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HC BERG


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HC BERG | 5 |


Front Cover

Photo right

Color Space – Turquoise Medium / Orange Exploding

Color Pillar – OGOB Line Pattern C2, 2015

Center, 2015

Acrylic plastics, 40 x 102 x 40 cm.

Acrylic plastics, 120 x 120 x 15 cm.

Photo p. 2–3

Photo p. 8–9

Color Space – Divided Linear Veil, 2015

Color Space – ROGBYP Impulse System Map, 2014

Acrylic plastics, 300 x 200 x 14 cm (triptych). Detail.

Acrylic plastics, 300 x 200 x 14 cm (triptych). Detail.

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HC BERG June 7 – September 22, 2019 WÄINÖ AALTONEN MUSEUM OF ART Copyright © 2019 Museum Centre of Turku Articles text, editor Jonni Saloluoma English translation Robin Valtiala / taidEmilia Photos Hans-Christian Berg Graphic design Ulla Kujansuu Publisher Museum Centre of Turku 2019


ILLUSIONIST 11 | THE EXPECTATIONS CREATE THE ILLUSION 17 | CURRICULUM VITAE 45

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Color Space – 12 Color Bitual Dimensions, 2016 Acrylic plastics, 240 x 120 x 12,4 cm (diptych). Detail.

I L L U S I O N IS T

In the Wäinö Aaltonen Museum, during the summer

his work series Visual Vortex – Memory Passage

of 2019 an extensive exhibition presents the works

(2007) situated next to the main entrance of the Turku

of the sculptor Hans-Christian Berg. In the exhibi-

City Library.

tion which fills the main premises of WAM, apart from central works from different phases of Berg’s career

Berg is known for his sculptures and optic installations,

you can see some of his most recent production. On

in which he uses different techniques and materials in a

display are also works that have not previously been

multi-faceted and creative way: laser engraved or laser

shown in Finland.

cut steel and acrylic, blown glass, ceramic, or even common drinking straws. Berg moulds, carves, welds

Hans-Christian Berg has attained master’s degrees

and composes. The works are technically demanding

both from the Department of Sculpture of the Acad-

and finishing them often constitutes a long process,

emy of Fine Arts and the Design Ceramics and Glass

which calls for the participation of professionals of dif-

Design Programme of the University of Art and Design

ferent fields, cooperation and subcontracting chains.

Helsinki in 2002. In 2007, he was the recipient of the Young Artist of the Year award. Berg has made numer-

In Berg’s works, decorativeness and cultural refer-

ous public sculptures and his works are in many art

ences are combined with simple universal forms and

collections in Finland, including the Turku City art col-

a clear colour expression. In his production, regardless

lection. He has also made an international success.

of the materials, light, the seeing and observing of it,

The inhabitants of Turku probably remember him from

recurs as a central element.

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Color Space – 4 Colored Lensing Composition, 2018 Acrylic plastics, 50 x 50 x 13 cm.

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Color Space – BOY Skull / YOG Medium, 2014 Acrylic plastics, 120 x 120 x 15 cm.

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Color Space – ROGBY Impulse System Map, 2014 Acrylic plastics, 200 x 100 x 14 cm (diptych).

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Colour Space – Honey Bee Web C2, 2013 Acrylic plastics, 100 x 100 x 11,3 cm. Detail.

T H E E X P E C TAT IO N S C R E AT E T H E IL L U S ION It is important to be quite clear at this point wherein the illusion consists. It consists, I believe, in the conviction that there is only one way of interpreting the visual pattern in front of us. We are blind to the other possible configurations because we literally ‘cannot imagine’ these unlikely objects. They have no name and no habitation in the universe of our experience.1 Ernest Gombrich

In Berg’s art, light plays such a central part that you

is a chair, because we have a preconceived notion of

could even say it’s one of his most important materi-

what a chair looks like.

als. The anamorphic mirror surfaces in the works and the illusory effects created by the reflections of light

Thus, our visual observation is deficient from the start.

