{"id":12214,"date":"2025-01-27T08:50:18","date_gmt":"2025-01-27T06:50:18","guid":{"rendered":"https:\/\/avan.fi\/?p=12214"},"modified":"2025-01-27T08:50:18","modified_gmt":"2025-01-27T06:50:18","slug":"gronlund-nisunen-interferenser","status":"publish","type":"post","link":"https:\/\/avan.fi\/sv\/gronlund-nisunen-interferenser","title":{"rendered":"Gr\u00f6nlund\u2013Nisunen: Interferenser"},"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=”Gr\u00f6nlund\u2013Nisunen: Interferenser 7.2\u201325.5.2025″ 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 27.1.2025<\/strong><\/p>\n

 <\/p>\n

 <\/p>\n

Gr\u00f6nlund\u2013Nisunen: Interferenser<\/em>
\n7.2\u201325.5.2025
\n<\/strong>Ars Nova, 1. v\u00e5ningen<\/strong><\/p>\n

 <\/p>\n

Konstn\u00e4rsduon Gr\u00f6nlund\u2013Nisunen \u00e5terv\u00e4nder till \u00c5bo efter 30 \u00e5r! Aboa Vetus Ars Novas soloutst\u00e4llning H\u00e4iri\u00f6tiloja<\/strong> (Interferenser) f\u00f6r samman en kontrapunktisk kombination av verk. I utst\u00e4llningen m\u00f6ter nyfikna f\u00f6rs\u00f6k och analytiska tankeg\u00e5ngar.<\/p>\n

Konstn\u00e4rsduon Gr\u00f6nlund\u2013Nisunen \u00e4r k\u00e4nd f\u00f6r sina kinetiska installationer och skulpturer som kombinerar milj\u00f6, teknik och ljud. Duons yrkesbakgrund \u00e4r i arkitektur och musik. Verken k\u00e4nnetecknas ofta av plats- eller situationsbundenhet.<\/p>\n

Verken har sina utg\u00e5ngspunkter i vardagens observationer. De h\u00e4nf\u00f6r sig till fysikaliska fenomen, s\u00e5som elektricitet, str\u00e5lning, gravitationskraft, magnetism samt egenskaper hos materia och ljus. Verken \u00e4r experiment som konstn\u00e4rerna har formgivit.<\/p>\n

Verken fokuserar p\u00e5 det v\u00e4sentliga. Egentligen symboliserar eller f\u00f6rest\u00e4ller verken inte n\u00e5got, snarare f\u00e4ster de uppm\u00e4rksamheten vid n\u00e5gons varande eller n\u00e5gon h\u00e4ndelse. Den minimala estetiken tar inte st\u00e4llning till vad som \u00e4r vackert, utan transporterar i st\u00e4llet in i en sensorisk upplevelse.<\/p>\n

\u00c4ven om duon Gr\u00f6nlund\u2013Nisunen \u00e4r k\u00e4nd f\u00f6r sin fink\u00e4nsliga och finslipade stil, \u00e4r de intresserade av den ofullst\u00e4ndiga sidan hos materialiteten. En st\u00f6rning \u2013 som ofta tolkas som en defekt, ett fel eller ett avbrott \u2013 erbjuder ett tillf\u00e4lle f\u00f6r estetiska experiment. P\u00e5 samma s\u00e4tt beh\u00f6vs ett avvikande element i en avantgardistisk och h\u00f6gst\u00e4md konstupplevelse.<\/p>\n

Ett tillv\u00e4gag\u00e5ngss\u00e4tt som utm\u00e4rker konstn\u00e4rsduon \u00e4r att unders\u00f6ka f\u00f6rnimmelser med hj\u00e4lp av teknik och arkitektur som m\u00e4nniskan skapat. Tekniken och arkitekturen blir f\u00f6rem\u00e5l f\u00f6r samtidiga observationer. Utst\u00e4llningen inneh\u00e5ller verk d\u00e4r en fysikalisk experimentsituation f\u00f6r\u00e4dlats till ett rumsligt verk. Spegelprojiceringen Eclipse<\/strong> (2007) skapar ett skugg- och reflektionsfenomen som \u00e4r bekant fr\u00e5n himlakropparna. Color Mixer<\/strong> (2016) samplar f\u00e4rgkombinationer av ljus.<\/p>\n

I m\u00e5nga av utst\u00e4llningens verk framtr\u00e4der interferensen, dvs. st\u00f6rningen som verkets tema. St\u00f6rningar som s\u00e4tter varseblivningen p\u00e5 prov, och st\u00e4llvis till och med orsakar illam\u00e5ende, \u00e4r intressanta fenomen. De stora serigrafiverken 50 Circles<\/strong> och 100 Circles <\/strong>(2009) orsakar en moar\u00e9st\u00f6rning. Two Views<\/strong> (2022), som best\u00e5r av en pekdator och en ljustavla, visar interferensen som videotekniken skapar i bildmotivet. De perforerade plexiglasskivorna i verket 3\u00b0\/4\u00b0<\/strong> (2023) \u00e4r ett typexempel p\u00e5 hur st\u00f6rningarna opererar.<\/p>\n

