MUâ€™s goal was to highlight artistic doing not only as a matter of form and materiality, but also as a concept driven process followed by contextualization and research in the city itself. â€¨ Working around the conceptual boundaries of monumentality we invited students of the Kuvataideakatemia to come up with series of proposals for an unrealized monument. The catch was to not instantly seek answers in material, but to begin with just concepts and words; to tell a story.
Verbal Tango We sit down to write about it. We import HAPPY TOGETHER Motion Picture Soundtrack to my i-tunes to get in the mood and loop ‘Finale:Tango Pasionado’ by Astor Piazzola to get the creative juices flowing.
Needless to say, we know very little about the dance itself, let alone about its Finish ‘brother’, it’s moves, codes and symbolisms. There are dozens of articles on the Internet about the tango culture in Finland. Most of them revolve around the Finnish’s laconic demonstrations of affection opposed to the intimacy of the dance; An obsqurity that seems to exist out of the stereotypical representations of the country. Tango Finlandia seems to originate from a collective melancholic aura, which in one way or another shapes the nation’s collective imagination. However rare it is to experience a hug, a wrapping arm around the waste or a kiss on the cheek in the every day environment, tango nights seem to subvert rarity to the norm.
Click on the video frames to watch
Bart comes up with the phrase Verbal Tango. We both think ‘what a kick ass title for the workshop’ but given the chance to elaborate on the reasons behind our choice, we for a moment - run short of words. What makes it so fitted? Is it because of the precarious, spinning nature of the workshop that refuses to concretize any notion examined and realize any concept proposed? Is it its discursive ping-pong (reflective conversational) character that validates it? Or is it the Finnish melancholy that hovers around and deluges parts of the project?
To begin with, IF Monument Unrealized was indeed a verbal tango workshop, there was definitely an invitation, a soundtrack to be stimulated by, geography to be practiced upon and various stages to be performed. There were rules and guides, a space for plenty of free-styling and some extraordinary spins and twists from the participants’ side.
Milonga* May refer to the music, written in 2/4 time, or to the dance which preceded the tango, or to the dance salon where people go to dance tango, or to a tango dance and party.
Caminada* The walking steps; a walking step.
Cortina* Curtain: A brief musical interlude between tandas at a milonga.
Entregarme* Surrender: To give oneself up to the leader’s lead.
We set the beat (compás) by introducing relevant literature and let it echo; make some noise; cause some buzz. Theory would not dictate the research but exist either as an irritating clatter or a comforting tune. First steps were practiced out in the city. We devised collective strolls to explore several areas in Helsinki, visited popular monuments and speculated on their social function. In what extent do they commemorate a memory and in what extent do they generate new ones? Then we left.
The Monument Unrealized blog was created to trace the participants’ research. And since it takes two to tango, the responsibility fell in their hands to utilize it as an archival platform for their notes, process, reflections and inspiration material. We followed their posts, discovered more relevant literature for each independent proposal, mailed, skyped and constructed a plan for our return. www.monument-unrealized.blogspot.com
Entrada II* Entrance: Occurs when a dancer steps forward or otherwise enters the space between their partners legs without displacement.
Marcar* From Marque; to plot a course; guide: To lead. La marca is the lead.
Cunita* Cradle: A forward and backward rocking step done in time with the music and with or without chiches, which is useful for marking time or changing direction in a small space. This movement may be turned to the left or right, danced with either the left or right leg forward, and repeated as desired.
And then we came back.
Upon our return we focused on exploring means of presentation regarding the research and proposals. That meant diving into the existing material collected and play around with alternative ways of representing a process and communicate a proposal. It was important to see these attempts as non-static; as some formulations of the work out of many. We divided the course into three daily pillars. Verbal – where discursive methods were used to assist the participants to narrative the story behind their proposal, Written – where those narratives were worked on to be included in the digital publication and Transmit – where we collectively examined who we would like to communicate our proposals to (who would mostl likely be reading this).
Chronicles of Monument Unrealize d Workshop.
* A Guide to Tango Terminology - http://www.tejastango.com/terminology.html
Some thoughts on estate ruins, tour maps, lover-boys, super heroes, blue balloons and a boat cruise. In a nutshell, what this publication does, is offer a solid stage for six dance solos on paper that seek for partners; A â€˜paper tangoâ€™ if you like. Those narratives negotiate their impact (and therefore their monumental qualities) on public space and public sphere by addressing collective feelings, hypothesizing and devising imaginary scenarios. They are stories that suggest a new reading to a place, implement schemes and physical structures to impregnate it and search for their relevance on a meta-level.
