Fading Smoke


A performance event organised by Hiroko Tsuchimoto. Food & mingle afterwards!
Thursday, 29 October at 7-9 pm.
at Technobothnia, Bomullgränd 3 / Puuvillakuja 3, Vaasa
No admission fee
(Better life and better future)

It is over 400 years since our belief converted from divine providence to the development of technology. We have extended human capacity and successfully got rid of everyday’s fear of nature. With no doubt in the concept of progress, we have composed the infinite mission to be “better” than the past, and constantly updated our hope for the future.

(Past and future in Brändö)
fading smoke is an art project by Hiroko Tsuchimoto, in which she summarises her one-month residency in Vaasa. Her focus is the social impact of transitions in Brändö during the intervening quarter-century, -from cotton to knowledge industry. She chooses an old factory site as a stage and invite the audience to a site-specific performance. In this project Tsuchimoto comments on the universal purpose of our lives -”progress” and presents hidden question mark in the city narrative. This leads to an open discussion about the future of the island as well as our global economic system.

This project is a collaboration with Platform, Vaasa Museum of Labour and VAMK: University of Applied Sciences.
Graphic design: Nallebjörn
Food creation: Raawka
Reference: Ehrström, P. 2010. Från Bomull till kunskasindustri. Vaasa: Scriptum
Hiroko Tsuchimoto (b. Sapporo, 1984) is a visual/performance artist, living in Sweden since 2008.


She began her career at Musashino Art University in Tokyo and went on to study at Konstfack and Kungl. Konsthögskola (Royal Institute of Art) in Stockholm. Since moving to Europe, she has worked with ethnography as a subject matter.

In her art she shifts between grand narratives and everyday stories, highlighting the cultural construction of personal identity. She tells stories about otherness and the will to belong, based on her experiences as an Asian immigrant. This position gives her a bird’s eye view on both the Swedish – and Japanese society.

Her art deals with subjects such as cultural mapping, myths & magic - exploring Eastern & Western folklore, set in a present day context. She often includes a feminist perspective, problematizing traditional gender roles and Japanese politics.

Her goal is to make art that is easy on both critical eyes, and the “disinterested gaze” – creating an aesthetic experience with a deeper meaning underneath.





Platform-Vaasa has a pleasure to invite you to the next 1+1 TALK with MARIA NORDBÄCK AND KRISTINA KRAMER, initiated by Sencer Vardarman, a residency artist of Platform.

Kristina Kramer and Maria Nordbäck will both meet for the first time and talk about their projects and approaches towards participatory practises in artistic production and exhibition making.

Maria Nordbäck describes herself as a community artist. In her often site-specific artistic practise she works with different goups of people. Taking the role of a researcher she investigates different stories and social, political and cultural issues. Norbäck works with different media grouped around specific themes and meanings, ranging from video, photo, performance, installation to, most recently, a board game.

Kristina Kramer will talk about selected projects and past exhibitions that were based on collaboration and participation in a wider sense, such as „On Produceabilty“, a collaboration between alti aylik and nüans from Düsseldorf (Anna Heidenhain, Elmar Hermann, Maki Umehara) that started in 2008; particularly “Methodical Inquiries”, a series of „in-situ discussion experiments“ in collaboration with Adnan Yıldız and Övül Durmuşoğlu; and other projects hosted by Polistar. She will also talk about „even my mum can make a book“, a mobile fanzine and artist book archive that was started together with Gamze Özer and Timothee Huguet. The archive travells through different spaces and geographies and is open to anyone to join.

1+1 talk with Britt Kootstra and Mary Cremin

Platform-Vaasa has a pleasure to invite you to the next 1+1 TALK with Mary Cremin and Britt Kootstra, initiated by Sencer Vardarman, a residency artist of Platform.

The talk will take the format of a conversation between the artist and the curator as a means to explore each of their practices through the use of visuals and exploring the parallels and convergences of their areas of research. They will discuss works in progress teasing out the process of making in terms of exhibition making and the production of artworks. The talk will be informal and will encourage more of an open dialogue with the audience.

MARY CREMIN is a writer, art historian and independent curator based in Dublin. Cremin graduated from University College Cork with B.A. in History of Art and Political Geography (2004) and graduated with a Masters in Visual Art Practice (curating) from the Institute of Art,
Design and Technology, Dublin in 2007. Curatorial projects include Aether, Martin Healy at Oonagh Young Gallery, Dublin (2014), Misadventure Seeks Rainy Afternoon: Sonia Shiel, Oonagh Young Gallery (2013/2014) , Bring in the Noise, Ormston House & Limerick City Gallery (2013) , Lights, Camera, Action!, Temple Bar Gallery & Studios (2012) , Pilgrimage from Scattered Points: Luke Fowler, Temple Bar Gallery & Studios (2011), Sidney Nolan; Ned Kelly Series, IMMMA (2012-2013), Garrett Phelan, IMMA off site NEW FAITH LOVELSONG (2012), Conversations: Photography from the Bank of America Collection IMMA, (2012), Cyprien Gaillard & Koudlam, IMMA (2011). She was Project Manager, Richard Mosse, The Enclave, Irish Pavilion, Venice Biennale, 2013, prior to this she was Project Curator at the Irish Museum of Modern Art. She has produced major exhibitions on Eileen Gray, Lynda Benglis, Francis Alÿs, Carlos Garaicoa, Romuald Hazoumè, Gerard Byrne, and Alice Maher.

