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Platform r.f. Posts

Verkligheten i Platform


A joint exhibition by the members of Platform and the artist-run gallery Verkligheten (The Reality) in Umeå (S) on the theme Place and Identity.

The project was an initiative by the two artist-run galleries to create a collaboration were artists in the both regions express, widen, concentrate and deal with the concept of identity from a local and regional starting point. The main issue was to create a dialogue and relation between the artists across the sea of Kvarken, as well as bring to the fore the theme identity in a local perspective in time for the international contemporary exhibition ID that will take place in several institutions in Vasa during the summer of 2003.

During the exhibition there were also a number of discussions connected to the exhibition:
Grasspopper: Sven-Erik Klinkman (Vaasa) and Thomas May, (Germany) were invited to talk about ”locality-identity”.
VIB: Markko Hauttala, (Vaasa), Oda Projesi, (Istanbul) and Ulrika Ferm, (Berlin)
Markko Hauttala did a talk about his novel ”Kirottu maa”, Oda Projesi did an artist talk, as well as Ulrika Ferm.

The second part of the project will take place in Umeå, where the members of Platform will do an exhibition called Learning by doing in November.

The project was supported by the Kvarken Council, the regional council for Finland and Sweden in the area of the sea of Kvarken, to increase the exchange between the artists in the region.


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Black is black and the light we walk upon

Ralf Wallis | 1.4–24.4.2003

The exhibition of Ralf Wallis consisted of three images. The images had a monochrome character with a sense of shape. He combined wood-cut, painting together with the interactivity of the audience in the project space. In the darkened room the existence of both the abstract and the concrete light was reflected. During the opening Wallis did a performance; Black is black and the light we walk upon.

Wallis is dean for the cultural sector at the Swedish Polytechnic in Nykarleby (FIN).


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Maria Nordbäck, Ann Westerberg and Britt-Lis Lindqvist | 19.2–16.3.2003

Inside–outside is about the interior and the exterior. About the visible and invisible. What’s left when we are stripped bare of exterior attributes. Its also about identity and uniqueness, and about adapting this to a new reality.

Read more (Only in finnish and swedish)


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Miha Knific | 2.10–1.11.2002


The exhibition consisted of photographs showing everyday moments. Although they mostly look like usual family album photos, through their conceptual essence they stand for more than just a documentation or an aesthetic position.

The photographs made with a pocket camera talk just about what they record – life. They talk about cruel as well as joyful moments and show intimate well as public sphere.
The common thing of all his photographs is the perspective of the observer, he or she will feel their own presence in the image.

Miha Knific is based in Ljublana, Slovenia.


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Platform is closed

Peter Djelân | 5.7–28.7.2002

An installation by Peter Djelân at Platform in collaboration with Peter Rosvik, Hannah Kaihovirta-Rosvik, Maria Nordbäck, Timo Saarelma and Fia Antus.


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International performance festival that took place in the City Art Hall of Vaasa.

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Per Hüttner | 27.3–28.4.2002

As a four year old Per Hüttner and his family had a car accident. His father was badly injured and died inhospital a few weeks later. Hüttner was brought up by his single

mother with his older sister.

During most of his grown-up life Hüttner has ignored the fact that this event and growing up without a father has affected him and his development as a person. Almost to the day 30 years after the fatal accident the artist produced a triptych video entitled ‘Who’s your Daddy? The video was the start for Hüttner’s artistic and emotional investigations into the effects of the tragic event and a life without a father. The current exhibition is clearly a product of these investigations.

In the centre of the space Hüttner has created an enormous clay phallus, which rises from floor to ceiling. For the opening it looked potent, shiny and impressive. As the exhibition progressed the clay dried, withered and eventually dropped off.