The walking around in purpose of finding something interesting to see or just think about has led my way this time to élitiste housing estate of Kulosaari. Just a walk The walking around in purpose of finding something interesting to see or just think trough. about my way thisplaquette time to élitiste housing a walk Firsthas it is led a small bronze on a stone wallestate whichof is Kulosaari. drawing allJust the attention. trough. What is it even indicating? It says a name and a First it isThere a small bronze on plaquette onno a stone wall is drawing all theaattention. year. is nothing that spot, building orwhich anything. When taking closer look What is it even indicating? It says a name and a there is a gate between massive granite walls. The gate is closed, but looking further it year. There nothing on that spot, no building taking closer look leads to aispiece of land. In one section the wallorisanything. low and itWhen is easy to goaover it, enter there is a gate walls. Thestairs. gate Trees is closed, but looking to garden andbetween see the massive wide andgranite massive granite growing on themfurther which it leads to athat piece land. In been one section thefew walldecades is low and it is easy to gobeover it, enter shows the of place has empty for already. It would interesting to to garden theiswide and massive granite stairs. growing on them which know and why. see There no building but there certainly is aTrees story. shows theofplace hasis been empty for few already. The that object interest an object which hasdecades lost its purpose orItofwould whichbe theinteresting purpose to is know why. There is no building but there certainly is a story. hidden. The same about abandoned areas. It has an element of irrationality in it. The object of interest to is find an object whichstory, has lost its apurpose which the purpose First still attempting the original it has potentialorofofrepurposing or atis hidden. The same about abandoned areas. It has an element of irrationality in it. taching a story to it. Basically it’s recycling. First stillfound attempting find thehas original story, a potential repurposing or atThe area in to this case a story. Firstit ithas is the conditionofand found objects, taching story it. part Basically it’s recycling. which astart to to take in telling it. It is not organized intentionally to tell the story, The area in this case hasfora the story. First the condition and so found there remains a possibility story to itbeishonest. Element thatfound takesobjects, the most which start to take part in telling it. It is not organized intentionally to tell the story, attention in telling a story is the condition of the plot itself. There has to be something sosocial there about remains possibility for the story to doesn’t be honest. Element takes most it. aSince the condition by itself tell the wholethat story, it’s the needed attention in deeper. telling aAsking story is the condition of the plot itself. There has to be something research people and searching for an archive. social about it. Since the condition by itself doesn’t tell the whole story, it’s needed research deeper. Asking people and searching for an archive.
The area was announced a museum.
The area was announced a museum.
The label said “Wäino Aaltonen 1929-1966 Atelier”. I started to search who is this guy behind the name. It appeared he has been a commissioned for war memorials. I retrieved old pictures of the building as well as photos of the artist working there. It was a large tate. I started by creating a visual identity for the place (logo) and also advertising guided tours to the museum. stations.
The museum is also a process to gather information about the place. Until this point there is no indication as to what happened to t
Aaltonen died in 30.5.1966 Helsinki. I don’t know the actual cause of death but I guess he must have died of natural causes. I fou
Research on the estate indicates that the studio was believed to be a scandal. Probably someone was greedy and wanted to mak
I didn’t know that the site is empty. I thought it’s a new and expensive Villa. I have a memory of the place, because once I visited Owner wanted to just demolish the studio and built a new house. There were of course objections from those artists, but it was pri
It’s kind of a shame, maybe people don’t really want to talk about it. It’s this nationalistic thing you know. In Germany they talk abou
Maybe you could make a tour for the owner of the land. Maybe you can start making tours to people about their homes. It’s kind o
Maybe the property is owned by some faceless company. It is socially intriguing to see this kind of property in this kind of situation Maybe there is a museum? Anonymous passer by No answer WAM (Wäino Aaltonens Museum of art at Turku)
a very famous Finnish artist taking part in formulating Finnish national identity since the 1930s. He won many public contests studio situated by the sea that looked more like a Villa. History indicates that even presidents were frequent visitors of the es-
the place, The area was bombed in WW II causing also damages to the estate, but the property was restored post war.
und out that his studio was damaged in bombings of WW2 but it was repaired. He had plans for new and bigger one but it was
ke money, but here was even less interest those day for speaking up about it than now.
the studio in early 80â€™s. Back then it was occupied by a small group of young artists. Then the place was sold or something. ivate property and they couldnâ€™t do anything... Jussi (Anarchist)
ut those issues freely up until these days, but here these subjects are never really talked through.
of a national shame you knowâ€Ś the works. They are bad and they are everywhere, probably impossible to clean up after him. Villu (Specialist of logictics) n in this kind of area. Jyrkki (literature enthusiast)
Close to Kalasatama
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First look, stone walls piles rather. Marble pavings, only some standing alongside the thousand of tonnes. Of rock.