She was awarded the curatorial residency in Temple Bar Gallery & Studios, Dublin for 2010/2011, the visual arts curator residency, 2013 from the Irish Arts Council. In 2015, she curated a performance series at IMMA as part of the Summer Rising festival titled In the Silence of the Night including artists writers and experimental music; Ruth Proctor (UK), Sarah Jones (UK), Ella De Burca (Irl) Lee Welch (Irl/US), Sally Rooney (Irl), Dimitra Xidous (Gr), Claire-Louise Bennett (Irl) a n d D o r i t C h r y s l e r ( A t ) . S h e produced the Magnetism; Siobhan Hapaska (Irl), Luck Andrews (UK), Garrett Phelan (Irl), Mikala Dwyer (Au), Aleksandra Mir (Swd), Laura Morrison (UK), Igor Grubic (HR). She is the curator of Dublin City University art collection and is the curator of TULCA Visual Arts Festival, 2015.

BRITT KOOTSTRA (1976) graduated with a B.A. in Mixed Media from AKI, art academy in Enschede (1998-2001), and with a Masters in Fine Arts from the Sandberg Institute in Amsterdam, the Netherlands (2002-2004). Her work shows itself as ‘tableaux vivants’, either on hand processed analogue film or as performance in which seemingly everyday places and events seperate themselves from our world. Since 2009 she lives and works in Ostrobothnia, Finland.

She has shown works and exhibited nationally and internationally. Filmfestivals include AAVE Festival, Helsinki (2014), Toronto Urban Film Festival (2013) and International Film Festival Rotterdam (2010).

Vaasa 20X0

The VAASA 20X0 project culminated on September 3rd 2015 with a public walk visiting eight art works specifically produced for Vaasa. The artworks along the way were presented to the public by the artists. The walk started with the first art work in the public library and the second stop was at the market square statue of freedom and the by the neighbouring Tourist info. From there the walk continued to a seaside spot in front of the Vaasa prison and the last stops were in the park next to the Kuntsi museum and at the silos in the Inner harbour. The walk ended with a film screening and discussion at the Platform studio.


The works have been conceived by artists visiting the Platform residency program during 2014 and 2015 under the working title VAASA 20X0, with the aim to create possible scenarios, visions of and for a Vaasa in the future. The chosen artists took part in a workshop together with artists involved in Platform and other local actors. In the workshop the artists’ practices and interests were discussed, as well as local issues and circumstances for projects. At a later stage the artists returned to Vaasa to have an individual residency and work on their projects that finally were presented on the walk on the 3rd of September.

For information on each project see below.


The walk included works by: Ola Ståhl (Sweden), Wouter Osterholt (The Nederland/Germany), Guillaume Aubry (France), Liliana Basarab (Romania) in collaboration with Tuomo Väänänen (Finland), Hermann Hiller (Germany), Nurri Kim (UK/ South Korea, residency 2013) and Patrik Qvist (Sweden).

Ola Ståhl’s project Eftersläckning shown at the public library in Vaasa consists of an artist book of thirty-nine volumes accompanied by short pieces of writing entitled “Footnotes for a Monument.” Taking as its point of departure, the Finnish civil war and, in particular, the so-called White Terror and the detention camps run by white guards across Finland during and after the Civil War, the thirty-nine volumes seek to address issues around historiography and commemoration. Each page in the volumes represent one victim of the white terror; that is, one person executed or murdered by white guards, or one person dead from starvation or disease in the detention camps.

The volumes are bound in such way that they cannot be opened without being destroyed.They are, in a sense, reduced to their material components: paper and glue. They remain a set of books, but they are also, and at the same time, something other than that; a material book, an abstract mass, or, perhaps, a kind of monument.

The accompanying Footnotes for a Monument take the form of journal entries, compiled by Ståhl during his residency period in Vaasa. The notes move between and weave together citations from newspaper articles, media reportage, philosophy and critical literature, fiction and poetry, personal reflections and biographical events, providing a context for the work and placing the atrocities of the time within the context of the historical foundation of the capitalist state as well as its contemporary increasing global development.


Wouter Osterholt’s work Freedom Temple placed on the market square in Vaasa is a proposal for the construction of a never realized memorial project from right after the Finnish civil war. In 1918 Mannerheim announced a large-scale commemoration project in the form of a Temple of Freedom in Vaasa. The purpose of this building was to glorify the heroic actions of the white army, thus amongst other things concealing the atrocities committed against the socialists. Due to financial reasons the temple was never built, instead the statue of freedom was erected on the market square in 1938. Thinking about the 100th anniversary of the civil war, which will take place in 2018, Osterholt decided to reconsider Mannerheim’s original proposal. A drawing made by Finnish artist Albert Gebhard in 1922 reminds us of how the temple was once envisioned. This drawing was used as the basis for designing the new temple. During a consultation session in 2014 people in Vaasa were asked how they would design this memorial site today. Osterholt then selected one of the proposals to work with, which considers both the history of the Whites and the Reds.


Guillaume Aubry’s project Sad as stones (Vaasa) shown at the Tourist info is an addition to the video “World Heritage Site High Coast / Kvarken Archipelago” screened within the permanent exhibition at the Terranova Kvarken Nature Centre in the Ostrobothnian Museum. It consists of a distorted illustration of the land rising phenomenon, using artefacts and objects found during his residency time in Vaasa.


Liliana Basarab’s and Tuomo Väänänen’s work Walls/The Unseen presented outside the Vaasa prison is an audio installation that is based on workshops made together with inmates of the prison in Vaasa. The aim was to move from particular stories heard in prison to more of a general experience and to give space to several voices through the collective narrative, going back and forth from realistic descriptions to more abstract and conceptual ideas of what prisonment means. The project goal is to talk about the prison not only as a physical space but as a mental projection.