emphasize the event of looking at the work, the ways

What’s crucial is how our brain interprets the informa-

of looking and the phenomenon of seeing – the way

tion, how it fills the empty spaces. Our eye and brain

we perceive our environment and world. And the way

have not developed in order to see the world as it is,

we understand what we see.

but in a way that is useful to us. We use the contexts of what we have learned as an instrument for inter-

We humans can’t see light rays in themselves, but we

pretation, but our visual observations are distorted by

see the source of light or a reflection of it on a mirror-

our expectations, experiences, emotional states, and

ing surface, and we see only a small portion of the

even by our cultural norms. We also have a need to

whole spectrum of light. This means our visual percep-

find meaningful forms in what we see and to recognize

tion of our environment is based on how light is being

what we see: in the clouds we see animals. Two points

reflected from the things around us. The reflected light

next to each other, with a line below them, to us auto-

moves through the lens of the eye to the rods and

matically look like a human face.

cones of the retina at the bottom of it which react to the different wave-lengths of the light. These cells, for their

Magicians and illusionists take advantage of our

part, send a signal to the vision centre of the brain,

expectations and the possibility of a false interpreta-

which interprets what we see on the basis of refer-

tion. On this, the visual illusion is also based: a false

ences to things we have seen earlier and determines

interpretation of a real sensory observation. Illusion is

the nature and meaning of the thing we are presently

above all based on an expectation, on what the eye

seeing. We understand that the thing we are seeing

has learned: when what we see doesn’t correspond to

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Visual Vortex – Dissonance, 2013 Acrylic plastics, 70 x 100 x 32,5 cm. Detail.

our expectations, we experience confusion, surprise,

something else. When the viewers of the work move in

and we have to re-evaluate our confidence in our own

front of it, they notice that it’s not a painting at all. The

senses. The fact of having understood something we

colours start to oscillate in the light, it’s as though the

have seen in the wrong way, and the possibility of a

surface were moving in waves. The colours glow in a

false interpretation, add to our experience of what we

way that would be impossible in a traditional painting.

have seen not being the whole truth – we don’t see the

On the flat surface, an illusion of three-dimensionality

real reality, only allusions to it.

is born. We are surprised because we were expecting something else, the work seems to demand a reinter-

In Berg’s works, the delusion of the eye at first seems

pretation.

allusive. The finely-tuned ornaments or the reflecting surfaces of the works at first look like simple structures

In this way, Berg’s works create a sense of temporal-

and flat surfaces. Only when you look at the works a bit

ity, momentariness, and a constant metamorphosis, a

longer, you understand the complexness and sensitiv-

change, making us as viewers conscious of our own

ity of a structure, and the alternation between volume

relation to the works and our own being in time and

and immateriality. This creates a new kind of illusion

space. At the same time, the works let us understand

of the works somehow by themselves forming around

that we cannot simply through our rather imperfect and

the light. Even a small change in the light or a small

unreliable sensory observations reach the essence of

movement in the eye of the viewer may be enough to

reality – our sensory observations may lie to us.

change the totality of what we see in the work and the way we understand what we see. The works seem to

In this way, even a work that seems relatively simple

change their form in accordance with a change in the

may by and by reveal to us something essential about

light or a movement the viewer makes. They demand

being human and about how we perceive reality.

we take another look, from another angle, arousing the question “what did I just see?” But the moment has passed, something has changed, and it’s no longer possible to look at the work in exactly the same way. For example, the works in Berg’s work series Color Space, when viewed from a distance, seem like traditional paintings sticking to the constructivist tradition or Op art. The blurriness of the border areas of the colour fields, however, gives us the first hint that this is about

1. Ernest Gombrich, Art and illusion, Phaidon 2002, p. 210.

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Visual Vortex – Oily Colours – Seventh Hour II, 2010

Visual Vortex – Malebranche II, 2007

Acrylic plastics, 110 cm x 100 cm x 38 cm. Detail.

Acrylic plastics, 100 x 100 x 35 cm.

