planet solitude katalog

Page 1

48° 15’ N, 11° 46’ E

planet solitude

With the kind support of: German-Finnish Society e.V. Munich Frame - Contemporary Art Finland Arts Promotion Center Finland Finnish Cultural Foundation (Satakunta Regional Fund) Finland Institute Germany

30.6. - 13.8.2017 planet solitude 48°15’N, 11°46’E photography, painting, sculpture, printmaking and video art on the subject of landscape Jovana Banjac Theresia Hefele Mollu Heino Anna Kiiskinen Marko Lampisuo Talvikki Lehtinen Anne Pincus Yukara Shimizu Pasinger Fabrik GmbH Kultur- und Bürgerzentrum der Landeshauptstadt München August-Exter-Str. 1, 81245 Munich Germany

lonely landscape

The concept of a landscape exhibition project entitled planet solitude arose in 2014 in discussions between Finnish artists Mollu Heino (based in Finland) and Anna Kiiskinen (based in Germany). From the outset, it was agreed that planet solitude would be a long term and open artists’ collaboration that would develop over time through a series of exhibitions to be held in varying locations. Each exhibition would carry the title planet solitude with the geographical coordinates of that particular location. In 2015, planet solitude 61°29’N, 21°48’E took place in P-Galleria, Pori, Finland, with Munich-based artists Theresia Hefele (GER), Anna Kiiskinen (FIN), Anne Pincus (AUS) and Yukara Shimizu (JPN).

In 2017, planet solitude 48°15’N, 11°46’E took place

feel small, powerless and insignificant. The search for

in Pasinger Fabrik, Munich, Germany with Munich-

seclusion, solitude and peace in nature reflects our

based artists Jovana Banjac (HRV), Theresia Hefele

need for sanctuary and a place to reflect. A view is

(GER), Anna Kiiskinen (FIN), Anne Pincus (AUS),

not an objective expression but rather a subjective

Yukara Shimizu (JPN) and from Finland Mollu Heino

impression dependent on position and experience.

(FIN), Talvikki Lehtinen (FIN) and Marko Lampisuo

To deal with the subject of landscape or our natural


surroundings as an artist means to find one’s ‘place’

within that landscape. It also reflects an attempt,


through a subjective and cultural lens, to draw closer


to nature and the world as a whole.


Each of the eight artists of planet solitude 48°15’N,

This catalogue documents the works shown in this

11°46’E have been influenced by the social, cultural

second exhibition in Pasing, Munich, Germany.

and aesthetic landscapes and surroundings of their home countries, as well as those of their chosen

Landscape can be interpreted as a mirror for the

homes. Some of the artists focus on details in nature or

human condition or as a spiritual or psychological

the environment, while others depict the sometimes

portrayal of nature, as in the landscape painting of the

drastic changes which have taken place in the

18th and 19th centuries. The artists of planet solitude

landscape over time. These are eight very personal,

see the subject of landscape as a concern with our

aesthetic positions on the subject delivered through

natural surroundings as such, but also as a space on

the mediums of analogue and digital photography,

which to project human emotions. In these works,

experimental photographic techniques, oil and

nature can appear as a silent, idealised landscape of

acrylic painting, bronze sculpture, photogravure and

longing, or as a nostalgic memory, or it can appear


as something threatening before which we might

Text: planet solitude 2017 / Translation: Anne Pincus

Theresia Hefele: “Mountains“, 2017. 35 x 26,5 cm. “Ice on Ammersee“, 2006. 25 x 25 cm. “Rivers“, 20072015. Series of 20 panels, each 30 x 15 cm. All: photo emulsion and toning on wood.

theresia hefele planet solitude 48° 15’ N, 11° 46’ E Text: Ingrid Thorwart / Translation: Anne Pincus Photos of gallery views by Yukara Shimizu

Theresia Hefele has devised a unique method of

but the knowledge that they were chosen from

developing photos on wooden panels prepared with

diverse sources within Hefele’s vast archive, including

a light-sensitive emulsion. She then often further

photos taken of miniature landscape models, creates

manipulates the image with the use of chemical

an impression of the unfathomable: Where do the

toners. The resulting panels are mostly small and

images come from? Who took them? Why do we

object-like, and shimmer with subtle tonal variations

immediately assume that this series references the

of pale blue, green or brown. Working with photos

Arctic? The depiction of the landscape with details of

she has taken herself, or those she has found at such

a journey, the nature of which has heroic proportions

places as flea markets, the images are generally open

in German idealism, is paraphrased with irony.