Hermann Hiller’s work And the gull glides hard to hunger over the murky sea for Vaasa, projected on the facade of the Kuntsi museum, deals with the energy of the city. A MegaWindmill is imposed on the facade of the Academill building containing a proposal for the silo buildings. Floodlights illuminating public buildings of the city are used as projectors of shadows created by pre-hung hanger gulls.


Nurri Kim’s film Tender transports us to a sunlit morning in Vaasa, to quietly witness the almost ritualistic washing of a newborn infant and an elderly man — respectively the town’s youngest and oldest residents. Closely following the interaction between the carer and the cared-for, “Tender” reminds us how profoundly we depend on the concern and labor of others. In this short film, Nurri observes and contemplates the passage of time, both in the changes it brings to all of our bodies, and in our continuous reliance on the others around us. By reminding us that we wouldn’t have been here without someone’s care, and cannot in the end survive without it, “Tender” quietly asserts the value of empathy and affective labor. It asks us to imagine how every attentive touch remains with us throughout our lives, embedded, carrying us from our past into the future.


Stunder av / …hetkiä / Vasa

project for Vasa by Patrik Qvist, Platform residency january 2015

Each new place we visit bears traces and crumbs of places previously seen; places where we have
already been, where we feel at home.
The familiar superimposes itself onto the new.
We shield ourselves from the unknown and unexpected by relying on images from our archive;
scents, sounds and outlines of environments where we claim a sense of belonging. We look for
And yet for each new place visited, there is an imperfect match of that which is already seen and that which
is beheld for the very first time. This area…or is it a negative space? – let us call it an overlap: This
overlap holds the greatest potential for sensation in the most literal meaning of the word. The
familiar suddenly calls out for re-evaluation. That which appears new stirs up feelings of
remembrance and recall; uncertain whose. (Is it me or something I read?)

On-site installation, Handelsesplanaden ,Vasa Jan 23rd 2015

The aim of this project is to create a series of interventions in the urban landscape. Short texts
placed on buildings in public spaces with suggestions in two languages- Finnish and Swedish. (With
a possible future addition of English)
Moments of happiness. Moments of burning desire. Moments of indecision. Moments of dire need.
While each text is particular to a specific site / building, it should be noted that the selection is
purely subjective. In terms of urban planning- to ”add value” to a certain neighborhood is usually
done by improvements of infrastructure, housing or commercial interests. These are effective (albeit
usually costly and more often than not disruptive) instruments geared towards what has become a
mantra of an inevitable need for socioeconomic growth. This project seeks to investigate a light
handed way to reinvest in the existing spirit of a place by poetic suggestion.

On-site installation, Kyrkoesplanaden, Vasa, Jan 25th 2015


Invitation to participate in Terry Riley’s In C


Platform is planning to have a performance of Terry Riley’s 1964 classic minimalistic music piece In C in Vaasa on Sunday, March 8th. We would like to invite you to join us in the performance, mostly because it’s such a fun to play in a big group of players and also because Riley himself says that the ideal (though not the only possible) amount of players for In C is somewhere around 35 musicians. More than that is no problem as long as we don’t have to rent an ice hockey arena for the performance.

The piece consists of 53 small melodic patterns, all played in sequence from 1 to 53 as many times as the player wants and whenever he or she wants. Nearly all the patterns are fairly easy, so you don’t need super virtuoso skills to play this music. What you need is the ability to listen everybody around you, some sense of rhythm and decent understanding of how this kind of music develops and works. Of course a very big help is to be able to read music. To In C you can bring whichever instrument you feel comfortable with, electric or acoustic. One guy plans to play the whole thing on his hurdy-gurdy! The performance in March in Vaasa will be at Kuula Institute’s hall, so 1-3 players can just come there and play the grand piano of the venue.

The score and the instructions you find here:

And here’s one version of the piece played by a Danish contemporary music group. You can find plenty of others (better or worse) in Youtube, Spotify and Naxos library:

But it’s said that ”the best performance of In C is the one your local new-music ensemble will give sooner or later.” That ensemble being us this time!

We will have at least one rehearsal for those unsure of their skills and/or for those who just want to play through the passages early enough. Maybe play the whole piece through lightly, too. A little bit like getting the brains adjusted. That would be in February, well before the spring holiday season. Other February rehearsals are optional. On the performance week we should have a rehearsal in Vaasa at least on Friday the 6th for all possible players and on Saturday the 7th at the day time for everybody involved.

This is the only performance now, but next autumn (September most likely) there’s a chance to have a retake on In C with the dancers of Liisa Pentti Dance Company.

So let us know by sending an email to if you or someone you know became interested to participate and join the Platform New Music Forces for this concert. See you all soon, here and there, on soil and in C!


Residency Program


Dear artists of the universe, it’s now possible to apply for a Platform residency. The deadline is 6th of February 2015. Read more here.

In Between the Legs of Strangeness


Platform Live 27.12.2014, 18.00
Mira-talo/huset/house, Kirkkopuistikko/Kyrkoesplanaden 34

Platform will host 5 artists from Stockholm’s Fylkingen, a long-standing venue and artists’s society focusing on experimental work in music, performance, video, film, dance, sound-text composition and intermedia. On Saturday 27th Marie Gavois, Hiroko Tsuchimoto, Sören Runolf, Irina Anufrieva and Per Åhlund will perform at Mira-house in Vaasa. The event starts at 18.00 and goes on as long as necessary. Join us and enjoy some first-class performances and sound pieces!