Ofta h\u00f6r verkens v\u00e4sen ihop med materialets egenskaper. \u00c4ven om verken \u00e4r industriella, avskalade och rentav kalla, f\u00f6ruts\u00e4tter de n\u00e5gon som \u00e4r medveten och k\u00e4nnande. Skulpturerna Restless Horizon<\/strong> (2016) samt Falling Water<\/strong> (2020) best\u00e5r av genomskinliga v\u00e4tskor (vatten och silikonolja) som st\u00f6ter bort varandra. Sp\u00e4nningen mellan krafterna i v\u00e4tskorna \u00e4r uppenbar. I det med kylgel fyllda verket Frozen Sphere<\/strong> (2023) \u201dsvettas\u201d metallen n\u00e4r fukten i luften kondenseras p\u00e5 dess yta. F\u00f6r\u00e4ndringarna kan observeras trots att de h\u00e4nder r\u00e4tt l\u00e5ngsamt. I ljudverket Beat Frequency<\/strong> (2016) kan man k\u00e4nna sinusv\u00e5gen i rummet.<\/p>\n

Tommi Gr\u00f6nlund<\/strong>\u00a0(f. \u00c5bo) och\u00a0Petteri Nisunen<\/strong>\u00a0(f. Helsingfors) bor och arbetar i Helsingfors. B\u00e5da har studerat arkitektur p\u00e5 Tammerfors tekniska h\u00f6gskola. Nisunen har dessutom studerat industriell design och m\u00f6belformgivning p\u00e5 Konstindustriella h\u00f6gskolan.<\/p>\n

Vid sidan av det konstn\u00e4rliga arbetet har Gr\u00f6nlund haft en betydande roll i den elektroniska musikens och dj-kulturens ankomst till Finland. Under 1990-talet var han medlem i kollektivet Hyperdelic Housers<\/strong>, som aktivt ordnade fester f\u00f6r elektronisk musik i \u00c5bo. Nuf\u00f6rtiden driver Gr\u00f6nlund skivbolaget S\u00e4hk\u00f6 Recordings<\/strong> som han grundade i b\u00f6rjan av 1990-talet. Nisunen har \u00e5 sin sida varit verksam arkitekt och designer samt professor inom nutidskonst p\u00e5 Aalto-universitetet. F\u00f6r n\u00e4rvarande \u00e4r han vice dekan p\u00e5 Bildkonsth\u00f6gskolan.<\/p>\n

Gr\u00f6nlund\u2013Nisunens f\u00f6rsta gemensamma utst\u00e4llning\u00a0Voimavirta<\/strong>\u00a0ordnades i Titanik-galleriet \u00e5r 1993. Efter den har de gjort en gedigen karri\u00e4r och deltagit i otaliga utst\u00e4llningar och konstevenemang i olika delar av v\u00e4rlden. Ett urval museiutst\u00e4llningar fr\u00e5n de senaste \u00e5ren: Flow With Matter<\/strong> (Minsheng Art Museum Shanghai, 2020), Imminence \/ Time Slip<\/strong> (tillsammans med Ivana Franke, MMSU Museum of Modern and Contemporary Art, Rijeka, 2019), Grey Area<\/strong> (Kuntsi museum f\u00f6r modern konst, Vasa, 2018 och Helsingfors konsthall, 2017). Galleriutst\u00e4llningar, bland annat Latent Spaces<\/strong> (LA BIBI Gallery, Palma, 2023), Scattered Horizon<\/strong> (Galerie Esther Schipper, 2023) och Imminence<\/strong> (tillsammans med Ivana Franke, Galerie Anhava, 2020).<\/p>\n

\u00c5r 1997 fick duon Gr\u00f6nlund\u2013Nisunen priset \u00c5rets unga konstn\u00e4r. \u00c5r 2001 kurerade de den nordiska paviljongens utst\u00e4llning p\u00e5 den 49. Venedigbiennalen, som de sj\u00e4lva deltog i. \u00c5r 2021 fick de statens fem\u00e5riga konstn\u00e4rsprofessorsstipendier.<\/p>\n

Gr\u00f6nlund\u2013Nisunen \u00e4r k\u00e4nt f\u00f6r sina otaliga offentliga konstverk, och valdes som formgivare f\u00f6r utomhuskonstverket p\u00e5 \u00c5bo musikhus Fuga, som f\u00e4rdigst\u00e4lls i slutet av \u00e5r 2026. Deras nyaste offentliga verk \u00e4r Sidos<\/strong> (Monitoimijatalo Wintteri, Nystad, 2025) Puolenvaihto<\/strong> (Tammelan jalkapallostadion, Tammerfors, 2024), Yhteispeli<\/strong> (Valkealan monitoimitalo, Kouvola 2024), Auringonpilkut<\/strong> (As. Oy Jyv\u00e4skyl\u00e4n Hjalmar, 2023), Split Views<\/strong> (Hotel AX, Helsingfors 2022) och Triad<\/strong> (Kalasataman koulu, Helsingfors, 2020).<\/p>\n

Deras verk finns bland annat i f\u00f6ljande samlingar: Jenny och Antti Wihuris stiftelses samling, Rovaniemi konstmuseum, Finlands Nationalgalleri \/ Museet f\u00f6r nutidskonst Kiasma, Bj\u00f6rneborgs konstmuseum, Saastamoinen stiftelsens konstsamling, EMMA \u2013 Esbo moderna konstmuseum, WAM \u2013 \u00c5bo stads konstmuseum.<\/p>\n

Konstn\u00e4rerna har f\u00e5tt bidrag via Centret f\u00f6r konstfr\u00e4mjande fr\u00e5n Egentliga Finlands fond. 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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