air situations in which light plays an important role. She focuses on landscape in its vastness, as well as

In her 15-piece series “Rivers”, Hefele shows close up

on structures and objects seen at close proximity. In

shots of the water surface of various rivers, all of which

the landscapes of the series “Arctic”, forms such as

she can name. The differences between the original

rugged mountains, ice flows, fir trees and buildings

images due to variations in the light conditions and

dissolve in a soft veil-like light. The viewer is drawn,

water movement are minimised through the unique

as so often in planet solitude, into the distance of

means of reproduction so that the seriality of the

flat and empty landscapes, and changing locations

work is highlighted. These images of water caught in

and travel scenarios are explored. One sees lonely

motion are a wonderful homage to the elements.

landscapes with occasional huts, trees or solitary figures. Not only the visual appearance of the images,

Theresia Hefele: “Arctic“, 2015-2017 Series of 16 panels, each 26 x 20 cm, photo emulsion and toning on wood

Theresia Hefele: “Mountains�, 2017. 35 x 26.5 cm, photo emulsion and toning on wood

Marko Lampisuo: “The End of Dawn“, 2014. Photogravure, 22.5 x 30 cm

marko lampisuo

Finnish artist Marko Lampisuo presents us with

motion? The artist carries this work to another level

video and photogravure, both techniques that

with his series of photogravure prints of stills from

work with light and exposure. Even the title of his

the video “The End of Landscape”. The technique

video “The End of Landscape” hints at a journey

of photogravure allows the artist to not only expose

into the limits of the genre. The basis for this work

photo or film material onto specially prepared plates,

is a classic travel video of the trip between Pori and

but also to manipulate the image in a variety of ways

Tampere in Finland, as well as stills of forest or views

before printing. These prints, which have a filmstrip

from a window. The video comes alive through the

quality, move between recognizable impressions of

montage of these elements, the repeated re-filming

pine forests and lakes, and dissolution into colour

of the footage while played on an old tube television

fields of light and pattern.

screen, and the original score composed especially for the work. The typical Finnish landscape views of

The second video work by Marko Lampisuo “Summer

alternating forest and water appear at times realistic

in Finland … and Other Seasons” is an analytical and

with the characteristic light of a low sun, and at times

yet atmospheric and aesthetic examination of the

dissolve into dots of light or brightly coloured, almost

light conditions in his home country. The film consists

painterly, abstract shapes. This unusual combination

of 365 photos of trees taken over a period of one



year. Dark strips cover the top and bottom of each

explosions of colour has an unsettling effect on the

vertical image, their size relating to the number of

viewer. It is left for the viewer to decide whether this

sunlight hours of each day throughout the year. The

is an ironic reflection on the clichéd concept of the

disclosure of this information naturally roots the work

vastness of the northern landscape or a homage to

in a particular geographic location and lets us reflect

a place where sunlight is valued for its rarity. In any

on the months of darkness and the so-called ‘winter

case, there is a crossover toward painting and an

depression’ only too well known in Finland.




examination of the question: Does a film always need


Marko Lampisuo: “Summer in Finland... and Other Seasons”, 2016. Video 7:47 min.

Marko Lampisuo: “The End of Landscape“, 2013. Video, 13:28 min “The End of Snowfall”, “The End of Sunrise”, “The End of Winter”, “The End of Dawn”, 2014. Photogravure, á 22.5 x 30 cm

Jovana Banjac: “Tides VII”, 2016. Colour photography, 30 x 40 cm

jovana banjac

In her work “Look!” Jovana Banjac also asks the

Bavarian Alps: a confirmation of the harmony created

question: How much movement does a moving

by classic aesthetic techniques?

image need? The work shows two videos in split screen presented as a symmetrical panoramic view

The photo series “Tides” by Jovana Banjac is more in

of the Bavarian Alps. Mountains disappear into

line with classic photography. Again we are confronted

the distance in a fine haze; the view framed by the

with an endless expanse, this time typical of beaches

obligatory fir trees. In the apparent lack of movement

at the North Sea. The warm brown-beige sand seems

and the referencing of classic aesthetic techniques

to melt into the horizon. There are no lonely figures

such as the golden ratio in the horizon line, aerial

in the foreground, such as we would find in Romantic

perspective and the employment of diagonal lines,

painting, but rather empty beach ‘furniture’ such as

the artist cites Romantic landscape painting such as

children’s swings, signs or abandoned beach showers.