Free entrance!


Marie Gavois

Marie Gavois is a stage- and visual artist living and working in Stockholm, Sweden. She formulates her work in the fields and material of body, stage, dance, sculpture text and sound.

Staging action, with a visual language speaking in both big and small letters , the word as material became important as a starting point in her work in telling stories.

Marie is part of different artist collectives and initiatives where the artists organize and support independent productions and festivals, programming radical performance- and stage art as well as new music. To have a focus on the concrete local scene and space and an integrated dialogue with its surrounding is an important part of her way of getting on with the art.

Marie does collaborations as well, as a curator for performance art programs in collaboration with the artist Cecilia Germain, the two artists are organizing in Stockholm mainly. Gavois/Germain has written texts as a duo. Marie works with the composer Alexandra Nilsson in a project where the two artists research the voice as an instrument for abstraction, the voice as raw material, power construction and artistic tool together.

The third ongoing collaboration is with the filmmaker Michel Klöfkorn from Frankfurt in Germany, where Maries performative body is presented in moving image.



Hiroko Tsuchimoto

Hiroko Tsuchimoto is a visual/performance artist, living in Sweden since 2008. She began her career at Musashino Art University in Tokyo and went on to study at Konstfack and Kungl.Konsthögskolan (Royal Institute of Arts) in Stockholm.

Since moving to Europe, she has worked with ethnography as a subject matter. In her art she shifts between grand narratives and every day stories, highlighting the cultural construction of personal identity. She tells stories about otherness and the will to belong, based on her experiences as an Asian immigrant. This position gives her a bird’s eye view on both the Swedish – and Japanese society. Through her works she makes gaps in our normality, for self-reflection and external observations. Recent works focus on subject matter such as borders, myths and cultural mapping – exploring Swedish & Japanese folklore, set in a present day context. She often includes a feminist perspective, problematizing traditional gender roles and Japanese politics. Her goal is to make art that is easy on both critical eyes, and the disinterested gaze – creating an aesthetic experience, with a deeper meaning underneath.



Sören Runolf

Sören Runolf has been a member of free improvising group Lokomotiv Konkret (with Tommy Björk, Dror Feiler) for decades as well as Too Much Too Soon Orchestra, Smullotron and Cloudchamber. He has played regularly alongside Mats Lindström, Lise-Lotte Norelius, Johannes Bergmark and many others and is a member of Fire! Orchestra.

He is generally known for his innovative use of conventional instruments, such as the cello and the electric guitar but also uses synth, sampler, contact mics and analog & digital sound processors. He has made music for intermedia projects and dance, and has also been involved in innumerable Swedish and international improvised music constellations and experimental music groups.

Video clip of Lokomotiv Konkret:



Irina Anufrieva

Irina Anufrieva is a dancer, choreographer and performance artist with background in classical ballet and Japanese butoh dance. Educated at SU-EN Butoh Company in Sweden and InZhest Theatre in Belarus. In her work Irina researches physical manifestations in nature and human body, the interaction of all living things with each other, as well as the interaction of the material and immaterial, physical and mental.

Video documentation of solo dance performance VOID presented at The First Forum of Dance and Physical Theatres PlaStforma-Minsk-2013, Belarus.

Video documentation of dance performance Albus (2012) presented at Moderna museet, Sweden, 2012.
In collaboration with Joanna Bodzek (visual idea, costume and make up) and Per Åhlund (music: live electronics).



Per Åhlund

Per Åhlund resides in Stockholm, Sweden where he’s involved in several experimental music-, improvisation- and sound art-projects. His live soundscapes blur the boundaries between noise and music, stillness and hysteria, darkness and light. He create compositions on the verge of dissolving and focuses on mood and texture rather than tonality and rhythm.

He performs live on a regular basis and has the last few years toured with acts like Amber Asylum, ?Alos, b°tong and Origami Galaktika amongst others. He has released several full length albums containing abstract, dark soundscapes with such projects as Diskrepant, Skare and Den Arkaiska Rösten. He has also made music for experimental film and dance.

Live he use contact microphones, gadgets, voice, loops and effects to form abstract sound environments created in the moment. At Mirahuset he will perform a piece together with Irina Anufrieva.

Upcoming 26.10.2014


Almost a year ago, Platform’s artist in residence Daniel Ladnar launched the project “Upcoming”, engaging with the land rise in the Kvarken archipelago and with the constant changes that the planet is going through. It asks people to consider their relation to the future: What would the people of Vaasa like to preserve for the future? Are there any messages they would like to leave for future generations? What are their hopes, their fears, their secrets, their ambitions?

A letter box was installed for people to leave messages for the future. Now, these letters will be put into time capsules which will be sunk in the Kvarken archipelago.  And because every year the land rises by almost 1cm there, they might re-appear sometime in the future. Or they might never be found.

Hundreds of letters have been sent. On Sunday, October 26th 2014, there is a final chance to submit a letter (A6 envelope). Unopened, all letters will then be sealed in time capsules and sent on their journey into the future. You are welcome to join us in bidding them farewell!

Terranova Kvarken Nature Centre, Museokatu 3, 2 pm.


Climate Change Concern Studio

interactive project by Patrik Qvist

with Tuomo Väänänen, Janika Herlevi, Michel Ruths, Dragos Alexandrescu and Clara Diesen

climate change scenario texts by Dougald Hine

produced by Platform

Climate Change Concern Studio is an interactive art project. The installation is set up like an old- fashioned portrait studio with a landscape backdrop and a couple of lamps for illumination. The participant is asked to consider five different statements about climate change and pick one that he/ she can relate to. Depending on which one is chosen, the participant gets to pick a cardboard sign which reflects this statement. The participant is then photographed against the backdrop and two copies of the image are printed- one for the participant to keep, and one to pin up on the studio wall. The average time needed for the whole process is about five minutes.

