{"id":11700,"date":"2024-09-19T10:03:52","date_gmt":"2024-09-19T07:03:52","guid":{"rendered":"https:\/\/avan.fi\/?p=11700"},"modified":"2024-09-19T10:03:52","modified_gmt":"2024-09-19T07:03:52","slug":"mikko-paakkola-red","status":"publish","type":"post","link":"https:\/\/avan.fi\/sv\/mikko-paakkola-red","title":{"rendered":"Mikko Paakkola: RED"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”5%” bottom_padding=”3%” constrain_group_2=”yes” left_padding_tablet=”0″ constrain_group_4=”yes” right_padding_tablet=”0″ left_padding_phone=”0″ constrain_group_6=”yes” right_padding_phone=”0″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_custom_heading text=”Mikko Paakkola: RED 4.10.2024\u201419.1.2025″ font_container=”tag:h1|text_align:center” use_theme_fonts=”yes” css=””][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” left_padding_desktop=”8%” constrain_group_2=”yes” right_padding_desktop=”8%” left_padding_tablet=”0″ constrain_group_4=”yes” right_padding_tablet=”0″ left_padding_phone=”0″ constrain_group_6=”yes” right_padding_phone=”0″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]Pressmeddelande 19.9.2024<\/strong><\/p>\n

 <\/p>\n

Mikko Paakkola: RED
\n<\/em><\/strong>4.10.2024\u201419.1.2025
\n<\/strong>Ars Nova, 1. v\u00e5ningen<\/strong><\/p>\n

 <\/p>\n

RED<\/em> sp\u00e5rar Mikko Paakkolas stilenliga produktion, vars k\u00e4rna alltid varit gl\u00f6dande r\u00f6d. De centrala elementen i m\u00e5leriet, det f\u00e4rgm\u00e4ttade pigmentet och horisontlinjen har burit hans arbete genom ungdomens bes\u00f6kelsetid i fyrtio \u00e5r. Utst\u00e4llningen visar konstn\u00e4rens h\u00e4ngivenhet till sitt \u00e4mne, vars intensitet h\u00e5ller \u00e5sk\u00e5daren i sitt grepp. Paakkolas m\u00e5leri uppmanar till att t\u00e4nka: Vad du \u00e4n vill, vill det s\u00e5 starkt att du \u00f6nskar dess eviga \u00e5terkomst.<\/p>\n

Var och en l\u00e4mnar ett sp\u00e5r i v\u00e4rlden. Mikko Paakkolas sp\u00e5r \u00e4r m\u00e5leri: f\u00e4rg och ett streck, som skapar en horisont. Horisonten skapar samtidigt en gr\u00e4ns och gr\u00e4nsl\u00f6shet, och har knappt n\u00e5got att g\u00f6ra med landskap.\u00a0 Snarare \u00e4r horisonten en kontaktyta mellan sinnen och id\u00e9er, ett \u00e4mne som f\u00f6renar mark och luft.<\/p>\n

\u201dM\u00e5leriet stannar tiden. Oavbruten n\u00e4rvaro. En m\u00e5lning blir till \u00f6ver tid och str\u00e4cker sig mot evigheten. I den finns tidens varaktighet. M\u00e5lningen kan inte avbilda n\u00e5gon viss stund.\u201d Mikko Paakkola<\/em><\/p>\n

M\u00e5lningarnas intensiva f\u00e4rger f\u00e5r verken att gl\u00f6da inifr\u00e5n ut. N\u00e4r vi ser p\u00e5 en m\u00e5lning vet vi att den \u00e4r gjord, vi ser sp\u00e5ren av m\u00e5leriet. Samtidigt visar den sig \u00e4nd\u00e5 som en h\u00e4ndelse: f\u00e4rgen gl\u00f6der framf\u00f6r v\u00e5ra \u00f6gon och vi uppslukas av m\u00e5lningen. Synen \u00e4r en stark solnedg\u00e5ng eller soluppg\u00e5ng, apokalyps eller en ny b\u00f6rjan. Maurice Blanchot (1907\u20132003) skriver: \u201dVi st\u00e5r inf\u00f6r f\u00f6rst\u00f6relsen men vi kan inte placera den i framtiden: snarare har den alltid h\u00e4nt och \u00e4nd\u00e5 st\u00e5r vi inf\u00f6r den, eller s\u00e5 hotar den oss.\u201d<\/em><\/p>\n

