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). http://galleria.porintaiteilijaseura.fi/planet-solitude-6129n-2148-e-17-10-01-11-2015/
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
(FIN).
surroundings as an artist means to find one’s ‘place’
http://pasinger-fabrik.com/de/ausstellungen/archiv/
within that landscape. It also reflects an attempt,
detailansicht-archiv-programm-pasinger-fabrik/cal/event/
through a subjective and cultural lens, to draw closer
detail/2017/06/30/planet_solitude_ausstellung/view-
to nature and the world as a whole.
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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
video.
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
of
and
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.
contemplative,
atmospheric
landscape
examination of the question: Does a film always need
and
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).
and
identity
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.
connoted
with
German
cultural
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
disruptive
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.
element
is
introduced.
We
see
a
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).
In
Pasing,
the
artist
shows
mainly
close-up
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
www.jovanabanjac.com
www.lampisuo.fi
Jovanab1477@googlemail.com
marko.lampisuo@dnainternet.net
Theresia Hefele
Talvikki Lehtinen
*1958 in Markt Indersdorf (Obb) /
*1962, Simpele, Finland /
lives and works in Munich, Germany
lives and works in Kankaanpää, Finland
www.theresehefele.de
tee.lehtinen@dnainternet.net
info@theresehefele.de Mollu Heino
Anne Pincus
*1967 Tampere, Finland /
*1961 in Melbourne, Australia /
lives and works in Luvia, Finland
lives and works in Munich, Germany
www.molluheino.fi
www.annepincus.net
molluheino@gmail.com
mail@annepincus.net
Anna Kiiskinen
Yukara Shimizu
* 1971 in Tampere, Finland /
*1964 in Tokio, Japan /
lives and works in Munich, Germany
lives and works in Munich, Germany
www.anna-kiiskinen.de
http://yukarashimizu.com
annakiiskinen771@gmail.com
mail@yukarashimizu.com
Contact person / planet solitude:
Imprint
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
www.anna-kiiskinen.de
Text: Team planet solitude Munich / Ingrid Thorwart
annakiiskinen771@gmail.com
Translation:Anne Pincus Š 2018 planet solitude Jovana Banjac, Theresia Hefele, Mollu Heino, Anna Kiiskinen, Marko Lampisuo, Talvikki Lehtinen, Anne Pincus, Yukara Shimizu https://planetsolitude.jimdo.com/