Climate Change Concern Studio was first shown in February 2014 at the independent art fair Supermarket in Stockholm. There were more than 500 participating visitors during the three days of the fair, resulting in some 300 portraits on the wall. The participatory element of the installation proved to be an efficient and successful way to engage the audience in a dialogue about a serious topic, while retaining a sense of enjoyment in the process.

For more info, see

HR-Stamenov, Vaasa-Umeå < > Wormhole Connection

The opening of a Wormhole, provoked the appearance of a transport ‘shortcut’ in space-time.
This phenomenon allowed the train to travel between the two cities for only few seconds.


Marcus Lerviks – Technical assistance, Vaasa
Harri Niskanen – Location coordinator, Vaasa
Jimmy Pulli – Camera and technical assistance, Vaasa
Joakim Vesterlund – Location manager and technical assistance, Umeå
Platform, Vaasa, Finland
Mira House, Vaasa, Finland
Kulturförening Kretsen, Umeå, Sweden
In cooperation with; Norrporten, Umeå, Sweden

© HR-Stamenov


Vaasa-Umeå <> Wormhole Connection


On March 12, a strange phenomenon will connect two cities located on the two opposite sides of the Gulf of Bothnia in the Baltic Sea: Vaasa in Finland and Umeå in Sweden.

A transport corridor, provoked by the opening of a Wormhole, also known as an Einstein–Rosen bridge, which is a hypothetical topological feature of space-time, will create a ‘shortcut’ between the two cities. The phenomenon will allow a Train to appear inside a building in Vaasa, then 3 minutes later in Umeå, then back in Vaasa after 3 min. and after 3 min. again in Umeå…

The observers of the phenomenon will receive a clear evidence for the existence of the Wormhole, and the practical equations from the Theory of General Relativity will be evaluated as possible solutions for transport.

HR-Stamenov, the current artist in residence of Platform, presents this light spectacle.

The immediate attention, which the media installation provokes, leaves the passers-by uncertain of what they have just seen, for the train literally ‘appears’ inside the buildings. The project is an illustration of the scientific theories of time travels and space distortions.

Date: 12.03.2014
Time: Vaasa 19.00–22.00, Umeå 18.00–21.00
Address: Miratalo / Mirahuset, Kirkkopuistikko 34Kyrkoesplanaden 34, Vaasa
Address: Storgatan 38, Umeå


The project is realized with the kind collaboration of:

MIRA House, Vaasa
Kulturförening Kretsen, Umeå
Norrporten, Umeå

An intervention at the Old Sugar Factory in Vaasa


Platform would like to invite you to the opening of Yann Vanderme’s intervention in the Old Sugar Factory at Vasklot in Vaasa.

Yann Vanderme (FRA), who is Platform’s artist-in-residence, has renovated a 13mm wide strip in the abandoned factory on the industrial island Vasklot. The strip has been brought back to it’s original condition, as it was 30 years ago when the factory was still in use.

The strip leads through the whole building and can be seen at the floor, walls and ceilings.

The renovated strip with its clear and sharp edges creates a strong contrast with the state of the building and emphasizes the decrepit and abandoned state of the factory.

Opening of Yann’s project will be 14.00 in the afternoon when the sun is still up. For the people that come after sundown there will be portable lights to track the strip.

Date: 25.01.2014
Time: 14.00-18.00
Address: Sugarfactory/Sockerfabriken/Sokeritehdas Reininkatu, Vaskiluoto, Vaasa

Here you can find the Old Sugar Factory.

Upcoming 17.11.2013

Platform’s current artist in residence Daniel Ladnar will present and launch his project “Upcoming” at the Terranova Kvarken Nature Centre on Sunday, the 17th of November, at 4 pm. All welcome!

“Upcoming” invites people to send a message to the future. They can send whatever they like, as long as it fits into an envelope. All letters are put into time capsules which will be sunk in the Kvarken archipelago in the summer of 2014. And because every year the land rises by almost 1cm there, they might re-appear sometime in the future. Or they might never be found.

“Upcoming” engages with the land rise in the Kvarken archipelago and with the constant changes that the planet is going through. It asks people to consider their relation to the future: What things, thoughts and memories would the people of Vaasa like to preserve for the future? Are there any messages they would like to leave for future generations? What are their hopes, their fears, their secrets, their ambitions? Letters (maximum size: A6) will remain unopened.

There will be a letter box installed permanently until next summer at Terranova Kvarken Nature Centre (Museokatu 3, Vasa) for people to leave their messages. If you would also like to participate in the project by installing a letter box somewhere, you are welcome to do so.

Participation is also possible for people from other places. They can send letters to the following address: Upcoming c/o Platform, Kasern 14, Västra Kaserntorget 8–10, FIN-65100 Vasa.


