ÆSTIVATION | 2020

w/ Lau Nau
7.–30.8.2020, Forum Box, Helsinki, FI



to be underground or underbridge/ ferruginous water
is told to sometimes seep from the northeast corner of the back
hall/ in the cavities of the old storehouse that used
to be located under the bridge, the eight-legged guard
the movable relics and objects of worship/ through
the doorways the sounds wander about their own paths, who
can guess where/ the ones breathing through their moist skin
and those with air tubes piercing their chitin exoskeletons grow
scarcer/ the saints’ dried cuticles, limbs, wings, sensing organs
go round in the projector carousels/ singing still, asking them
to come back/ the lamp is lit against the white, the wait for
nightly collisions

useless tributes to larvae: honeycombs are hexagonal sockets,
rya rug shirt warms the fur beetle, for imaginary swarms of
plastivorous critters the office walls will suffice just as the
contemporary adaptations of traditional crafts/ fingers are not
spared when cutting old windows into
a wormhole

peat-borne particulates make the stagnant rainwater
of the water tub bog-coloured/ the clay paint also has water,
already evaporated, as well as clay dug from some meters deep
under the construction work, one coating is enough to cover
most surfaces/ the sandier clay on the stands and cords comes
from the same pit, closer to the ground/ racks and screens fit
folded into a closet/ pieces of paper accumulate in corners,
the dedicated few can manage breaking down cellulose into sugar
and water but anyone can glue



 

 

 

 

 

 

 

 

 

 

 

 

 

 

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ETHNOGRAPHIES OF A HOMESPUN SPINELESSNESS CULT AND OTHER NEIGHBOURLY RELATIONS | 2019-2020

11.5.–24.11.2019, Nordic Pavilion, La Biennale di Venezia, IT

Gingerbread house

Bird spikes
Venetian sand sand bags homemade with ca. 80 % post-consumer textile materials
water and root-forming cuttings of local flora in glass containers
perforated air barrier building paper in roll-up stands
two-channel video installation with padded cables (HD, duration 19 min)
watercolour cut-outs on paper between two tempered glass plates depicting timber wall samples of woodworm Anobium punctatum’s presence
woodworm frass powder from the walls of the artists' house


Dead hedge

Portable geodesic aluminium ball structure
fallen branches


Compost

Discarded mooring dolphins partly digested by naval shipworm Teredo navalis
organic surplus of the Giardini flora
nitrophilous plants

 

 

 

 

 

 

 

 

 

 


31.1.–16.8.2020, Kiasma, Helsinki, FI


Gingerbread house

Bird spikes
sand bags homemade with ca. 80 % post-consumer textile materials, sand from Harjavalta
water and root-forming cuttings in glass containers
perforated air barrier building paper in roll-up stands
two-channel video installation with padded cables (HD, duration 19 min)
watercolour cut-outs on paper between two tempered glass plates depicting timber wall samples of woodworm Anobium punctatum’s presence
woodworm frass powder from the walls of the artists' house


Dead hedge

Portable geodesic aluminium ball structure


 


Houseflies gather round the laptop computer. I transfer them out one at a time in a 370-millilitre glass jar. This time of the year, all doors and windows are already closed, and flies must crawl inside through other cracks in the house. Air heated by the machine’s processor flows out from the ventilation gaps on the back. The screen is tempting, too, it is warmer than the surrounding space and with its lights may appear like some kind of passage. The two-winged critters don’t care about the mouse cursor’s movements, they just sit and rest, head down, and clean their frontmost pair of limbs by rubbing their feet together. Then they wash their faces, forcefully bringing their forelegs from the neck over the eyes and back again. Black, flexible, springlike limbs vibrate and are sharply etched against the UHD screen. A bunch of reddish-brown, fairly sizable parasitic ticks are attached to the abdomen of one of the flies, one hangs right behind the proboscis. I cannot tell whether this fly appears to suffer more than its conspecifics, which don’t appear to have visible parasites. Parasitic ticks, too, have parasitic ticks, and they have parasites. My sensory system is not at all capable of observing them. From a book on insects I find out that flies’ sense of taste is located in the soles of their feet. Immediately upon landing, houseflies know whether there’s food about and what it tastes like. In a pleasing spot, they vomit a protein-dissolving enzyme on their meal, and enjoy the mix with their sponge-like proboscis.

In October, a stable fly strays indoors. It lands on my sweaty back and sucks blood through the skin. It takes a few stinging rounds before I realise that the fly is eating me.

