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Platform r.f. Posts

Nina Svensson – How many hectares do you have?

How many hectares do you have? A study in future forestry and ownership relations.


What if people from Timrå were given three hectares of forest. They could plant, take care, thin and fell the trees to get timber for more art halls. Everyone would be able to build their own institution. Plans are already made to be ordered, no building permissions are needed and the timber will be free. How many 25 ²m art halls may be built of 3 hectares of forest and when can the first one be built? Will the people of Timrå grow Christmas Trees for faster profits and instead buy the wood needed for the project? Or will they make an effort and grow wholesome and safe pine for maximum return on investment, around the year 2095.

In 2014 I had a yearlong project in Timrå municipality, the county of Västernorrland, Sweden called (Konstnär-i-Kommun) (Artist-in-municipality). The starting point is Timrå, a municipality heavily affected by the forest industry and social-democratic cultural production both contemporary and historic.

The work with (K-i-K) became a thought experiment of donating forest to inhabitants of Timrå to plant, take care, thin and ultimately choose or not to choose to fell the trees for timber for their own art halls. Plans are made for everyone to build the by building law permitted size of 25 ²m art halls in their gardens. When I interviewed forest owners on topics such as capital and future value I got concrete guidelines for forestry depending on stock, whether short or long term yields are sought after. The forest owners in Västernorrland claimed often that one should own forest in Finland, as the forestry standards are higher and ownership is easier. This advice brought me to apply to the Platform residency in Vaasa.

The underlying complicated relation to art and constitution is the collective memory still present with the local inhabitants.


During my residency in Vaasa I participated in a handicraft course for seniors to connect with people who have been living and working in Ostrobothnia, forest owners and people who have a general strong connection to the forest. During the course the senior handcrafters helped me to carve a portrait of forest owner and ex-forester Peter, who I came in contact with during my first days in Vaasa. The meeting with Peter became an important reference point in the conversations about forestry with the other members of the handicraft group, meanwhile also helping me to understand different tree types and techniques while portraying “treeman-Peter” into wood. Because the handcrafters weren’t that interested in discussing the Timrå peoples complicated relationship to art we instead weighed similarities and differences of forestry laws and ownership in Ostrobothnia and Västernorrland. Views depending on the subjective perception of value, capital and time.

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Platform Live with Dråsa and Patrik Qvist

The evening begins 18:00 with a performance by Patrik Qvist next to the Havtornen @ Academill. We continue 19:30 at our studio @ Kasern 14 with sounds by Dråsa.

Dråsa is Sära Nawotka’s solo venture in which she aims to create lush textural soundscapes sculpted through improvisational nonverbal vocal manipulation using analogue and digital effects. Her current inspiration is the thematic exploration of the elemental symbolism of emotional spaces – in particular water and the force of currents, treading, and drowning as an allegory of emotional and cognitive dissonance.

Patrik Qvist is a Swedish artist whose body of work consists of performances, video works, social sculptures and public interventions. During our live event he will interact with his sculpture “Anteeksi” that he made during his residency at Platform in 2015.

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Roland Farkas – Refugees welcome

Roland Farkas’s project ‘Refugees Welcome’ realized at the Platform’s Artist in Residence program deals with the vicissitudes of refugees arriving to Europe. Their welcome differs in each country of the European Union – from barbed wires to arrests, from heartily welcome through indifference to hostility, from refugee camps to integration language courses. The project points out the anomalies of the system, explores the phenomena of migration and the utopian aspects of integration.

Roland Farkas (b. 1975, Slovakia) studied at the Intermedia Department of Hungarian Academy of Fine Arts. He is interested in the effect of cultural specificities on human values in a broader sense. The primary subject of his work is the critical discussion of artistic, social and economic phenomena as well as the network of relationships between these phenomena and the processes of transformation, disappearance and entropy. He lives and works in Budapest, Hungary.

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MOPE16, Márcio Carvalho and Michel Ruths


Márcio Carvalho

Carvalho’s practice for the last five years have been focused on memory and its influences upon collective groups and individual people. Science and human behavior, network sciences, appropriation and fiction are some concepts and forms used by the artist to research on autobiographical, collective and cultural memory, and its impact into social, cultural, political and economic contemporary life. The multidisciplinary ability of crossing disciplines reframes his work in various formats such as live performance, film documentary, video art, photography and sculpture, always attempting specific relation with the context and site in which he is operating.