Hüttner also showed the above mentioned video triptych ‘Who’s your Daddy? In the first video a body-builder ‘substitutes’ the father figure repeatedly and in slow-motion lovingly tosses the smiling artist up in the air. In the second video Hüttner is held by one arm and one leg as the same man spins him around repeatedly. At the end of the short seque

nce the ‘father’ loses control, drops him and exits the image frame and Hüttner is abandoned, left alone on the ground.

In the last of the three videos we see the artist in a more embarrassing situation. We see him with his pants pulled down as he is receiving a spanking by the same muscular man as in the two other videos. The ambiguityof the videos raise issues about sexual identity, but also about punishment and how we are clearly coloured by the domestic situation that we are brought up in – and then particularly in our relationships to our parents.

Per Hüttner is a swedish artist based in Paris.


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Nigerian Girls

Josep Maria Martin | 23.2–22.3.2002

By Josep Maria Martin + Linnea Ekstrand, Lotta Eriksson, Eva Hertzberg, Marko Hynynen, Sanna Jokiaho, Timo Konttinen, Jessica Lindholm, Anna-Kaisa Lukka, Tiina Pitkäjärvi, Jimmy Pulli, Niina Rintala, Markku Ruotsalainen, Henna Sjöberg, Johanna Torkkola & Tuuli Tuikka

Platform was transformed to a livingroom – the wallpaper consisted of cartoons showing information for prostitutes how to avoid getting diseases. The opening was a roleplay, a prostitute form Nigeria is leaving, going back home, and a going away party was arranged for her. In the other room a video was shown of french students doing role plays of being prostitutes.

I´m from Nigeria.

I´m 20 years old. I´ve been a prostitute since I was 17. Many bad things have happened to me, but I´m still alive. I´m not stupid. I have dreams.

I believe in life, I think about the future and smile. Every day is a gift to me. I believe. Everything is going to be ok.

I´m a strong woman. Someday my dreams will come true.


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Nika Spalinger | 18.12.2001–3.2.2002

For the duration of the exhibition a table top matching the gallery dimensions was installed into the gallery. Inset into this surface was a slotcar racetrack made by Tyco, a lap counter and two speed regulators for each racing car.

The Tyco track had been selected for its construction ratio of 1:87. Most other producers of racetracks favor a ratio of 1:32, resulting in larger cars that are easier for children to pick up and hold. These larger cars are also more durable – a feature that is important to the children who are the main consumers of these products.

Matchbox, the classic producer of model cars (and incidentally, along with Tyco, a subsidiary of Mattel) also produces a track with a 1:87 ratio. Such a ratio helps participants to identify with the drivers of the cars (who can also be controlled by the participants), and in this way to become more integrated into the race. The aim of the game contained within the sculpture is, more or less, to drive around in circles. The lap counter indicates how many laps have been completed and resets itself to zero after the completion of 50 laps. Although the general aim is to clock as many laps as possible as fast as possible, too much speed, particularly in corner situations, may result in the car spinning out as it loses contact with the racetrack.


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Sunrise 5 am

Petra Lindholm | 20.10–11.11.2001

Petra Lindholm ‘s video is located in a flat. Nobody is at home. The images are still and harmonically composed, the foundation being in the study of light and colour usually connected with painting and photography. Petra Lindholm has also composed the soundtrack, which constructs various emotional layers together with the images. The video is accompanied by a series of photographs.

The sun is the great star. Nothing goes on. Days pass by. Someone is singing a song somewhere. One moment it is far in the background, another too close. The sky outside is never the same. The room yearns for sunlight. The pictures of the rooms were never shot. They are in the mind of someone. She thinks of these rooms while beeing away. She stays with that thought during the day. Considering her life and the plants by the window, how they will manage without water for so long. There is simultaneously striving and withdrawal in the image. The classical sign for uncertainty: two steps forward and one back. That is formed in the audiotrack, which knows no hurry, single sounds creep in to rest. The telephone rings. At the first signal it is afternoon, by the last the day has darkened: she has given up and left the day before, and missed the call she waited for.


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