 

 

 

 

 

 

 

 

 

 

 

 

XEROX DAYS | 2019

1.–31.3.2019 Ars Libera, Kuopio, FI

Jake has died. His limbs and body segments have become paper-thin in the final stages. The days stick together in drizzly clumps that are difficult to tell apart from each other afterwards. The graph for average temperatures in November in Helsinki and Sodankylä looks like the teeth of a predatory animal, dragging itself diagonally upwards in the direction of reading to the 2010s and onward towards the future.

In Finnish, November is marraskuu. In Finnish folklore, ”marras” means one who is dead or dying. After a short period of below-zero temperatures, the world stops, when the damp topsoil freezes for a while into an immobile armour . Then there is a thaw again, and during the daylight hours, I dig holes in the garden. The ground is muddy only in the hollows, under the vegetation-covered bulges, the loamy soil is fragrant and crumbly, and the roots of the couch grass come loose easily in a black-and-white skein of dotted lines. Every now and then, the spade hits the tunnel of a water vole, in its winter storage there are at least some grains of intensively-farmed wheat from the birds’ winter-feeding site, they have swollen in the damp and are about to sprout. Later, when it gets too dark to see, I wash the mud off my face in front of the mirror in the toilet. There’s always some in my eyes, too.

What was there for me to lose? Nothing more than what everyone will lose anyway.

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TRANSITION ZONE | 2016


digital minerals
work in progress

Fully imaginary stones are drawn from observations made during beachcombing, from learning about metamorphic minerals and the transition zone located in the Earth's mantle at depth of 400–600 km.

 

 

 

 

 

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mesh/mɛʃ/ | 2015

7.1.–15.3.2015, Areena, Espoo Museum of Modern Art EMMA, Espoo, FI

mesh/mɛʃ/ is an installation and/or an interactive process with the audience in the Areena showroom that is created and disappears in the course of the exhibition period. mesh/mɛʃ/ starts off with an empty space and ends with a lecture at the conclusion of the show. Using presentation equipment found in the museum storage and nomadic elements brought in by the artists, the venue becomes filled with temporary structures and compositions that are assembled and dismantled as needed.

The objects create places of encounter the formation of which is governed by randomness or momentary need and which change their form in time. The artists work in the project space almost daily, following a weekly schedule. Their work results in maps and diagrams on the walls of the gallery. One of them borrows its form from network diagrams. A network diagram is a graphic representation of a network, a way of examining functions, dependencies and the critical path of a project.

The title theme of the show, mesh/mɛʃ/, refers to a complex sequence of events in which things, situations, people and objects are all entwined or enmeshed together. It also refers to the mesh made up of the nodes and loops in a network or a fishing net.

nabbeeri have invited composer Timo Tuhkanen to collaborate in their project. He creates a soundtrack for the show from materials emerging in the showroom in EMMA. Timo Tuhkanen (b. 1983, Muscat, Oman) is a composer, poet, publisher and visual artist. He studied composition, improvisation and conducting at Brunel University West London, graduating in 2009. Tuhkanen lives and works in Helsinki.

 

 

 

 

 








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FRAGMENTS OF FORMER WORLDS | 2016


group exhibition w/ Riikka Keränen
2.–25.9.2016 Ama Gallery, Helsinki, FI


Laskuvesi paljastaa jälleen väliaikaisesti hehtaareittain limaista erämaata Skotlannin laitamilla; vedenalaiset hiekkadyynit, porrastuneen rantakivikon, kalmarin, kivettyneen kengän. Nostan ylös möykyn, jonka toisesta päästä kasvaa jokin haiseva vesikasvi. Huokailemme syvään ja muistelemme ääneen 3D tulostetuista kivistä muodostuvaa rantaa.

/

Teimme molukkirapujen kuorista naamarit, ajopuusta leirin, simpukoista kiveyksen. Punainen rantalippu merkkasi rantaleirimme sijainnin. Hurrikaani Irenen hylkäämä vaahtomuovipyöriäinen toimi maamerkkinä lähimmälle metropysäkille. Rannan alkuperäisasukki tuhosi leirimme hylättyämme sen kahden päivän jälkeen. Seurasimme etäisyyden päästä loittonevan oppornudistin kuumailmaväreilevää, vaaleaa persettä.

