Research Catalogue

Design for interactive art installation with urban regeneration proposal, as well as video about environmentalism and our technologically mediated private and public lives; installation catalogue design with photography and textual collage, 2021-2023. "There is a massive abundance of goods that end up in landfills. With such abundance of goods, no one should be deprived." Visitors will have to leave an unwanted item of theirs and take another to collect the installation catalogue. The installation will be monitored for this purpose. Designed with Wi-Fi light technology for agility training, the interactive floor in the entrance will be controlled by the visitors through a tablet computer that will allow them to select the difficulty level. The exposition offers a critical viewpoint to the contemporary gallery-mediated commercial environment by making reference to the non-monetary economies of artistic and cultural production. Art "is an instrument of war for attack and defense against the enemy". The enemy is whoever exploits their fellows out of egoism or personal interest (Pablo Picasso). With summary and questions about David Murakami Wood's article "The Global Turn to Authoritarianism", 'Surveillance and Society', (15), 3/4, 2017: 357-370.

In this exposition I invite you to reflect on a part of my artistic research: the screen capture. The aim is to reconsider this little-explored practice by artistically transforming original images through a double variations in post-production. In this artistic research I also use experimental software and unconventional methods to carry out images from videogames. At the same time these methods engage with the European regulations about copyright and American fair use policies. While the extraction of images from three-dimensional, copyright-protected spaces is often restricted, it can sometimes be permitted when used creatively.

What is OASIS? Does it have a spiritual dimension,or is it something temporal that is shaped by social relationships and achieved collectively? It is about the collective, inclusion, a place of relaxation? Does it have to be about proximity between people or a total isolation in a safe domestic environment and introspection? What happens if, within our social fragility, we leave our personal oasis and enter the public realm, where we are exposed under the gaze of others? If we decide to carry with us , even if it means symbolically , our personal domestic objects that make us feel secure and present , as a shield against the uncertainty of the outside world? Is this the answer?

This exposition reflects on the phenomenon of the public transport stop as a metaphorical framework for the condition of migration and the figure of the waiting individual. By centering the act of waiting, this research examines how mutual understanding and cultural translation unfold within intercultural encounters. The bus stop serves as both a physical site and a symbolic threshold, a space of transition, suspension, and projection toward an uncertain future. Within this context, the project traces the transformative phases of subjectivity experienced during emigration, emphasizing the temporal dimension of waiting, expectation, and the tension inherent in moments of immobility. The final installation is situated directly within the public sphere, specifically at bus stops, where the object destabilizes the everyday rhythm of transit. By oscillating between staged intervention and authentic environment, the project foregrounds the paradoxical beauty of stillness, alongside the latent unease of anticipation.

This exposition introduces an experimental framework for acquiring the “inner power” improvisation associated with 19th‑century non-literate Karelian kantele players. While their precise thought processes remain unknowable, it is clear they did not focus on finger control. The method emphasizes internalizing traditional plucking patterns without sheet music, allowing subconscious decision‑making to guide improvisation. Stepwise learning of increasingly complex patterns enables musicians to combine and vary them freely, creating a continuous flow of tones in which the player becomes part of the sound field. Contemporary practice thus reconnects with what kantele players once described as “playing their inner power” (“soitan omaa mahtia”), a style later termed “Quiet Exaltation” by folk music researcher Armas Otto Väisänen.

We are pleased to announce the release of HUB - Journal of Research in Art, Design and Society, Issue #5 Duration? Dur(action)!. Guided by the collective of guest editors PÁR-A-GEM, this edition offers in-depth explorations of the intersections between media, temporality, and embodied artistic research.