form inspiring, especially as plates are not intended to be viewed from any specific direction: they are always viewed in the round. In this new series of paintings, Väisänen rotated each piece several times during the painting process to decide which would be top and bottom. Although each tondo is sketched many times on paper before being transferred to canvas, Väisänen consciously avoids creating perfect circles drawn with a compass.