that of C.D.Friedrich. The viewer is tested, as only on

These otherwise overlooked byproducts of human

longer viewing of this apparent ‘painting’ does one

habitation catch our attention for their materiality and

notice that something does indeed move, even if

sculptural character. The few human figures visible in

only the twigs of the fir trees swaying slightly in the

the distance are almost lost in the mist.

wind. After some time, a sense of peace pervades potentially exceeding that which we might feel in a crowded mountain lodge on a mountain in the

Jovana Banjac: “Look!”, 2016. Video, 12 min. Video still

Jovana Banjac: “Look!”, 2016. Video, 12 min. “Tides”, 2016. Colour photography series, each 30 x 40 cm

Anne Pincus: “Palace Gardens 1“, 2011. Oil on canvas,110 x 279 cm (Triptych)

anne pincus In the oil painting “Palace Gardens 1” by Anne

the panels, from threateningly dark to friendlier

Pincus, on the other hand, haze lies like a filter over

tones. Nevertheless, depth, the imponderable, which

the entire image. One part of this three-part tableau

is an inherent aspect of this motif and which makes

shows a blurred view of a park with a canal bordered

it a symbol par excellence for the subconscious, is

by cleanly cut hedges. The middle panel is almost

always present.

monochrome, with a subtle gradation of pale yellow. The left panel shows a section of an historical map

In the series “Fall I – III”, the artist again seems to

of the same park. The use of three panels breaks the

oscillate between objective view and atmospheric

illusory continuum and creates a counterpoint. This

effect. Like Theresia Hefele, she draws on a typical

painting is in fact part of a larger body of work in

icon in Romanticism: ice and snow as a symbol for the

which the artist has focused on the contrast between

eternal. These waterfalls of ice, however, appear out

atmospheric garden scenes and their cartographic

of such bottomless blue depths they could be taken

equivalent, at times layering one over the other.

for something else.

The strict structure of the maps and the soft manner in which the landscape is painted reference the

In “Wilsede Scramble”, we see a landscape combined

conceptual dualism of sentiment and rationality

with text elements from a different system of expression.

behind such parks.

Layered over a landscape of a heath, the artist has strewn seemingly random words drawn from place

There is something mysterious, if not unsettling, about

names of the area around Wilseder Mountain (Wilseder

the northern forests. They have been instrumentalised

Berg) in the Lüneburg Heath (Lüneburger Heide).



Some words are legible and others are broken apart,

throughout history, as well as in popular culture. The

so that, as in the game Scrabble, one can visually piece

objective manner in which Anne Pincus has depicted

together new words from the parts or single letters. The

forest in the small oil paintings on wood “The forests

text elements create a loose structure, which resembles

remain silent I-V”, however, appears to question this

a map. Different systems of perception are thus

connotation. Naturally, there are no human figures

superimposed and open up new fields of association

present and there is a subtle variation in light across

through interaction with each other.





Anne Pincus: “The forests remain silent I-V“, 2017. Oil on wood, each 15 x 40 cm

Anne Pincus: “Fall I, II & III”, 2016. Oil on canvas, each 80 x 80 cm

Anne Pincus: “Wilsede Scramble“, 2017. Oil on canvas, 110 x 145 cm

Anna Kiiskinen: “Gülhane Park, Istanbul”, 2017. Acrylic on canvas, 160 x 220 cm

anna kiiskinen Anna Kiiskinen also examines the possibilities in

a specific landscape. In “Apple tree III”, a new

the interplay between spatial illusion in classical


depictions of nature and painting for its own sake,

reflection of a lamp, as though the tree is reflected

as painted surface. In planet solitude, we see four

in a windowpane. Through this confusing illusion, the

paintings from her work on the subject of trees. In

painting takes on a surreal dimension.







the last few years, the artist has found inspiration in the endless ramifications of tree branches as seen

