INVISIBLE MOUNTAINS
Editorial board: Katriina Rosavaara, Antti Korkka, Karoliina White, Sampo Koivula Layout: Marko Soini, Sunday Creative Oy Publisher: Town of Mänttä-Vilppula Press: Lehtisepät Oy, Lahti
ANTTI ALAVILO AINO APPELGRÉN ANNINA BJÖRKSKOG IISAKKI HAAPALEHTO
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HELI JAUHIAINEN VENLA KIVELÄ MARKO LANKINEN JANNA LINDFORS HELI LUNDSTRÖM LAURA MANNINEN MARTTA MERILÄINEN ISABELLA PRESNAL JUSSI RONKAINEN ELIZAVETA SLEPTSOVA TINO UIMONEN MILLA VEIJALAINEN & SUSANNA SALMINEN SEYOON YOON
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REALM OF FINE ARTS 2022
The Realm of Fine Arts (Kuvataiteen valtakunta) exhibition for recently graduated fine artists is being held for the second time this year in Mänttä-Vilppula Art Town. The roots of the exhibition are in an exhibition tour with the same name, which was organised by the universities of applied sciences teaching fine arts once every three years in different cities. Now, the Kuvataiteen valtakunta exhibition is established as part of the Art Town. Mänttä-Vilppula is a nationally known region for art. In the summer, it becomes a treasure trove of fine arts. It serves as the locus of the exhibitions of the Serlachius Museums, the Mänttä Art Festival and Kuvataiteen valtakunta, and offers various independent art galleries and festivals. The special purpose of the Kuvataiteen valtakunta exhibition is to gain visibility for recently graduated fine artists and highlight the important role of universities of applied sciences in teaching fine arts. Universities of applied sciences offer teaching in fine arts across Finland, and each of them has its unique history, development stages and place in the realm of Finnish art. The fine arts teaching guarantees regional availability, as artists continue to work in different parts of the country after graduation. The universities of applied sciences have been committed to national development targets, for example, within the Digivisio 2030 project. The shared development projects have also made degree programmes more harmonious and goal-oriented and strengthened the national
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network. The educational institutes have taken joint measures to promote the career development of artists. At the moment, they are also promoting sustainable development and equality, in addition to digital availability. We wish success to all graduating professional artists and courage to operate in the rapidly changing world as active artists and proactive social players. We express our warmest thanks to the 18 artists, curator Katriina Rosavaara and exhibition builder Krister Gråhn for this amazing exhibition. We would also like to thank our partners, the city’s exhibition team and student trainees as well as everyone involved in setting up the exhibition for their enthusiastic efforts for this exhibition. The Arts Promotion Centre Finland and Serlachius Museums deserve our special thanks for supporting our exhibition and understanding the important role it plays in increasing the visibility of graduating artists in Finland.