He is the co-founder and curator of the performance art program CO-LAB editions. The performance art program initiated at Savvy Contemporary in Berlin and will continue its second edition in Copehagen in collaboration with organization.

Learn more about Márcio Carvalho.

Michel Ruths

In the age of high educated professionalists we thrive, share export and import a lifestyle that does not seem too different from each other anymore. Questions occur when the lifespan turnes, and among them some issues are more profound when they go deeper, over seas, over time and make us sometimes question everything. I approach them with concepts based on curiosity and experience, merged into a reflection practised from today and yesterday, driven by spring to understand, criticize. and activate without a certain answer to be hold.


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MOPE16, Shahrzad Malekian and DIMH


Shahrzad Malekian

Shahrzad Malekian (Born 1983, Iran) is an interdisciplinary artist working with video, performance and sculpture. Her works often embodied with contemporary human in her/his complex relations, power structure, and gender from the private to public domain. Malekian has a bent for enveloping the artistic concepts in layers of glamor, fantasy, and sarcasm, with socially critical and gender conscious statements. She has shown her sculptures in various exhibitions and biennials in Iran, along wearable objects she creates for her performances. Her videos have been shown internationally in group exhibitions in Brazil, USA , Germany , Sweden, Norway, Finland and London. Her video piece was selected for International Film Festival Rotterdam and Göteborg International Film Festival in Jan 2013. She was finalist for MOP CAP 2015 prize. Malekian lives and works in Tehran.



DIMH is a synth pop artist with strong 80’s influences. During his concert on Saturday evening the audience will experience an unique, solo performance. On other occasions DIMH performs his tongue-in-cheek pop music as a trio with live drums and lots of keyboards.

On MOPE DIMH will perform for the first time with nothing but raw synthesizers – nothing pre recorded, nothing fake – just pure synth pop good times. What better place than a performance festival to try something new, right?


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MOPE16, Leena Kela and Ali Al-Fatlawi & Wathiq Al-Ameri


Leena Kela

I am a performance artist whose work evolves from observing everyday life and phenomena. I have been working with performance art since year 2000 and currently I am doing my doctoral studies at the Academy of Fine Arts, University of the Arts Helsinki. In my ongoing artistic research I focus on methods, phases and languages in collaboration processes between myself as a performance artist and experts and scientists from various disciplines, i.a. cosmologist researching dark energy.

I have presented my performances in a number of contexts in Finland, and internationally in performance art festivals, events and conferences across Europe as well as in Russia, Northern and Southern America, Africa, Australia and New Zealand. I work as co-artistic director of the international New Performance Turku Festival, organized annually in Turku Finland. I also curate other performance art events in Finland and abroad. Currently I am on artist grant awarded by Arts Promotion Centre Finland (years 2015-2019).

Learn more about Leena Kela

Ali Al-Fatlawi & Wathiq Al-Ameri

Ali Al-Fatlawi and Wathiq Al-Ameri (b. 1972 in Baghdad, Iraq) Since 1997 they live and work in Zurich, Switzerland.

Ali Al-Fatlawi and Wathiq al-Ameri create performances that reflect their history. They present a view from exile, combining a critical perspective with the hope of returning in their imagination back to homeland. Their art explores explores issues of confrontation and war. Ali and Wathiq received a classical education at the University of Fine Arts of Baghdad. Several years ago they decided to escape the regime of Saddam Hussein and embarked on an odyssey crossing the Iraqi border into Jordan, where they reproduced classical and Arabic paintings until they had enough money to reach Sudan. From there they traveled by truck through the Sahara to Libya and finally to Switzerland where they studied at the F+F Schule fur Kunst und Mediedesign. In Switzerland the also formed the studio group Urnamo with Wamidh Al-Ameri to share ideas and develop their art.

Artists statement :

The performances, which we present since 10 years, all have the same basic idea. We want to find a material with which we are as another substance, and combine it with the locality, in order to display different images. Does it positively or negatively affect our work? That is questionable. Certain, however, is that the action by the many areas of content and other art works differ. The large volume of material that go from place and time and the inexhaustible possibilities of topics, always makes the actions renewable and expressive. The same work can be monotonous, although no changes in the resulting images can be perceived. In another art form, these images of a work are not possible.