/

Suojaisassa poukamassa merimetso saalistaa kalaparven keskellä. Näen sen jo kaukaa rantarinteen ylätasanteelta. Itse saalistus näkyy avaruuteen saakka. Liikerata ∞ on toistunut mekaanisesti jo vuosia. Tulimme tälle rannalle varta vasten nähdäksemme mekaanisen merimetson. Löysimme eksaktin sijainnin satelliittikuvien perusteella. Kuvat päivitettiin viimeksi kaksi viikkoa sitten.


 

 

 

 

 

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31.01.–16.08.2020

Weather Report: Forecasting Future, group exhibition /w Ane Graff (NO) and Ingela Ihrman (SE), curated by Leevi Haapala & Piia Oksanen, KIASMA, Helsinki, FI

07.–30.8.2020

ÆSTIVATION, w/ Lau Nau, Forum Box, Helsinki, FI

23.09.2020–
14.02.2021

Weather Report: Forecasting Future, group exhibition /w Ane Graff and Ingela Ihrman, curated by Leevi Haapala & Piia Oksanen, Kuntsi Museum of Modern Art, Vaasa, FI

09.10.2020–
25.04.2021

Line of Life, collective exhibition, Korundi, Rovaniemi, FI

28.10.2020–

Touch, collective exhibition, EMMA, Espoo, FI

2021

residency, LISA, Tjørnuvík, Faroe Islands, DK

5.6.–15.8.2021

Spectres, duo exhibition curated by Inger Smærup Sørensen, The Nordic House, Faroe Islands, DK

2021–2022

group exhibition curated by Arnbjörg María Danielsen, The Nordic House, Reykjavik, IS

4.–14.11.2021

Light and Death, FLASH3 Light Art Biennale, curated by Alexander Salvesen and Jere Suontausta, Suomenlinna, Helsinki, FI

2022

duo exhibition curated by Ingrid Blekastad, Kunstbanken, Hedmark, NO

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Janne Nabb / +358 44 5130388

Maria Teeri / +358 45 8752886

nabbteeri(at)gmail.com

 
 

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HABITATION ATTEMPTS (A PLACE FOR BODY, A PLACE OF LIFE) | 2015

6.6.–29.8.2015, former Turku county prison, FI


The strange thing is that the more one's own space becomes cramped, the more it becomes encumbered with appliances and objects. It seems necessary for this personal place to become denser, materially and emotionally, in order to become the territory in which the familial microcosm is rooted, the most private and dearest place, the one to which one enjoys coming back at night, after work, at back-to-school time after vacation, after a stay in a hospital or the military. When the public sphere no longer offers a place for political investment, men turn into 'hermits' in the grotto of the private living space. They hibernate in their abode, seeking to limit themselves to tiny individual pleasures. Perhaps certain ones are already dreaming in silence about other spaces for action, invention, and movements. On a neighbourhood wall in June 1968, an anonymous hand wrote these words: 'Order in the streets makes for disorder in our minds.' Reciprocally, social despair restores imagination to power within solitary dreams.

[Michel de Certeau, Luce Giard & Pierre Mayol, The Practice of Everyday Life Vol. 2, p. 147–148.]

 

 

 

 

 

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THINKING OF INVERTEBRATES | 2017

group exhibition w/ mirko nikolić, Elina Vainio and Sylvia Grace Borda
15.6.–20.8.2016 Mustarinda, Hyrynsalmi, FI


● Shock tube detonators beachcombed from the bays of the Suomenlinna Island, they have been placed in old nail holes and in the tunnels of the larvae of violet tanbark beetle (Callidium violaceum)

● On a styrofoam wall, an unfinished copy of Donna Haraway's article published in e-flux in September 2016

● A rya rug, depicting a fur beetle larvae (Attagenus woodroffei) feeding on oat flakes

● Kuvarica, an adaptation of traditional Serbian embroidery craft

● 3D animation, HD, duration 30 min 16 s, plywood boards found from the storage, adjustable clamps

● watercolour on paper, clips, wooden rods, biopolymers

 

 

 

 

 

 





group exhibition Edge Effects – Active Earth, w/ Elena Mazzi & Sara Tirelli, mirko nikolić, Tuomas A. Laitinen and Jaakko Pallasvuo
curated by Jenni Nurmenniemi | HIAP
7.11.–3.12.2017 Art Sonje Center, Seoul, KR


 

 

 

 

 

 

poster by Joosung Kang

📷 by Yeonje Kim

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