Antti Korkka Director of Culture Town of Mänttä-Vilppula Taina Erävaara Head of Education and Research Turku University of Applied Sciences Fine Arts/Arts Academy Marika Holm Lecturer, Project Leader Novia University of Applied Sciences, Fine Arts Eija Mustonen Program Manager, Fine Arts Institute of Design and Fine Arts LAB University of Applied Sciences Fanny Niemi-Junkola Senior Lecturer, Team Leader Tampere University of Applied Sciences D.P. in Media and Arts/Fine Art Study Path Eija Rajalin Lecturer, Team Leader Lapland University of Applied Sciences Visual Arts Matti Velhonoja Head of Teaching Satakunta University of Applied Sciences School of Fine Arts Kankaanpää
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INVISIBLE MOUNTAINS
What is it like to be a young artist in these times? What do they want us to see? Just as we expected the new normal to begin – the waves of the coronavirus epidemic and isolation were followed by the freedom we were all waiting for – instead we now have a new crisis and new threats. Russia attacked Ukraine. A war broke out in Europe, and it is still going on. Arts students graduating in the spring of 2022 have completed most of their studies remotely due to the pandemic. How does this time in isolation affect artistic thinking and works? Do the works have something specific to this time in them? Never before has art been taught and learnt relying solely on remote connections for several months. I have been deeply worried about the coping of students during the exceptional times. I would like to thank all the graduating professional artists whose works I have had the pleasure to enjoy. I admire your perseverance that has allowed you to finish your studies, complete your theses and present them among all of this. Congratulations! The exhibition website contains links to the websites of each artist who has participated in thesis exhibitions. This is
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our way of giving visibility to all artists who are about to graduate from a university of applied sciences. Please visit their sites and see their work! How is the present day portrayed in modern art? The present is panoramic, and we cannot see it at a glance. Instead, we can let our eyes roam the surrounding reality. In the final thesis exhibitions, the artists brought up several topical themes, such as the climate crisis, biodiversity loss and anxiety about the future. Utopias and dystopias. Questions on gender, discrimination and sexuality. Feminism. Timeless reflection on working in relation to the fine arts traditions, methods and materials. The works searched for new ways of co-existence and routes to other people. Interaction and the warmth created by being near other creatures through artificial realities and digital platforms. Feelings they had and did not have, feelings they longed for and recognised. What is the position or mission of art right now? In uncertain times, it is natural to seek security. Places – true or imaginary – that help us keep a feeling of control while we develop and construct them. Immerse oneself in work, move away from the troubled times. Wander deep into
a forest. Find a hidden safe place and become part of nature. In these works, nature gives perspective and offers alternative points of view. Maybe working on the final thesis allowed the students to navigate through the emergency conditions? Despite the exceptional times, the necessity to create art remains. The flow of working can lift you up, even when everything else seems to be going downhill. The reality of art, where everything is different and usually possible, is located only a few pencil strokes away. Working is searching, thinking, striving forward and making the unknown future visible. Looking up. Finding hope.
“This is the era of just redemption we feared at its inception. We did not feel prepared to be the heirs of such a terrifying hour but within it we found the power to author a new chapter. To offer hope and laughter to ourselves.”* * Amanda Gorman The Hill We Climb, 2021
Looking at the timelines of general history and art history side-by-side, one can find connections between social phenomena and the themes discussed through art. Some things become visible – or we want to see them – only in retrospect. Being an artist means having the courage to make the invisible visible and show it to others. In January 2021, US poet Amanda Gorman climbed the Capitol Hill and described what she saw to the audience. Her work merged art with reality, allowing us to witness the inauguration through it.”
Katriina Rosavaara Curator, Fine artist
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ANTTI ALAVILO 1992 | Satakunta University of Applied Sciences
“Third Utopia” is a process. A process that has been completed but that might still continue. My work is refreshing in its neutrality. I do not try to be persuasive, address difficult topics or make social commentary. My work is immersive, offering a momentary getaway from troubles. The most striking feature of the work is its unusual size considering the technique. Another unusual detail is the hundreds of small proofs alongside the giant plates. My work is about enabling each spectator to find and construct their own story. To come up with their own dialogue. To create their own image. “Third Utopia” is a massive piece of art, which offers something for everyone while serving nothing to no-one.
Time is a tangible element of Antti Alavilo’s work. Creating the piece took countless working hours. The work is a fully new world in which the artist could immerse themself in with their engraving tools. The result is coherent and controlled but also edgy and surprising. Relief printing is typically regarded as a small-scale technique, but Alavilo’s piece challenges this notion by expanding from the walls to the floor.
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The Third Utopia 2022 Woodcut Birch plywood, wenzhou paper 7 x (122 cm x 244 cm)
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AINO APPELGRÉN 1997 | Lapland University Of Applied Sciences
I am a curious and sensitive 24-year-old visual artist from Sea Lapland. Fine arts and creative art have been my hobby since childhood. Art is in my blood. I come from a family of artists where culture and art have always been an important part of our life and identity. Art has helped me to express myself and my environment. Trying new techniques and painting tools is close to my heart. I love stepping out of my comfort zone to develop my artistic expression. My passion is to create art that emits the presence of a human or animal soul and makes the spectator stop and think about the work and its creative story. It is important for me that the work resonates with the spectator.
