© SIC & artists 2016

Opening hours:
Thu– Fri: 2 – 6 pm
Sat – Sun: 12 – 4 pm

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Kopioitu
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23/08/2013 - 12/10/2013


Felicia Atkinson, Olli Keränen, Bitsy Knox, Maija Luutonen, Kalle Leino, Konsta Ojala, Jurgen Ots, Benoit Platéus, Sauli Sirviö, Timo Vaittinen and Laura Wesamaa

Curated by Komplot and Aura Seikkula

Hosted by Komplot (Brussels) and SIC (Helsinki)

Exhibition at SIC, Helsinki
Opening: Friday 23rd August / 6 - 9 pm
Until 6.10.2013

Exhibition at KOMPLOT, Brussels
Opening: Friday 6th September / 5 - 10 pm
Until 12.10.2013

KOMPLOT Opening hours: Frid. - Sat. / 2 - 6 pm
295, Avenue Van Volxemlaan
B-1190 Brussels

Images from the exhibition at SIC


Felicia Atkinson: The Tempest, mixed media


Bitsy Knox: Untitled (Les Voisines Impolies)


Konsta Ojala: ceci n'est pas une bong, 23 x 27,8 cm, pencil on paper


Maija Luutonen: Nature Is Relentless, 2 X 140 cm x 118 cm, spray-paint on paper to the sound of Umbrella (2008) by Rihanna


Olli Keränen: Random Soulful Objects, dimensions variable, two Nike shoe boxes, sound: two channel asymmetric loop


Benoit Platéus: Robbery and Angel, photographic print


Kalle Leino: Self-portrait, 50cm x 40cm, oil on canvas


Laura Wesamaa: Untitled, dimensions variable, wood, plaster, drawing ink, body paint, print


Timo Vaittinen: Highway, 175 cm X 145 cm, 42 X A4 xerographic prints, asphalt


Sauli Sirviö:Suspicious minds, photographic print 200 cm x 133,3 cm, framed newspaper 45 cm x 35 cm
The highlighted text in the newspaper: "When is Helsinki going to start asking pavement rent from beggars and accordion players? By the way, gold and bronze statues are beggars as well.
-Anonymous"


Jurgen Ots: NA PO LE ON


Bitsy Knox, Untitled (Les Voisines Impolies)

Images from the exhibition at Komplot, Brussels


Bitsy Knox: Untitled (through the chink in the wall)


Kalle Leino: Self-portrait, oil on canvas


Benoit Platéus: Robbery and Angel


Timo Vaittinen Highway, xerographic prints, asphalt


Timo Vaittinen, Highway, detail


Konsta Ojala: ceci n'est pas une bong, pencil on paper


Maija Luutonen: Nature Is Relentless, spray-paint on paper to the sound of Umbrella (2008) by Rihanna


Olli Keränen: Random Soulful Objects, two shoe box-sized plaster casts, sound: two channel asymmetric loop


Felicia Atkinson: The Tempest


Felicia Atkinson, The Tempest, detail


Sauli Sirviö: Suspicious minds, photographic print, framed newspaper
The highlighted text in the newspaper: "When is Helsinki going to start asking pavement rent from beggars and accordion players? By the way, gold and bronze statues are beggars as well.
-Anonymous"


Laura Wesamaa: Untitled, plexiglass, plaster, drawing ink, body paint, print


Jurgen Ots: NA PO LE ON


Bitsy Knox: Untitled (Les Voisines Impolies)

Cut/copy as a secession from site-specificity

A literary approach to the dichotomy of an original and its copy is needed here. Our labor heads towards a plural presence of objects in a given non-continuous space; we aim to build temporary living spaces on an island and in a former forest, but the traces of this experience are unpredictable. Site-specificity is questioned, as well as the increasing demand of tailored art practices providing for projects, art spaces, towns and neighborhoods:
-Could you please make something here, from here, for here and about here?
-But, darling, there are Mc Donald restaurants on every main square!

No precise orders will be given regarding the site-specificity question, so the epicenter of this experiment is a consideration of a larger totality, profoundly linked to the contemporary art practices and structures in the European emerging scene nowadays. The long term art production processes in the oeuvre of an artist, or even the artist seen as a factory/company are questions that lay deeply in the concepts previously enunciated: original/copy.

Double negative is a new economy of production

Considering sculptures as arranged objects that produce awkward compositions questions the great lack of dissident presences in the clean European streets crossing and forming in ninety degrees. This specific regard to the artwork conducts our own ecology of means and disputes the consideration of the archive. A tight production budget will cover people's living, and a tighter one the double negative production: twice the same, but not exactly; two copies where you won't find an original; being indexed twice in a couple of debutant archives; goodbye Fed Ex!

Creating a double exhibition, a mirroring situating or a splitting divergent show between Helsinki and Brussels is a challenge. Do not expect to find two resembling Hollywood sceneries, but accept that the multiple interests and conditions in these two sites will define each copy of the show, the available mediums will enable the content.

The transportation of artworks will be avoided in all parts of the process, which will conclude in the construction of an archive or a document that allows to reproduce the exhibition to the infinite. All the works produced in Brussels will stay there, and so will those made in Helsinki for archive and reproduction possibilities for the artists to do a new copy anywhere else, something like the PDF file you need to reprint this text.

www.kmplt.be

www.finncult.be

Kopioitu has been initiated by the Finnish Cultural Institute for the Benelux

Supported by Fédération Wallonie-Bruxelles, Gemeente Vorst, Finnish Cultural Institute for the Benelux, COCOF (Commission Communaitaire Française), Loterie Nationale, WBI (Wallonie-Bruxelles International), Ambassade de Finlande à Bruxelles, Embassy of Belgium in Helsinki, HIAP, FRAME (Visual Art Finland) and Arts Promotion Centre FinlandSupported by Fédération Wallonie-Bruxelles, Gemeente Vorst, Finnish Cultural Institute for the Benelux, COCOF (Commission Communaitaire Française), Loterie Nationale, WBI (Wallonie-Bruxelles International), Ambassade de Finlande à Bruxelles, Embassy of Belgium in Helsinki, HIAP, FRAME (Visual Art Finland) and Arts Promotion Centre Finland