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Color Space – OG Squares / Sky Blue Void 01, 2015

Color Space – TP Squares / Solar Yellow Void 11, 2015

Acrylic plastics, 40 x 40 x 13 cm.

Acrylic plastics, 40 x 40 x 13 cm.

Color Space – GO Squares / Black Hole Void 02, 2015

Color Space – Y/Sky Blue Squares / Orange Void 03, 2015

Acrylic plastics, 40 x 40 x 13 cm.

Acrylic plastics, 40 x 40 x 13 cm.

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Color Space – OB Squares / Green Void 04, 2015

Color Space – GBl Squares / Blue Void 05, 2015

Acrylic plastics, 40 x 40 x 13 cm.

Acrylic plastics, 40 x 40 x 13 cm.

Color Space – GPe Squares / Blue Void 07, 2015

Color Space – PT Squares / Green Void 06, 2015

Acrylic plastics, 40 x 40 x 13 cm.

Acrylic plastics, 40 x 40 x 13 cm.


Color Space – PG Squares / Green Void 08, 2015

Color Space – TSy Squares / Green Void 10, 2015

Acrylic plastics, 40 x 40 x 13 cm.

Acrylic plastics, 40 x 40 x 13 cm.

Color Space – CgO Squares / Peach Void 09, 2015

Color Space – OT Squares / Solar Yellow Void 12, 2015

Acrylic plastics, 40 x 40 x 13 cm.

Acrylic plastics, 40 x 40 x 13 cm.

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Color Space – TO Squares / Orange Void 13, 2015

Color Space – RCg Squares / Red Void 15, 2015

Acrylic plastics, 40 x 40 x 13 cm.

Acrylic plastics, 40 x 40 x 13 cm.

Color Space – Sy/Sb Squares / Solar Yellow Void 14, 2015

Color Space – CgP Squares / Solar Yellow Void 16, 2015

Acrylic plastics, 40 x 40 x 13 cm.

Acrylic plastics, 40 x 40 x 13 cm.


Color Space – PCg Squares / Green Void 17, 2015

Color Space – Y/Sky Blue Squares / Blue Void 19, 2015

Acrylic plastics, 40 x 40 x 13 cm.

Acrylic plastics, 40 x 40 x 13 cm.

Color Space – SyP Squares / Yellow Void 18, 2015

Color Space – TP Squares / Green Void 20, 2015

Acrylic plastics, 40 x 40 x 13 cm.

Acrylic plastics, 40 x 40 x 13 cm.

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Merlau Ponty V, 2007 Acrylic plastics, 120 x 100 x 36 cm.

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Color Space – Yellow Veil, 2016 Acrylic plastics, 50 x 50 x 11,3 cm.

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Color Space – 3 Sequence Pattern C1, 2013 Acrylic plastics, 100 x 100 x 13,5 cm.

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Color Space – Blue Veil, 2016 Acrylic plastics, 50 x 50 x 11,3 cm.

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Color Space – Sky Blue Medium / YB Exploding Center, 2015 Acrylic plastics, 120 x 120 x 15 cm.

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Color Space – Pink Medium / Blue Imploding Center, 2015 Acrylic plastics, 60 x 60 x 128 cm.

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Color Space – Marin Blue Medium / Solar Yellow Exploding Center, 2015 Acrylic plastics, 152 x 152 x 16 cm.

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Color Space – Imploded YB Center / Sky Blue Void, 2014 Acrylic plastics, 140 x 140 x 15 cm.

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Color Space – Exploded OP Center / Orange Void, 2014 Acrylic plastics, 120 x 120 x 15 cm.

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Color Space – Peach Medium / Yellow Exploding Center, 2015 Acrylic plastics, 152 x 152 x 16 cm.

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Color Space – Spatial Void / Revelation I, 2015 Acrylic plastics, 100 x 100 x 13 cm.

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Visual Vortex – Oily Flowers – Seventh Hour I, 2010 Acrylic plastics, 200 x 100 x 76 cm. Detail of the work on page 44.