TOIVO In my thesis, I created my own visual observation of the original photo following the style of photorealism. I examined and practiced dimensions, layout, contrast, three-dimensionality, vividness and photorealistic result in my work. I chose a photo of my grandfather, because I want to honour and cherish his beloved memory. I hope that the spectators feel the same warmth and love in his eyes that I felt when I was with him. His precious memory lives within me and continues to support me in life. Let’s cherish our grandparents!
Aino Appelgrén’s work approaches time from the perspective of human life. It moves from the grandfather’s childhood to the artist’s future. The grandfather’s gentle gaze towards the grandchild behind the camera is accurately recreated on the canvas. When painting the piece, the artist looked into eyes that carried and encouraged her forward. This warmth radiates from the work.
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TOIVO 2022 Layering Oil on canvas 65 x 81 cm
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ANNINA BJÖRKSKOG 1993 | Novia University of Applied Sciences
I chose to work with nature in my thesis, because nature is the most important thing in my life. Humans are part of nature, and I feel like we have lost our connection with nature in modern times. I have depicted animals with my art for a long time, and in particular, the barn owl (Tyto alba) has a special place in my heart. Along the years, I have started to see it as a symbol of myself. My work also focused on medicinal plants and herbs, because they are important to me and related to my chosen lifestyle near nature. With this work, I want to show others that these herbs can be used in daily life, while also creating something beautiful to look at. Harmony is an important element in my art, and my works are full of details.
Annina Björkskog’s drawings and sculpture depict the shared values of the artist and time in confident strokes. Humans as part of nature, nature as part of humans. How much do we need local nature and the opportunity to roam the woods, and why is it important to protect biodiversity? Somewhere from above, a barn owl – one of our contemporaries – is watching us.
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Tyto Alba 2022 Sculpture Acrylic on paper maché 30 x 36 cm
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IISAKKI HAAPALEHTO 2000 | Lapland University Of Applied Sciences
In my thesis, I examined the design and manufacturing process of skateboard graphics and different printing methods. The result was two stylistically different but thematically harmonious skateboard graphics. I used my own EYESACK brand in the skateboard design, meaning that I placed the logos and texts as I would if I were designing the board for another brand. Visually, both of the designs have a slightly mysterious raven theme combined with the EYESACK logo. Crowcaller was designed as a symmetrical Popsicle, and Nox Corvi is in Old School format, which has a broader, more fish-like shape.
Iisakki Haapalehto’s skateboard designs combine the line drawing tradition with skateboard aesthetics in an interesting way. In skateboards, unlike, for example, in snowboards, the graphics are hidden under the board, which means they can be examined in detail only when the board is not used. Skateboard graphics change over time when the board is in use. They wear out and have new lines, dents and scratches on their surface.
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Nox Corvi 2022 Digital painting Digital transfer on skateboard 10 x 33 inches
Crowcaller 2022 Digital painting Digital transfer on skateboard 8.5 x 32.25 inches
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HELI JAUHIAINEN 1996 | The Arts Academy of the Turku University Of Applied Sciences
BUILDING YOUR DOUBLE Observe, take measurements, design pattern. Interpret, cut, sew, combine. Undo, start over and analyse. Wait, wait, wait, wait, wait. Forget and let go. Find again, combine again. Pass on your emotions that are infected with memories and forgetfulness. Recreate your tension and appearance, accept the reciprocity. Don’t forget to save. I create myself anew, I build my own double. I observe myself from the outside, examining the feeling of being on the outside and alone. I build myself a double. A friend who comforts me and keeps me company.