I walked around the city by many path Partial y grey in the thoughts five couches, three lit up lamps covered, stacked, taken by the humidity.
The grey dominates, never mind forgetting the warm seas, the red fish of Caribbean.
In fallow land on the roadside, the skate ramp of absent skateboarders. Domestic trampoline. Welcome, here old sport area, it’s conceivable.
without directions, walking for walking, Everything is summer leftovers maybe.
Recent past archeology open for everybody by our steps on the fallow land.
wind, cold sun... Walking as a intui Everything is mixing on the ground everything you could imagine is there no inventory.
Three embedded pontoons. Again, blue mattress and the chair of the one who is waiting.
Grey red bucket banded back. Inverted. Future of a podium to raise one’s gaze from the brown sea.
Oeufs cail oux Stone eggs English translation approved
In this way, space became a place. Everything is likely to please you, nothing at once.
Lou-Rack his number to serve you.
Behind the grating where it is hung, trucks and excavators rusty.
Between two dry ports free space for a potential stadium the lights are here.
Away from granit. Exhausted fenders, suspended lacking air about fifteen in single file. Faded fluorescence.
Boats under tents. Dry port, here we can talk about real hibernation Some boats as bears. Many translations The hidden masts to a layered rest.
, to see, fell the environment, spaces, Stainless steel guardrails taken from the ground awaiting a next move.
itive experience of space. Mix of materials and densities You must explain to me what you serve.
Merchandise area sculptures for free. It’s a place.
No paths without swamp at the feet.
Horizontal beam few trees one nest addition of the absence of birds.
Some screams, track is becoming uneven without gloves, the lost hands.
The birds’ war, bad scenario projected among the trees.
The paved concrete calls as a witness playful children with sharpened bikes.
artor jesus inkerรถ
click here to listen to the Ballad of Disappearo
He was going home Sunday night and passed by a balloon hanging in the air about half meter above the old platform in the center of Kontula. He found it strange that the local teenagers hadn't blown it up or stolen it. And who put it there anyway and why?
Antti Kytomaki Lichen - Aphex Twin Cry - 10cc and Godley & Creme
Artor Jesus Inkero A Case of You - Joni Mitchell These Days - Nico
Martins Rozenfelds Morning Ms Candis - Amon Tobin Hedron - BADBADNOTGOOD
Oceane Bruel La-Madrague - Brigitte-Bardot One Ring Circus - Chloe
Restlessminds We Interface - X-Dream Let’s Get It Up - AC/DC
Uku Sepsivart Days Ahead - Museum of Bellas Artes The Godfather Theme Song - Nino Rota
Bart Witte Schnitzel - De Jeugd van Tegenwoordig Jump! Jump! - Criss Cross
Nikos Doulos Pinky’s Dream - David Lynch feat. Karen O We Want War - These New Puritans
Click on the circle to download
* Literature Abstracts
p.2 Mika Hannula - Social Imaginaries | Politics, Identity and Public Space (2009) p.14-15 Michel de Certeau - Spatial Stories | The Practice of Everyday Life (1984) p.22 Dodie Bellamy - Crime Against Genre | Academonia (2006) p.29 Jose Saramago - Things | The Lives of Things (2012) p.35 Alain Bieber - Essay | Urban Interventions, Personal Projects in Public Space (2010) p.38 Mika Hannula - Social Imaginaries | Politics, Identity and Public Space (2009)
MONUMENT UNREALIZED Publication’s Concept/overall design Nikos Doulos
Workshop’s Concept/development Expodium (Nikos Doulos & Bart Witte)
Sculpture & Time & Space Department Kuvataideakatemia (Villu Jaanisoo & Ulrika Ferm)
Contributors/Participants (in order of appearance) Uku Sepsivart Océane Bruel Artor Jesus Inkerö Antti Kytömäki Mārtiņš Rozenfelds Linda Emily Al- Ghussein Fabian Olovson
Special Thanks to
Kristiina Koskentola Pinja Metsäranta Berit Talpsepp-Jaanisoo Jukka Korkeila
ÂŠ Expodium, 2013