Artist Talk Scheibe & Güntzel


torstai 22.8. klo 16.30
Loftet (Raastuvankatu 28, Vaasa)

Platformin residenssitaiteilijat Swaantje Güntzel ja Jan Philip Scheibe (GER) kertovat meneillään olevasta projektistaan SÄILÖTTYÄ (Preserved), jossa analysoidaan vaasalaisten suhdetta ympäröivään luontoonsa. Taiteilijat haluavat selvittää miten Pohjanmaan luonto on tarjonnut ravintoa asukkailleen vuosisatojen saatossa sekä miten tietoisuus paikallisten ruoka-aineiden keräämisestä, valmistamisesta ja säilömisestä on siirtynyt sukupolvelta toiselle. Tule jakamaan kokemuksiasi ja muistojasi aiheesta taiteilijoiden kanssa.

torsdag 22.8 kl 16.30,
Loftet (Rådhusgatan 28, Vasa)

Platforms aktuella residenskonstnärer Swaantje Güntzel och Jan Philip Scheibe (GER) kommer att berätta hur de genom sitt samtidskonstprojekt BEVARAD (Preserved) analyserar det förhållande som människorna i Vasa skapar med sin näromgivning. De vill ta reda på hur den österbottniska naturen har närt människor under århundraden och hurudan kollektiv kunskap generation efter generation har samlat in och fört över till varandra om att samla, bevara, laga mat och ta vara på lokala råvaror. Kom med och dela din kunskap och dina minnen av upplevelser i naturen med dem.

Thursday 22.8. at 16.30
Loftet (Raastuvankatu 28, Vaasa)

The current artists in residence of Platform Swaantje Güntzel and Jan Philip Scheibe (GER) will talk about their project PRESERVED analyzing the relationship of the people of Vaasa with their surrounding environment. They want to find out in which way the Ostrobothnian nature has nourished people over the centuries and what collective knowledge how to collect, cook and preserve local food has been passed from generation to generation. Share your knowledge and memories of your experience with nature with them.

Performance Week 3rd—10th of August 2013

Platform is proud to announce a week dedicated to performance!

The main performance events will take place on Wednesday the 7th of August in the Platform studio on Kasern 14 in Vaasa starting at 3 pm.

The events will be based on this years Platform theme  “The End of World – Or Why the World Won’t End”.  A theme that was selected shortly before the ending of the Maya calendar. Out of a western perspective, in today’s information society, news reach us from all over the world, about climatological threats and environmental disasters and also there is a growing awareness, about the earths limited resources – all factors that make the future seem more uncertain than ever; Is this the beginning of the end? On the other hand, the things that seem the furthest apart, perhaps even opposites, may actually lay close together. ‘The end’ and ‘the beginning’ could be seen simply as two points on the same line, or even in the same circle…

The week dedicated to performance will be a kick off for PRESERVED, a project by Swaantje Güntzel and Jan Philip Scheibe (D), Platform’s Artists in Residence during August and September 2013. The project PRESERVED reflects the topography of the relationship of the people of Vaasa with their environment and shows what collective knowledge; how to collect, cook and preserve local food has been passed from generation to generation.

Former Platform Artists in Residence Mari Kretz and Girilal Baars (SE) are performing and conducting Gracing Space, a live installation and performance that uses live feeds and field recordings of Very Low Frequency radio waves from the upper reaches of the Earth’s atmosphere. The so-called VLFs are generated by cosmic and solar radiation and reflect the energy state of our local part of the universe; the outer bounds of Earth’s ecosystem.

Anna Lundh (USA/SWE) will perform her lecture performance Q&Q – 2022, a project that was initiated in March 2012 and during one year collected and shared questions about what the future will be like – 10 years from now. The online component of the project was developed for the New Museum First Look: New Art Online series, and has accumulated questions from people world wide. Q&Q – 2022 is a reconsideration of the project Telex: Q&A, organized in 1971 by New York based Experiments in Art and Technology (E.A.T.) as part of at the show Utopia & Visions: 1871–1981 at Moderna Museet in Stockholm. It involved the installation of telex machines in four cities; Stockholm, Tokyo, Ahmedabad and New York, and the public were invited to send questions about 1981 – ten years into the future – to the other sites. Lundh’s lecture performance concludes with a Q&Q (Question & Question session) together with Julie Martin, who is director of E.A.T. and also one of the initiators of the original 1971 project.

John G. Boehme (CA) makes direct and physical performance actions which interrogate the junctures between aggression, exploitation and competition, often inspired by sports. Channeling the historical connections between art and sports, manifest in society’s idealization of the body, his actions do not interrogate specific contests or competitions, but rather those subjects within sports that ‘jump the hurdle’ and ‘cross the line.’

Julischka Stengele’s (D) heart beats for artistic expression that require a physical presence – such as performance but also a good face-to-face conversation. She is curious about constructions of social space and like to design situations that enable personal encounters.

Ida Grimsgaard (NO) is interested in how the space can be read and perceived. Her work is an investigation; observations and reflection of what is already present in form of objects and relations.

Using one of the models she created to support the articulation of her thinking, Ingrid Cogne (SE/FR) will propose an improvised lecture performance by challenging the presence and the performativity of her speaking in the meeting with an audience. Cogne will sound record her proposal to collect data and later rework the contents in a written forma… to go against her tendency toward immateriality.

For detailed program updates and participation please register at:


Girilal Baars (SE) is a composer, singer and musician based in Uppsala, Sweden. Girilal works with vocal, acoustic and electronic music and holds to the idea that all rapid air-pressure changes are music. His piece Litanies in Zero Kelvin for voice, theremin and electronics was chosen for the Nordic Music Days in Oslo in 2009. In 2010 he wrote and staged an opera for two voices based on Karin Boye’s novel Kallocain. Girilal is particularly interested in exploring sounds from the cosmos, as he has been obsessed with space from a tender age.