In her work, Heli Jauhiainen has created a robot-like double for herself. The work is well-executed with a variety of techniques, and it blinks its empty eyes with a click. It is the other me. Someone who is always present, but separate. Because of the isolation requirements brought by the pandemic, loneliness has increased over the last few years. The presence of another human being cannot be replaced, but could the presence of an artificial being be comforting when human contact is not possible?
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Repeatedly at the same, but different time elsewhere 2022 Installation Fabric, wadding, servo motor, wood, acrylic paint, epoxy resin, steel, electric cord, snap fastener, chair, velvet curtains, animation 140 x 280 x 300 cm
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VENLA KIVELÄ 1993 | The Arts Academy of the Turku University Of Applied Sciences
My paintings start with collages that are based on material from magazines from different decades. Building a collage is an unplanned and fast-paced process. The cut-out images show me where they want to belong to. I found the material for these works in old porn magazines. The collages turned into large oil paintings that mix references to different decades. My work discusses the themes of female representation, sexuality, objectification and the body. I like the conflict created by contrasts. Things that are typically considered beautiful combine with dark, carnal elements in my works.
Venla Kivelä’s paintings represent bodies and genders as carnal, abundant and active. As the decades change in the images, the woman – who was first seen as an object of the gaze and desire – takes control in her own hands. Times are changing. The artists processes their background material and arranges it in a new way by painting something that was not visible before.
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Venus Voluptuous 2022 Painting Oil on canvas 160 x 105 cm
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MARKO LANKINEN 1994 | Satakunta University of Applied Sciences
My works study iconoclasm as an artistic method. After my works were “completed”, they went through a transformation where I violently broke apart their visual elements. I scraped, distorted, wounded and destroyed the surface of the image with knives, turpentine and my own nails. The original work became mere material, and the moment of destruction was the true moment of birth. By destroying the old work, I created something new that had a new meaning. Ecstatic beauty is revealed from under the skins of these martyrs. In Divine Countenance, the polished copper mirror raises the spectator to the place of the Christ.
Marko Lankinen’s work borrows from and makes reference to the history of art, but it is strongly present in contemporary times. The destroyed surface opens up space for the spectator. It could be a mirror of loneliness or an opportunity to see oneself in the other. In the era of selfies, it works like a traditional photo stand-in where the spectator places their own face in the picture to be captured in a photo.
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Divine Countenance 2022 Oil painting Oil on copper 29,7 x 42 cm
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JANNA LINDFORS 1998 | Tampere University Of Applied Sciences
Although death is a natural part of life, it might feel difficult to process and understand. Death can be sudden, and we do not know what will happen after it. The threat of loss is present in our daily lives – even in the happiest moments. A child may process fear in different ways, but the same themes stay with us through life. Illan tullen – As the Evening Falls – is a stop motion animation that approaches death from three perspectives: a story told by a family member, childhood memories and through collected from strangers. While death is the main theme of this work, its other important themes are life, fear, and the ways in which the human mind processes difficult but natural things.
Janna Lindfors’ work discusses a threat that has also been common during the pandemic: death. An invisible mountain that came so near that it made us comply with strict isolation instructions and restrictions. In the midst of the fear and insecurity, we needed something we could nurture and take care of. Many found this in pets. The delicate work invites the spectator inside a tent, which is like a hut built on the nursery floor. Could there be a safer place for pondering the limitedness of life?
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As the Evening Falls 2022 Video installation Everyday objects 500 x 210 x 420 cm
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HELI LUNDSTRÖM 1981 | The Arts Academy of the Turku University Of Applied Sciences
Typical themes of my works are the body, manipulation of memories and change. I build a mycelium around my memories and question the truth. I use a variety of methods, including painting, sculpture and installation. I try different materials and combine them without limitations. Canvas, paint, ceramics, glass, recycled materials. Different surfaces and textures remind me of skin and tissue. I shape something that feels familiar but at the same time allows me to play.
