Research Catalogue

This is an exposition presenting the project Year of the Rabbit, which took place on Harakka island off Helsinki in 2011 and was presented for the first time in Gallery Jangva in 2013.

This is an exposition presenting the project Year of the Tiger, which took place on Harakka island off Helsinki in 2010 and was presented for the first time in Gallery Jangva in 2012.

This exposition documents my explorations of pondering with pine trees. Tämä ekspositio dokumentoi yritykseni miettiä mäntyjen kanssa. Den här ekspositionen dokumenterar mina försök att fundera med furor.

This video essay discusses how contemporary artists might directly address some of the philosophical and political challenges of a material approach to instrumentality through creative practice. I present and discuss the practical approaches taken by musicians who create and collaborate with instruments as a central part of their work: Khabat Abas and Sam Underwood. In examining their creative practice both creating and working with musical instruments, I examine how these artists navigate the agential and material aspects of the instruments and systems they create, in parallel with the conceptual ideas that they bring to and derive from such systems.

Andy Birtwistle’s introduction to this special issue addresses the question "what is sonic materiality?" by examining how both "new" and "old" materialisms offer productive frameworks for conceptualizing sound's material dimensions. Drawing on work by Cox, Voegelin, and Cobussen, alongside critiques from Goh, Thompson, and Campbell, the article proposes understanding sound's materiality through texture, temporal flow, and spatiality. By engaging with Structural/Materialist film theory and creative sonic practices, Birtwistle discusses how materiality intersects with aesthetics, agency, and ethics in sound. The introduction argues that exploring sonic materiality opens new avenues for understanding sound across environmental soundscapes, artistic practices, and cultural contexts.

Is the reality perceived by someone with dementia less real than our own? Can photography give authority to this alternate reality? This research, sparked by my newfound relationship with my dementia-affected grandfather Raymond, investigates the family album - often perceived as an unquestionable document - in order to uncover its ambiguities and to question photography in itself as the most trustful record of reality. The inaccuracy of a medium that aims for objectiveness and is perceived as the bearer of truth, leads me to focus on three different ways of approaching the family archive (collection, editing and manipulation) and the relationship between mortality and memory. By using a mix of photography and photogrammetry, Ray's distorted memories - as he recounted them during his illness - became new images in order to materialise his present parallel truth. Alongside this dreamlike everyday, what has survived of Ray's past is contained in a briefcase: 254 photographs that have been transformed into postcards, travelling keepsakes, ready to be sent. If photography is in itself unreliable, why should the reality of a person who has lost his memory be any less real than our own?