Paakkolas till\u00e4gnelse till f\u00e4rg och hans orubbliga konstuppfattning \u00e4r n\u00e4ra besl\u00e4ktad med 1940-talets amerikanska, abstrakta m\u00e5lerikonst. Att uppleva Mark Rothkos (1903\u20131970) m\u00e5lningar har haft en varkatig p\u00e5verkan p\u00e5 Paakkolas bana som konstn\u00e4r. Manusf\u00f6rfattare John Logans replik i pj\u00e4sen Red<\/em> (2009), som handlar om Rothko, sammanfattar ocks\u00e5 den sp\u00e4nning som r\u00e5der i Paakkolas m\u00e5lningar: \u201dDet finns bara en sak som jag \u00e4r r\u00e4dd f\u00f6r: att n\u00e5gon dag tar svart \u00f6ver r\u00f6tt.\u201d<\/em><\/p>\n

\u00c5 andra sidan kommer konstn\u00e4ren och konstteoretikern Ad Reinhardts (1913\u20131967) krav p\u00e5 fri konst fram i m\u00e5leriets n\u00e4rvaro och egenv\u00e4rde: dess kompromissl\u00f6shet, konkretion, anonymitet, uppriktighet, s\u00e4kerhet och verklighet. Hans m\u00e5lningar st\u00e4ller fr\u00e5gan: vem \u00e4r r\u00e4dd f\u00f6r r\u00f6tt, gult och bl\u00e5tt? Vi m\u00f6ter oss sj\u00e4lva i f\u00e4rgernas v\u00e4rld.<\/p>\n

Mikko Paakkola \u00e4r konstm\u00e5lare. Han ber\u00e4ttar: \u201dM\u00e5leri \u00e4r en str\u00e4van efter perfektion, som man n\u00e4rmar sig med repetition och \u00e5tskillnad. M\u00e5leriet h\u00e5lls i liv genom m\u00e5lmedvetenhet \u2013 det \u00e4r en kamp om existens.\u201d <\/em>Det vardagliga arbetet, m\u00e5leriet, definierar vad som \u00e4r viktigt. Konsten l\u00f6ses ut genom m\u00e5leri, arbete.<\/p>\n

Enligt Reinhardt kommer konstens enda verkliga kraft och perfektion fr\u00e5n l\u00e5ngvarig, ensam och rutinm\u00e4ssig f\u00f6rberedelse, fokus och upprepning. Konstn\u00e4rens enda konstverk, enda verkliga m\u00e5lning, \u00e4r en eller ett<\/em>: en forml\u00f6sning, en f\u00e4rg, en linj\u00e4r delning, en symmetri, en ytstruktur, ett s\u00e4tt att anv\u00e4nda penseln med fri hand, en rytm, en bearbetning av allt till ett s\u00f6nderfallande och till en odelbarhet.<\/p>\n

Konsten tar med och utan avsikt st\u00e4llning till fr\u00e5gan om individens fria vilja. Konstn\u00e4rskapet kr\u00e4ver autenticitet, vilken \u00e4r en slags konsekvent oundviklighet mellan konstn\u00e4rens karakt\u00e4r och konstverken. Paakkola har m\u00e5lat ett och samma verk i n\u00e4stan 40 \u00e5r. Han har fokuserat p\u00e5 varandet som n\u00e5got man g\u00f6r. Han f\u00f6resl\u00e5r: \u201dVi, som lever p\u00e5 f\u00e4rger och f\u00f6r dem, g\u00f6r det p\u00e5 v\u00e5rt helt egna s\u00e4tt, och till\u00e5t det f\u00f6r oss, som en ren egenhet och naturnyck.\u201d <\/em>Om vi kan l\u00e4ra oss n\u00e5gonting av konstn\u00e4rer, s\u00e5 \u00e4r det deras integritet och f\u00f6rm\u00e5ga att anv\u00e4nda sin egen frihet.<\/p>\n