Heli Lunström’s piece shows its wild and playful side. Soft and hard, cold and warm, shiny and fluffy, abstract and representational. Lundström constructs the post-truth era abundantly, through contrasting materials and content. Exceptional times. Skinless times. Longing to be with others. Maybe it is also about the artist organising the elements of the work in relation to the space and each other?
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Ohuiden viipaleiden tarjoiluehdotus 2022 Installation Ceramics, fabric, burl, copper tube, cotton
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LAURA MANNINEN 1995 | LAB University of Applied Sciences
These watercolour paintings on canvas address emotional memories and nostalgia during the golden era of manga in the early 2000s. The works contain references to manga and depict the fan culture at a time when manga was a new phenomenon in the Finnish youth culture. For many, manga is a nostalgic and important media that can even serve as the basis for their artistic identity. With these works, I want to evoke my teenage memories and embrace an important phase of my life that I still carry with me.
Laura Manninen looks back to her youth to find the roots of her story as an artist. The paintings are strongly rooted in contemporary art. Figurativeness and contemporary details combine with universal themes of growing up. The rug-like design with the stand and tassels gives an element of surprise to the work. The timeless power and impossibility of being a girl are expressed as form.
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Still With Me 2021 Watercolour and ink Watercolour and ink on canvas 60 x 50 cm
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MARTTA MERILÄINEN 1996 | The Arts Academy of the Turku University Of Applied Sciences
Countless strokes form different animal shapes in my works. These animals, including humans, fuse and transform into shapes that are both statue-like and dynamic. Drawing is a fascinating technique, because it shows the movement of the creation process concretely in the works. Up close, the surface of the paper can be examined from the perspective of rhythm created by the strokes, but seen from afar, we see an image that we each interpret differently.
Martta Meriläinen’s works show movement and touch through the strokes. How is nature part of us? Humans are depicted as part of nature’s forms, other animals and a unique and rich biodiversity. Interaction between species, rights and power structures are strongly present in our times. In these works, the light and vivid line, carefully crafted cut-outs and hanging solutions show how much valuable time the artist spent with the work.
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Look how it 2022 Drawing Felt tip pen on paper 114 x 190 cm
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ISABELLA PRESNAL 2000 | Tampere University Of Applied Sciences
Before the 1920s women thrived in the blooming film industry, but Hollywood became male-dominated and to this day the assumption is that the industry has always been run by men. FEMALE is a documentary that investigates where women are today if they’re not in Hollywood, and why women are more likely to be relegated to their gender than any aspect of their actual work. It’s not only about Hollywood inequality, but more on independent filmmakers and digital creators. The film shares the experiences of a multitude of women in various positions, at different points in their careers, and across changing platforms.
Isabella Presnal’s documentary film depicts the change of time, values and attitudes through interviews. In the film, the director’s gender is a visible and invisible mountain that some still refuse to acknowledge. This is a global phenomenon that changes slowly, but it is still changing. Presnal’s work is an accurate and topical representation of the current situation.
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FEMALE Why not just filmmaker? 2022 Video documentary Video projection Photo: Jonathan Carey
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JUSSI RONKAINEN 1988 | The Arts Academy of the Turku University Of Applied Sciences
Valopiirturi – Light tracer comprises machinery that measures light in the space and generate graphics based on it, as well as light reflected on a paper that changes as the light in the space changes. With this work, I discuss light, seeing, observation and the desire to understand through references to photographic techniques and history. In particular, I was interested in the connections between photography and the history of various graphic representations and the instruments used for producing them. I also examined the poetic dimension generated by the work in context as a result of unpredictability and seeming control.
In Jussi Ronkainen’s work, changing light holds the pen. The device draws the day with unique, winding lines of ink on paper. The movement is jerky, reminding us of an attempt to build company for lonely days. The pen that moves on the paper behind one’s back creates an illusion of having someone else in the space.