John G. Boehme (CA) early art practice included painting, sculpture, performance video and digital technology, installation and photography. Boehme describes recent work as ‘trans-disciplinary’ often employing performance, video, audio and objects in a number pieces simultaneously, Boehme is not constrained to any particular creative mode and therefore utilizes integrated approaches to realize the work. John continues to have exhibitions, screenings and participate in Performance Art festivals across Canada, Australia, the Americas, United Kingdom, Europe and China. John is continuing faculty in the Visual Arts Department at Camosun College and adjunct faculty at University of Victoria.

Ingrid Cogne (F/SE) Artist-choreographer based in Stockholm, Cogne sees choreography as a way to create movement and suspension, circulation and time, positioning and displacement in relation to Economy, Knowledge, Work and Individuals. Obsessed by the ‘in between’ and what constitutes the dynamics of meeting, Cogne focuses on the process and the dramaturgy of existing or created situations. Labor, consistency and time are central. With soft provocation for movement in representations and structures, she is slowly, progressively shaking, shifting the perception(s) and the perspective(s). Her artistic proposals problematize the relationship and create a floating definition of the positions and status subject-object of both the artist and the spectator(s). Ingrid Cogne also works as dramaturge or performer for other artists. In October 2011, Cogne started a PhD in practice at the Academy of Fine Arts Vienna. Cognes project is titled ‘Displacement(s) as Method(s)’. Since November 2012, her research is being developed at the CEAC Lille 3 as well.

Ida Grimsgaard (NO) is based in Oslo and studied scenography at the Norwegian Theater Academy. Due to her background in the fine arts she has exhibited and performed her work at numerous festivals and venues around Europe. Blending scenography with fine art she is exploring the coincidences and searches for the unsure and unexpected. The body and its physicality is the starting point of her work.

Scheibe & Güntzel (D) consists of the Hamburg based artists Jan Philip Scheibe and Swaantje Güntzel. In addition to their individual artistic work  they realize artistic projects as an artist couple. Both artists deal with man’s perception of nature – Jan Philip Scheibe analyzes the facets of a romantic idealization of nature while Swaantje Güntzel questions our ethical value-system. Before studying fine arts Swaantje Güntzel graduated with a Masters Degree in Anthropology. She participated in numerous exhibitions in Germany as well as abroad. The main subject of her work is the dissection of the alienated interrelation of man and nature. She works across a range of different disciplines such as performance, object, installation, photography and video. Jan Philip Scheibe studied Art & Design. His artistic work is characterized by installations and performances in the public urban space as well as in the open landscape and the work often involve light.

Mari Kretz (SE) is based in Stockholm working in the fields of acoustic and visual art. In her work, she has focused on scientific studies of acoustical phenomena in the atmosphere, low frequency radio waves traveling around Earth and in the depths of space, as well as electric signals generated by internal organs and the nervous system of the human body. Working with researchers and engineers, ranging from astronomy to medicine, she has visualised the barely perceptible worlds around us.

Anna Lundh (SE) is an artist, based in Stockholm and New York. She studied at Konstfack and at the Cooper Union School of Art. In recent years she has participated in renowned residency programs. During 2012–2013 she is an artistic research resident at The Royal Institute of Art in Stockholm. Lundh has exhibited at venues in Sweden such as Bonniers Konsthall, Haninge Konsthall and Kalmar Konstmuseum, and internationally in Bergen, Norway, The Hague, The Netherlands, Copenhagen, Denmark, as well as in New York at Apexart, Exit Art, The Kitchen and New Museum, to name a few. She has also published text pieces in various publications. Lundh is also the initiator and organizer of Visions of the Now, an international festival and congress on the subjects of art and technology.

Julischka Stengele (D) is a multidisciplinary artist. Her body of work includes photography, happening, performance, installation and video. She lives in Vienna and Berlin. Her main interest is devoted to artistic forms of expression that require a physical presence – to one or another extent. The human being in its social context serves as a base for the work in general. Main topics include interpersonal relationships, cultural role models and body politics, sexuality, identity and divergence/ subculture. Stengele’s work has been exhibited / presented at numerous internationally renowned festivals in Europe, Asia, North America and Latin America.

Dora Bleu & Hei

Summer night music
Dora Bleu & Hei
In Platform fri 19.7.2013 starting at 21.00.
Outside if the weather allows for it, indoors if not.

Dora Bleu

Dora Bleu, from Montreal, brushes and scratches with her ghostly, frail, beautiful and harrowing music while the acoustic guitar echoes in a surrealistic depiction of unfortunate woundings. Her latest releases include an LP in collaboration with  Tom Carter (Charalambides) and Sam Shalabin (Shalabi Effect, Land of Kush) adn an internet-release with Russian noise-artists Olga Nosova and Alexei Borisov.



Hei, bubbling under in Ambient and drone landscapes, produces chord- and alarm walls, feedback and mercurial melodies on electric guitar and electronics.

Other stuff:

Free entrance.

Artist Talk Nurri Kim

June 6, 19h at Platform Studio

Welcome to the talk by the current Platform Artist in Residence, Nurri Kim. She will present her practice and shortly introduce the project she’s undertaking in Vaasa during June-July.

Kim was born in Seoul, Korea and raised between Seoul and Tokyo, Japan. Her work has been driven by the attempt to reclaim what was lost in her early displacement, using the tools she paradoxically gained as a result of the same experience — parallax and perspective — to investigate her relationship with place. She explores some new social or physical environment by applying a ruleset to investigation of these surroundings, constructing archives of this investigation, and offering this archive to viewers as an open and ongoing narrative.