Abstraction also plays a role in the fourth work

silhouetted against the sky. Depending on the type

by Anna Kiiskinen, Gülhane Park, Istanbul. Over

of tree and its surroundings, the climate zone and

the years, the artist has often experimented with a

light conditions, there are millions of variations,

conceptual approach, and this work is an example

offering unlimited possibilities. The three paintings

of that. The steps in the creation of this large format

“The apple tree in my sister‘s garden” are variations

acrylic painting have been recorded and are played

of the same motif. They are, however, hardly

back via a framed screen so that the work exists as

recognizable as such due to the differing relationship

an exchange between two very different media. The

between the background and the branch structure

viewer can see the work appear in steps as though

in the foreground, the fine balance between the

by magic. Its development is presented almost like

colours of each, as well as the subtle differentiation

a game in which the branches, in fine variations of

within each colour. The branches cover almost the

red, green and orange, project into the space from

entire surface and structurally hold the composition

all sides and, segment by segment, slowly build the

together. The artist cleverly plays with the give and

entirety like parts of a puzzle. Each segment has its

take of spatial depth and thereby comes close to the

own tonal character, and although this is a playful

all-over structure of classical abstract painters like

presentation of the way the work was assembled, the

Pollock. One can view them purely as a tonal concert

completed painting is perfectly cohesive through the

evocative of a particular mood, as in the atmosphere

virtuosity of its colour composition.

created by the interplay between pale branches and pale background of “Apple tree I” and “Apple tree II”. They are, nevertheless, also details of

Anna Kiiskinen: “The apple tree in my sister’s garden III“, 2016. Acrylic on canvas, 90 x 140 cm

Anna Kiiskinen: “The apple tree in my sister’s garden II“, 2016. Acrylic on canvas, 90 x 140 cm

mollu heino

On passing, one could assume the oil paintings of

hand, of Asian ink painting. On the other hand, the

the Finnish painter Mollu Heino to be large-format

warm pale yellow glow achieved through thin layers

gestural abstraction. If one stops however, or sees

of oil glazes remind us of the ray of light so often seen

the works from a greater distance, as is ideal, hints

in paintings of the Romantic period. In other pictures,

of landscape appear, also placing this artist’s work

for example in “Against the light”, this transcendental

between naturalism and abstraction. Her employment

light, which was seen as divine in Romanticism, is less

of chiaroscuro and her choice of colours – grey-black

obvious, but as a glimmer in a dark atmosphere, no

to brown and, through the oil-based application of

less fascinating. Since central Europeans have an

paint, subtle variations of beige-gold – reveal the

image of the special light conditions in Finland, Mollu

crucial role light plays in Mollu Heino’s work. These

Heino’s atmospheric paintings seem (to this viewer at

paintings are characterised by the specific ambience

least) to be a clear reference to her homeland.

of the scene, which is translated with virtuosity into an abbreviated form through strong gestural brush strokes. Shimmering darkness increases in intensity towards the right and left edges of one picture, suggesting the feeling of being on a path and surrounded by dark pine forest. The lit area in this case is only a small triangle. Another painting depicts an island rising out of shimmering water in the same clear rendering of light and shadow and her refreshing sketch-like style. The way this island is painted with a few simple brush strokes is reminiscent, on the one

Mollu Heino: “Destination“, 2017. Oil and pigment on board, 97 x 97 cm.

Mollu Heino: “Mystery“, 2017. Oil and pigment on board, 97 x 97 cm.

Mollu Heino: “Against the light“ -serie, 2017. Oil and pigment on board, 97 x 97 cm.

Yukara Shimizu: “sideways Nr. 7”, 2013. Geclée print, 18 x 24 cm

yukara shimizu

Yukara Shimizu also confronts us with an unusual

are wet or at the point of wilting) or the background.

relationship to light. The artist has found her own

In most cases, the background appears to be so

unique means of expression in her photography by

inscrutably dark that the plants in the foreground

taking close-up or wide views outside at dusk or at

take on an almost hyperreal plasticity. They appear

night. The medium of photography, for which light

tangible in their materiality, like the materiality in

is fundamental, is hereby pushed to its limits as the

great classical paintings of those like Velazquez. This

artist works in conditions where the lack of natural or

otherwise photo-unfriendly light produces velvet-like

artificial light should theoretically make photography

colours, which have such a unique tonality, in fact,

impossible. We see nightscapes, empty streets and

that one can justifiably compare it to painting. The

courtyards, views through or of impenetrable garden

compositions are also striking; for example, when a

shrubs. Often there is a deep and somehow magical

couple of willow twigs hanging over flowing water

inky blue pervading the image or another subdued

impart an extraordinary calm. The artist’s approach is

colour softly glowing and permeating the scene. The

clearly an attempt to honour nature: its changeability,

fact that there are no human figures in these photos

unique manifestations and inexorability (flood –

is no surprise.