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Light tracer 2022 Electronics, thread, ink, wood, technical pen
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ELIZAVETA (FRANKIE) SLEPTSOVA 2002 | Novia University of Applied Sciences
This work represents the creative power that every human possesses and that is best expressed through art. The artwork consists of as many dimensions as possible. It starts with a story, with a written background. It continues through a 3D reality, where the landscape of a fantasy world from the story was created. With the real-life model of that landscape, the work moves into a physical dimension, and that dimension gives life to the paintings. Every piece of the work represents an aspect of a reality that art can create.
Elizaveta (Frankie) Sleptsova’s work builds reality in concrete terms through artistic creation. The miniature and paintings make another time and dimension visible using traditional fine arts methods. The work reminds us of the artist’s power and possibility to enable everyone to see and experience something that used to be visible only to the artist.
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The model 2022 Miniature Mixed media
The power to create reality 1 2022 Painting Tempera on canvas 100 x 80 cm
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TINO UIMONEN 1999 | Satakunta University of Applied Sciences
These pieces are mainly about processing and representing different emotions. The ghost figure is relatable, and its eyes function as the mirror of the soul. I wanted to include something of myself in the work, although I did not realise this at the time of creation. Only after their completion, I saw meanings that I had been subconsciously thinking the whole time. The pieces are also experimental in a way, because I was testing different techniques during the process. Although the pieces are based on plans, I gave myself permission to deviate from the plan and use my intuition.
Timo Uimonen’s paintings start from emotions and makes references to the history of art – sometimes maybe subconsciously – which makes them feel fresh. The field of sunflowers under a red sky seems to capture the fear caused by the war in Ukraine. However, the artist painted the piece last year, which means that they must have been thinking about something else entirely. The works are at the same time gentle and fierce, which makes them fascinating.
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Feeling Alone In The Field Of Flowers 2021 Mixed media Acrylic and oil pastel on mdf 120 x 80 cm
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MILLA VEIJALAINEN & SUSANNA SALMINEN 1998 & 1995 | LAB University of Applied Sciences
The theme of the work is the interaction between two realities. We implemented the virtual element of the work in the Second Life video game by having coffee in a garden as virtual characters. The physical element is a performance where we sit on garden chairs, watching the virtual characters before us. The nature of the performance is halted and momentary. The starting point for the work were our similar childhood experiences and shared interest in video games. We are interested in examining the overlapping of virtual and physical realities in our daily lives.
The work by Milla Veijalainen and Susanna Salminen depicts the alternative reality constructed on a video game platform as a means of social contact at times when we could not meet each other in person. However, the boundary between the virtual and physical existence is not an easy meeting place, because the realities tend to move in different directions. In the work, the artists look at themselves watching themselves. What could be a more apt description of our times?
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Samassa hetkessä 2022 Performance, video installation, Second-Life video game Projected video, garden chairs approx. 250 x 300 cm
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SEYOON YOON 1998 | Tampere University Of Applied Sciences
Rush me like water, I’d be happy to be drowned intends to stimulate visual sensation and explore the pure, delicate emotion arising from the feeling of love. The artist attempts to create a visual language of young romanticism that embodies aspects of Korean traditional art alongside contemporary art methods. The artist’s cultural background has been the most significant technical inspiration for the artwork. The painting is visually presented as a reinterpretation of 무릉도원 (mureungdowon). The meaning of 무릉도원 (mureungdowon) is the concept of Utopia in East Asian culture. The artist chose to utilize the five-panel painting inspired by the folding screen method; this was to interpret love as emotional isolation. The folding screen was a tool for separating spaces. It has also been used for the ornamental purpose as people painted or wrote their desired hope onto it.
Seyoon Yoon combines Korean artistic traditions with contemporary art through the artist’s working methods. In this work, tradition is seen as the time when the artists lived and worked and topics that are addressed by new generations of artists with their own methods. The panel-like structure of the artwork also makes one think of the other side of things. Could we go behind the panel to wait for the new normal? The thought of love as emotional isolation is fascinating.