We believe that the whole action art work is designed to present images; but also moments without images. Under this form of experimental work in our presentation: images, moments, change, and disappear only remaining in our memories. We hope that this is what the audience will come across. Together, all the images of an action target, our present topic. You will be welcomed by images through translated feelings and not through the intellect. This makes a pure mediation possible.

Learn more about Ali Al-Fatlawi & Wathiq Al-Ameri


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MOPE16, John Court and Willem Wilhelmus


John Court

John Court (b. 1969 in the UK, living in Tornio since 1997) is a duration performance artist for whom the time is one of the most important elements of his work. Sometimes that makes him performing for 8 hours, duration of a work day and sometimes performing the whole time the event is going on or the performance venue (museum, institution) is open each day.
More recently he has been interested in letting the objects and materials he uses in his performances to determine the duration of the piece. He doesn’t consider his performances solo works, since they always include collaborative elements from curators, organizers, artists, viewers, objects, spaces and time. Court’s works are sensible to the site and they often create a parallel rhythm within the rhythm of the site with the ongoing repetitious action. All his works are fundamentally concerned with drawing or writing, in that drawing connects the elements of line, movement, space and time.

Learn more about John Court.


Willem Wilhelmus

In this world of enlightened heroes like politicians, sportsmen, terrorists, businessmen, gurus, famous artists and whatever trademarked darlings of global media, I like the small corners of performance art. I like to be busy with themes that are recognizable for everybody: the joys and fear of relating, the longing for and shying away from contact, the getting entangled in a swamp of emotions, desperately trying, getting lost in futile attempts for importance, the illusion of certainty.

My performances are based on trust in my body. I like its movements, its expressions, and most of all its downright honesty. Preparing for a performance means stripping away all kinds of illusion. The leftover is a need to add something, something else, something new to what life is offering me. I am amazed myself that time and again this is possible with the simplest materials.

Learn more about Willem Wilhelmus.


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MOPE16, Peter Rosvik and Tomasz Szrama



Tomasz Szrama

“I have chosen performance art consciously. The situation in which you, the spectators, are on one side and I am on the other suits me. I need that division in order to break it. Though everything doesn’t always go as I wish. It’s not easy.That’s why, naturally, my performances are about uneasy interpersonal relations.”

Tomasz Szrama (b. 1970 Poland) graduated in 1998 from Fine Art Academy in Wroclaw, Poland.He lives in Helsinki, Finland. Szrama shifts between multiple disciplines, including photography, video and other time-based works. Regardless the media, his work always had as the main thread methods of performance art, which began eventually to dominate the course of his artistic practice. Since 2008 he has been performing internationally in various events and festivals for example in US, Canada, China and Mexico. Szrama has been active performance art event co-organiser since 2005. From 2014 he started with Liina Kuittinen new series of events called TONIGHT.

Presently Tomasz Szrama is working as a producer, designer, technical manager and is responsible for live art events at HIAP – Helsinki International Artist Programme.


Peter Rosvik

Yhdistämällä analogisia, electronisia ja digitaalisia materiaaleja ja immateriaalisia elementtejä hänen työnsä tutkii useita yhdistelmiä visuaalista-, ääni- ja kehollista inhimillisyyden ilmaisua.
Peter Rosvikin performanssi työskentely juontaa leikkiin kahden konseptin välillä: taiteesta kulttuurisena muisona ja taiteena henkilökohtaisena identiteetin luojana.
Hänen tämän hetken työt keskittyy ilmentää yksilön kokemusta poissulkemisesta ja joukkoon sisällyttämisestä yhteiskunnassa ja kulttuurissa.

Genom att kombinera analoga, digitala, materiella och immateriella element i mina arbeten utforskar jag visuella och kroppsliga uttryck.
Jag spelar med föreställningar om konst som kulturella minnen och konst som personliga föreställningar om identitet,
Mitt arbete fokuserar på uttalanden och personliga erfarenheter av mänsklig utslagning och disintegration i samhället och kulturen.

By combining material and immaterial elements of analogue, electronic, and digital visualises his artworks extensively explores various combinations of visual, noise and body expressions as humanity.
Peter originates performances that play with conceptions of art as cultural memory and art as personal conceptions of identity.
His current artworks focus on statements of embodied experiences of human exclusion and inclusion in society and culture.

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