Verken i utst\u00e4llningen \u00e4r i stora drag fr\u00e5n de senaste tio \u00e5ren, nu \u00e4r inte tiden inne f\u00f6r en retrospektiv utst\u00e4llning. Verken som st\u00e5r framme i utst\u00e4llningen kommer fr\u00e5n konstn\u00e4rens egna samlingar samt privata och Nationalgalleriets samlingar.<\/p>\n

Utst\u00e4llningen omfattar stora m\u00e5lningar och seriella helheter best\u00e5ende av mindre m\u00e5lningar. Paakkolas utm\u00e4rkande metod \u00e4r att m\u00e5la med olje- och akrylf\u00e4rger samt att anv\u00e4nda l\u00f6spigment p\u00e5 en ytbelagd tr\u00e4fiberskiva, eller p\u00e5 vad som helst. D\u00e4rf\u00f6r finns olika materialf\u00f6rs\u00f6k med i utst\u00e4llningen. Verken har inga egentliga namn, de identifieras med uppgifter om verkets h\u00f6jd och l\u00e4ngd. Utst\u00e4llningens mest k\u00e4nnspaka drag \u00e4r en riklig r\u00f6d f\u00e4rg, som gl\u00f6der genom hela utst\u00e4llningslokalen. Paakkola anv\u00e4nder sig av hela paletten, men intensiteten hos m\u00e5larens huvudf\u00e4rger (r\u00f6d, bl\u00e5 och gul) saknar motstycke.<\/p>\n

Mikko Paakkola (f. Lappi, Raumo) \u00e4r en bildkonstn\u00e4r, kurator och gedigen akt\u00f6r inom konstf\u00e4ltet fr\u00e5n \u00c5bo. I Taide-tidningen har han skrivit sedan \u00e5r 2018. Paakkolas f\u00f6rsta soloutst\u00e4llning var i W\u00e4in\u00f6 Aaltonens museum \u00e5r 1984 (\u00c5bo). Han har haft tiotals privatutst\u00e4llningar och han har deltagit i \u00f6ver hundra grupputst\u00e4llningar, varav n\u00e4stan h\u00e4lften ordnats annanstans i Europa.<\/p>\n

Bakom hans eleganta bildkonstn\u00e4rliga arbete finns en stark konsthistorisk och konstteoretisk vision av m\u00e5larkonsten. Redan innan sina konststudier studerade Paakkola filosofi och litteraturvetenskap. Han har studerat i \u00c5bo ritskola och avlagt fortsatta studier inom bildkonst i Paris anrika konstskola (\u00c9cole nationale sup\u00e9rieure des Beaux-Arts). Nuf\u00f6rtiden bor och arbetar Paakkola i \u00c5bo, medan hans konstn\u00e4rsidentitet \u00e4r centraleuropeisk. Vid millennieskiftet bodde han 10 \u00e5r i Bryssel och hittade sitt hem d\u00e4r under en gemensam gr\u00e5 himmel, som rymde alla v\u00e4rldens f\u00e4rger.<\/p>\n

Utst\u00e4llningen har f\u00e5tt st\u00f6d av Museiverket.<\/p>\n

 <\/p>\n

Till\u00e4ggsinformation<\/strong><\/p>\n

Niina Tanskanen
\nutst\u00e4llningsamanuens
\nniina.tanskanen@avan.fi<\/a>
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