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HANS-CHRISTIAN BERG Born 1971 in Espoo, Finland Lives and works in Inkoo www.hcberg.com

STUDIES 2002

MFA, Academy of Fine Arts, Helsinki

MA, University of Art and Design Helsinki

EXHIBITIONS 2019

HC BERG, retrospective, Wäinö Aaltonen Museum of Art, Turku, Finland. Solo exhibition

2018

Sharjah Calligraphy Biennale 8th edition, UAE

2017–18 Nordic Art Salon, Dunkers Culture Center, Helsingborg, Sweden

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Color Space -+, Gallery Sculptor, Helsinki, Finland. Solo exhibition

2017

Personal Structures, Palazzo Mora, Officìal Venice Biennale Program, Venice, Italy

Nord Art 2017, Kunstwerk Carlshütte, Büdelsdorf, Germany

Dreamaholic, Miettinen Collection, Weserburg Museum für Moderne Kunst, Bremen, Germany

2016

European Glass Context, Bornholm, Denmark

Nord Art 2016, Kunstwerk Carlshütte, Büdelsdorf, Germany

Sharjah Calligraphy Biennale 7th edition, UAE

10th International Arte Laguna Prize, Finalist Exhibition, Nappe Arsenale, Venice, Italy

Wild Strawberries, Wäinö Aaltonen Museum of Art, Turku, Finland

2015

Color space 2.0, Galerie Forsblom, Helsinki, Finland. Solo exhibition

Color space, Galerie Forsblom, Helsinki, Finland. Solo exhibition

Lumière: Seeing in New Light, Gallery Kashya Hildebrand, London, UK

Touch – works from the Saastamoinen Foundation Art Collection, EMMA – Espoo Museum of Modern Art

2014

Sharjah Calligraphy Biennale 6th edition, UAE

AURORA – Contemporary Nordic Glass Art, Pera Museum, Istanbul, Turkey

2013

Galerie Kashya Hildebrand, The metamorphoses of a line, Zürich, Switzerland. Solo exhibition

Gallery Kashya Hildebrand, The metamorphoses of a line, London, UK. Solo exhibition

Vinterfestuka, Museum Nord, Narvik, Norway. Solo exhibition

NORDIC GLASS – The Glass factory – Boda Glasmuseum, Sweden


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2012

Camouflage, Museum of Contemporary Art Kiasma, Helsinki, Finland

Galerie Forsblom, Helsinki, Finland. Solo exhibition

2011

Close your eyes and tell me what you see, Göteborg Konsthall, Sweden

Close your eyes and tell me what you see, Observatorium, Turku, Finland

Reflective shadow, Ordrupgaard museum, Copenhagen, Denmark

Saunalab, Turku 2011 European Capital of Culture project, The Museum Centre of Turku, Turku

Kesä – Sommar – Summer 2011, Galerie Forsblom, Helsinki, Finland

2010

Light 21, Zentrum für Internationale Lichtkunst, Unna, Germany

Galerie Forsblom, Helsinki, Finland. Solo exhibition

2009

Dazzling! Wäinö Aaltonen Museum of Art, Turku, Finland

Reflections, Hämeenlinna Art Museum, Hämeenlinna, Finland

Kuntsi Museum of Modern Art, Vaasa, Finland

Biennale Kijkduin, Den Hague, The Netherlands

Connections 2009, Contemporary European Glass sculpture, Prague, Czech

2008

Sharjah Calligraphy Biennale 3th editìon, UAE, 2008

BIABB 08, Bejing, China

Finnish Institute in Stockholm, Sweden. Solo exhibition

The Norwegian lnstitute of Culture, Oslo, Norway. Solo exhibition

Young Artist of the Year, Ostrobothnian Museum, Vaasa, Finland. Solo exhibition

2007–08 Young Artist of the Year, Helsinki Art Museum, Helsinki, Finland. Solo exhibition 2007