Platform Live 06.04.2013 @ 19.00

Platform Live: Artist talk Patrik Qvist + Sounds from Ostrobothnia 6.4.2013 @ 19.00

Platform invites you cordially for an evening with words, images and sounds.

Patrik Qvist

“Strategier för att förstå världen utifrån ett perspektiv av nära förestående kollaps.”
Platform’s artist in residence Patrik Qvist will start the evening with an artist talk and screening.

After the artist talk Platform will present 3 local artists with an interest in sound.

Johan Sandås – Contact

An interactive performance with contact microphones, where the audience can participate.

Arvid van der Rijt – Finland in 4 movements

An optical sound performance with 3 filmprojectors and the barcodes of sausage and spirits.
Via Kabanossi and Koskenkorva to Kaaos and Kaamos.

Vesa-Matti Live

An improvised live set with drummachine, sampler and synth.

The artist talk will begin at 19:00
Let’s see what the night brings!

Platform Studio@Kasern 14
Korsholmsesplanaden 6-8 Vaasa

Platform Live presents: Beate Linne(DE) – Angela Washko(US)

02.03 2013 @ 20.00

Platform / Kasern 14
Korsholmanpuistikko 6-8, Vaasa


Beate Linne, DE

Beate is a German based Performance Artist. She studied architecture at the University of Kassel, as well as German language and literature and fine Arts at the University of Hildesheim. She’s working as a freelance artist, teacher and since last year I’m co-organizer oft the International Performance Art Festival Blow.

Artistic Statement

I consider Performance as an opportunity to express myself by means of creating images and live actions with my body. I deal with basic issues of live, by exploring behaviour, testing limits and asking questions.The most important aspect is the encounter and the exchange between the people – and the possibility to initiate thinking processes and open the mind. In my performances I deal among other things with issues like deprivation, death, and confidence.The actions and materials often have a symbolic character. And usually I perform with great physical exertion, establishing a relation between my body, material and other people. I also like to involve the audience in the performance, so that they become an active part in it.
I don’t repeat my performances usually. But I work mostly over a longer period with the same materials. The choice of it for me is very important. I deal thoroughly with the material, so that I learn to know it very well and a kind of personal relationship arises. (Sometimes I collect material or I produce it by myself). This material has a kind of symbolic character and I use it as a basic element of the performance. With them and my body I try to create unusual or sometimes surreal images and situations.


Angela Washko, US

Angela Washko is an artist and community facilitator devoted to mobilizing people and creating actions, interventions, videos, and performances (often in video games). She is currently working on a project called “The Council on Gender Sensitivity and Behavioral Awareness In World of Warcraft – earning her the Terminal Award and Grant, a Danish Arts Council Grant, an upcoming fellowship and residency at HIAP in Helsinki Finland, and a solo exhibition at Austin Peay State University. She has also recently curated the Conflux Festival 2012 at NYU. She has recently performed or participated in exhibitions at the Rotterdam International Film Festival, Institute of Contemporary Art Boston, New York University, Spattered Columns (NYC), Microscope Gallery (NYC), NURTUREart (NYC), Momenta Art (NYC), and Gowanus Studio Space (NYC), among many others. Washko has participated in artist residency programs at Contemporary Artists Center (Troy, NY), The Fabric Workshop and Museum (Philadelphia PA), Flux Factory (NYC), Gullkistan (Laugarvatn, Iceland), and HIAP (Helsinki, Finland). Features on Washko’s work have appeared in Rhizome, the New York Times, Hyperallergic, Time Out NY, Digicult, ANIMAL NY, and Gothamist.

Artistic Statement

Mobilizing communities and using play, I am an artist and facilitator creating new forums for discussions of feminism where and when they do not exist. These forums are created through actions, interventions, videos, and performances- sometimes in video games. I am dedicated to researching and ultimately changing unhealthy, unrealistic, limited, and object-oriented projections of women throughout different forms of media by creating public works that challenge our implicit acceptance of everyday inequality.
My most recent project, “The Council on Gender Sensitivity and Behavioral Awareness In World of Warcraft,” is a long-term research-based initiative I launched to create spaces for dialogue about feminism inside a video game with a community that is notoriously misogynistic and aggressive toward women. I am interested in the unusual political space that evolves within WoW. It takes quite a lot of effort to ever break into the social aspects of the game. One has to make a fairly serious commitment to the game (undergoing lengthy tutorials, quests, learning characters’ skills, finding equipment, fighting dragons/goblins etc.) to ever make it to the point where they are in a guild and regularly communicating with large groups of people. Because of that barrier between the committed and the dabblers, a unique social community is created in each realm of World of Warcraft that few know about, despite the game’s widespread popularity. The blatant discrimination, homophobia, and extreme sexism that persist are not a result of the developers’ aesthetics, but the community of avatar-hidden individuals that play it. I am creating videos from performances inside of World of Warcraft that investigate the relationship between female players and the intensely complex social communities within WOW. I am working on instituting a system in which players in my community are forced to take responsibility for their oppressive behavior, help to create an environment that encourages women gamers to participate, and present performances and videos to a non-MMO-informed public that is unaware that these communities exist.
In addition to making projects inside video games, I also create videos, performances and participatory installations. My works are all linked by a dedication to using play to address the contemporary power structures that women are faced with – whether they are within video game cultures, pop music, advertising, collectives, or the intense networking environment of the “Art World.” Ultimately I aim to subvert these power structures by infiltrating cultures in which they are evident, addressing them publically, bringing visibility to subtle (and not-so-subtle) discriminatory acts in contemporary culture, and ultimately mobilizing communities to actively change those structures through open discussion and collective action.