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Rush me like water, I’d be happy to be drowned 2022 Acrylic painting Acrylic on linen 40 x 100 cm (*5)
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UNIVERSITIES OF APPLIED SCIENCES TEACHING FINE ART
LAB University of Applied Sciences, Institute of Design, Degree Programme in Fine Arts
Tampere University Of Applied Sciences, Degree Programme in Media and Arts, Fine Art
The fine arts education provided in Lappeenranta covers various forms of art: graphic art, painting, photography, sculpture and art jewellery as well as new art forms such as public art. In addition to traditional techniques, new materials and technologies are also very much included in the teaching.
The English-language Media and Arts degree programme includes the following three study paths: Fine Art, Music Production and Interactive Media. The studies offer content in various areas in the field of art. The degree programme offers both BA and MA degrees.
Lapland University Of Applied Sciences, fine artist training The focus area of the fine artist training of the University of Applied Sciences provided in Tornio is the use and application of digital tools and environments. As a fine artist, you create visual artworks and make them available to an audience. Fine artists working with digital images take advantage of digitalisation as a change, a social phenomenon and a technique. Satakunta University of Applied Sciences, Kankaanpää School of Fine Arts Kankaanpää School of Fine Arts is a centre of expertise in fine arts that trains fine artists in the field of contemporary art. The city and the surrounding nature offer an inspiring starting point for the careers of young, talented artists.
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The Arts Academy of the Turku University Of Applied Sciences The fine arts education provided by the Arts Academy continues the legacy of the Turku School of Drawing, founded in 1830, by training new fine artists. The degree programme is part of the Arts Academy’s multidisciplinary offering and provides good foundational knowledge and skills for working as a fine artist. Novia University of Applied Sciences, Degree Programme in Fine Arts Novia University of Applied Sciences operates in Vaasa, Turku, Raseborg and Jakobstad. Novia is Finland’s biggest Swedish-language university of applied sciences. Novia offers high-quality education based on the needs of work life for undergraduates and postgraduates. The Jakobstad campus focuses on visual arts, graphic design, performing arts and music.
PARTNERS
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CURATOR
KATRIINA ROSAVAARA Katriina Rosavaara (MFA, MA Art and Design) is a curator, visual artist and writer, who is interested in time, memory and the blind spots of history and present. Hidden, forgotten and pushed aside. Shadows, memory, archives and minorities. All the things that you miss at first glance or the things that happen so slowly that you cannot see them. As a curator, Rosavaara wants to promote a more equal world of arts and sustainable practices. To use the curator’s power to give visibility with an aim to encourage diversity in the contemporary art world and make more and more individuals feel welcome to join it. Currently Rosavaara is the project manager for the vision work for the visual art education at the Academy of Fine Arts in The University of the Arts. In her career as a visual artist, Rosavaara has taken part in collaboration art exhibitions in Finland and abroad. Her previous private exhibition, “One Day I Will No Longer Exist (1918)” was held in Gallery Elverket in Tammisaari in 2018. In addition to producing her own art work, Rosavaara has worked in various projects promoting the status of artists and acted as the art director of the “Suomi 100 – Sateenkaaren väreissä” project. Rosavaara’s latest picture book, Leijonankesyttäjä (WSOY), was published in February.
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EXHIBITION PRODUCTION
PRODUCER Town of Mänttä-Vilppula Culture and tourism services Antti Korkka
CURATOR Katriina Rosavaara
EXHIBITION TECHNICIANS Krister Gråhn Markku Koskinen Janne Sampo
SERVICE TEAM Sampo Koivula Ville Laitinen Frida Rauske Karoliina White
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Mänttä 10.6.-28.8.2022
NÄKYMÄTTÖMÄT VUORET INVISIBLE MOUNTAINS