Young Artist of the Year 2007, Tampere Art Museum, Finland. Solo exhibition

Stopover, Samuelis Baumgarten Galerie, Bielefeld, Germany

Galerie Forsblom, Helsinki

2006

lntimacy, Xl Mänttä Art Festival, Finland

Glass Art in Finland, touring exhibition, Nancy, France

Galerie Elverket, Tammisaari, Finland

Galerie Forsblom Graphics, Helsinki, Finland. Solo exhibition

Fragile from Finland, Nationaal Glasmuseum, Leerdam, The Netherlands

2005

Light Treatment, Wäinö Aaltonen Museum of Art, Turku, Finland

Kyoto Art Walk, Kyoto, Japan

Global art glass 2005, Glass Triennale, Öland, Sweden

Labyrinth, Fiskars, Finland

Oulu Art Museum, Finland

Galerie Forsblom Graphics, Helsinki, Finland


2004

Galerie Forsblom, Helsinki, Finland. Solo exhibition

2003

Night Train, Museum of Contemporary Art Kiasma, Helsinki, Finland

100 Years of Finnish Ceramics, Design Museum, Helsinki, Finland

2002

Umedalen skulptur 2002, Umeå, Sweden

Eye of Light, MA exhibition, Design Museum, Helsinki, Finland

2001

Venice Open 01, Hotel Palace Hungary, Lido, Venice, ltaly

Murano, Venice, Europe, touring exhibition, Palace of European Parliament, Brussels, Belgium

Art Under The Stars, Chicago, Schaumberg, lllinois, USA

Galerie Forum Box, Helsinki

2000

K’2000, South Karelian Art Museum, Lappeenranta, Finland

Suomen lasi eläà 4, The Finnish Glass Museum, Riihimaki, Finland

1999

Galerie Kaj Forsblom, Helsinki, Finland

Blue You, Galleria Into, Helsinki, Finland

WORKS IN COLLECTIONS Bankhaus Sal. Oppenheim, Cologne, Germany City of Tampere Emil Aaltonen Museum, Tampere, Finland EMMA – Espoo Museum of Modern Art, Finland European Patent Office Greta och Alfred Runebergs Stiftelse Hacı Ömer Sabancı Holding A.Ş., Turkey Heino Art Foundation Helsinki Art Museum HAM Jenny and Antti Wihuri Foundation, Helsinki Kaj and Rafaela Forsblom Collection RKF Kuntsi Museum of Modern Art, Vaasa lnternational sculpture park in Schaumberg, Chicago, lllinois, Yhdysvallat Matti Koivurinta Foundation, Turku Museum of Contemporary Art Kiasma, Helsinki Nokia PLC, Keilaniemi, Helsinki OJD Fonden, Denmark Oulu Museum of Art Pentti Kouri Collection Pro Artibus, Galleri Elverket, Tammisaari Saastamoinen Foundation

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Sara Hildén Art Museum, Tampere Tampere Art Museum The Henna and Pertti Niemistö Collection of Contemporary Art Turku City Art Collection UBS Puerto Rico

GRANTS AND PRIZES 2018

1st- price in juried public sculpture competition for the REDI, New Urban Residential Centre, Kalasatama, Helsinki, Finland.

2016 10th lnternational Arte Laguna Prize, Winner of special prize, Artist in residence, Espronceda, Barcelona, Espanja 2014

Sharjah Calligraphy Biennal 6th edition, Contemporary Calligraphic award

2009

William Thuring Foundation Prize

2008–12 5-year artist grant, Taike

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2008

Sculpture competition for new Fennia-house, Helsinki, 1. prize

2007

Young Artist of the Year

2003

Villa Snäcksund (Kulturfonden), Tammisaari

2000

Raimo Utriainen Art Foundation


Back Cover Color Space – Solar Yellow Medium / Ultramarinblue Imploding Center, 2015 Acrylic plastics, 100 x 100 x 13 cm.

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Profile for Kulttuuria Turussa

HC Berg exhibition catalog  

WAM 7 June - 22 September 2019

HC Berg exhibition catalog  

WAM 7 June - 22 September 2019