destruction, wilting – transience).








photographs from her body of work dedicated to plant structures like blossoms, clusters of fruit or tree branches. Through keen observation, she manages to find unique situations arising from interaction with the atmosphere, the elements (sometimes the leaves

Yukara Shimizu: “Moss Nr. 1“, 2014. Geclée print, 24 x 35 cm

Yukara Shimizu: “sideways Nr. 8“, 2013. C-Print, 17 x 26 cm

Yukara Shimizu: “sideways Nr. 13“, 2014. Geclée print, 18 x 27 cm

Yukara Shimizu: “sideways Nr. 16“, 2016. Geclée print, Print 18 x 27 cm

Talvikki Lehtinen: “Eternally II“ Bronze, 78 x 20 x 15 cm

talvikki Lehtinen

The Finnish artist Talvikki Lehtinen also appears to

eternal returning to the starting point, as indicated

honour nature, at least in a technique typical for

by the title of this work. The bursting clusters of fruit

memorials, namely bronze. In this work, however,

of this Finnish vegetation seems to be an allusion

we are not dealing with unwieldy figures, but rather

to the power of rebirth in nature. The fact that the

with filigree objects from the plant world. The artist

roots are also visible, however, adds a negative

creates impressions of real plants and then transfers

touch suggestive of uprooting and the destruction

these forms to a mould for the bronze casting

of nature. The title of the series “Hybrids” can also

process. In adding or omitting fragments, unique

be seen as a critical reference to the way the modern

creations emerge, which are close to nature yet can

world handles nature with regards to biotechnology

be seen as sculptural statements independent of their

in agriculture. In any case, all the variations of these

references. Most of the wall objects are conceived as

long stemmed plants with their hanging flowers and

series or installations and appear starkly graphic from

tuberous roots represent sophisticated new species

a distance. There is an emphasis on the rich variety of

of artificial plants. In adopting and modifying nature,

forms, perhaps typical for a homage to nature, such as

Talvikki Lehtinen posits art as a kind of parallel natural

in the long slender branches of the series “Hybrids”.

world complete with unlimited variations of form.

In the series “Eternally I”, the artist focuses on the structures created by branches, shoots and roots. In “Eternally II”, shoots wind and snake in all directions and create an airy web, which works as a single and self-contained entity despite its branching structure. In spite of the adventurous contortions of these plants, there is a general impression of circularity – an

Talvikki Lehtinen: “Hybrids“ Bronze, 6 piece wall installation, about 3 m wide

Talvikki Lehtinen: “Eternally I“ Bronze, 4 piece wall installation, about 2 m wide

Talvikki Lehtinen: “Blossom”, Bronze, 2 parts, 140 cm wide From the series “Garden of thoughts“, 2013-2017

Artists of PLANET SOLITUDE 48‘15‘N, 11‘46‘E :

Jovana Banjac

Marko Lampisuo

*1966 in Zagreb, Croatia /

*1970 in Turku, Finland /

lives and works in Munich, Germany

lives and works in Pori, Finland

Theresia Hefele

Talvikki Lehtinen

*1958 in Markt Indersdorf (Obb) /

*1962, Simpele, Finland /

lives and works in Munich, Germany

lives and works in Kankaanpää, Finland Mollu Heino

Anne Pincus

*1967 Tampere, Finland /

*1961 in Melbourne, Australia /

lives and works in Luvia, Finland

lives and works in Munich, Germany

Anna Kiiskinen

Yukara Shimizu

* 1971 in Tampere, Finland /

*1964 in Tokio, Japan /

lives and works in Munich, Germany

lives and works in Munich, Germany

Contact person / planet solitude:


Anna Kiiskinen

Layout: Mollu Heino

Gerhardstr. 31, 81543 Munich, Germany

Photos: Jovana Banjac, Theresia Hefele, Mollu Hei-

Studio: Trappentreustr. 5, 80339 Munich

no, Anna Kiiskinen, Marko Lampisuo, Anne Pincus,

+49-89-45 9119 41 / +49-173-6991815

Yukara Shimizu

Text: Team planet solitude Munich / Ingrid Thorwart

Translation:Anne Pincus Š 2018 planet solitude Jovana Banjac, Theresia Hefele, Mollu Heino, Anna Kiiskinen, Marko Lampisuo, Talvikki Lehtinen, Anne Pincus, Yukara Shimizu

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