Artist from Espoo, Finland
EXHIBITIONS AND WORKS
Kiasma Commission by Kordelin 2.6.2020-10.1.2021
Kiasma museum of contemporary art, Helsinki, Finland
Emma Jääskeläinen’s artwork Proper Omelette is a sculpture family whose parts spread out through Kiasma’s lobby and the 2nd-floor balcony. The work consists of two stone sculptures, a textile piece, and a bronze sculpture.
The starting point for the sculptures is the human body and the experiences embedded in its memory. Physical tiredness, sweating, and aches are also part of a sculptor’s work
Eggs-files,2020: Bronze, collected stone eggs: 170cmx30cm
Protector and Black Pepper, 2020: Travertine Noce, found stone, wool: 270cmx110cmx90cm
Heavy pick, 2020: Norwegian Rose marble, found stones, collected stone eggs: 120cmx130cmx110cm
Sunset Sweater, 2020: wool, aluminium, New Years tin stone eggs: 500cmx50cm
Rauma Triennale Balticum, 2019: Group exhibition curated by Anna Vihma & Anna-Kaisa Koski.
NABIL BOUTROS (EG/FR), EMMA JÄÄSKELÄINEN, HERTTA KIISKI, MAIJA LUUTONEN, PAULIEN OLTHETEN (NL), SARI PALOSAARI, MARTHA ROSLER (US), JAAN TOOMIK (EE) ja ELINA VAINIO.
Head and Shoulders, 2018: group exhibition, Exhibition Laboratory, Helsinki. Artists: Dylan Ray Arnold & Ocèane Bruel, Lasse Juuti & Emma Jääskeläinen, Iiris Kaarlehto & Inka Kynkäänniemi
Works of H&S exhibition in collaboration with Lasse Juuti
Head & Shoulders brings together works from three collaborative practices. The exhibition is an invitation to the shared nature of living and leaving. We are at home, at your place, the waiting room, the port or beyond, saturated with stories, kind of ruins. Couches are common words. We can store our affects in and share the cloud above. While we still have hair, let’s use our hands. Head & Shoulders nourishes, takes care, heals and irritates. Working with each other encourages us to extend our intimacies towards a common ground, through frictions and excitements. A collective vision is a precarious moving composition. In Exhibition Laboratory it becomes space, forms, materials and images.
Sittin´, 2018: Aluminium, felt.
Heavy thinker, 2018: Acrylic, towel fabric.
Pig tail, 2018: Ripped t-shirt, aluminium, bronze.
Marlboro-mies, 2018: aluminium, candle.
DUUO, 2018: Aluminium
Sofa-pitch-split, 2018: Wood, felt, fabric, diary.
(Dylan Ray Arnold’s and Ocèane Bruel’s concrete cast on top.)
Submarine, 2018: IKEA bag, wood, stone.
Pictures of the show: http://tzvetnik.online/portfolio_page/head-shoulders-at-exhibition-laboratory/
TIZZICATO: Solo show, Turku Old Townhouse gallery, 2018.
Fiddles, 2018: Marble: 30x24x27cm.
Sweet Chili, 2018: Bronze, seashells, stones, chili: 34x30x2cm.
Big nose, 2018: Bronze, marble dust: 6x4x8cm.
Curse, 2018: Bronze, seashells, earring: 11x1x14cm.
Sudoku, 2018: Marble: 30x50x55cm.
Holding a dirty thought, 2017: Norwegian rose marble, seashell: 18x42x18cm
Spagat, 2018: Norwegian Rose marble: 20x150x25cm.
Knob, 2018: Bronze: 6x5cm.
Tit, little bitch sittin´, 2018: Paper mache, found nipple stone, branch: 7x6x16cm.
Nest, 2018: Found stone, hair collected from the shower, seashells: 6x12cm.
Sad basket, 2017: Dolomite: 30x28x30cm.
A passing permanence, 2018: A group show curated by Jaakko Rintala. Artists: Emma Jääskeläinen, Mikko Kuorinki, Man Yau, Nabb+Teeri, Eetu Sihvonen, Collin Velkoff
A survey into the phenomenology of experience during late modernity
”You first saw the light on such and such a day and now you are on your back in the dark.”1
Can we presume all time to be included in a singular world opened through experience? The exhibition’s name refers to the idea that the world opened through experience is a continuum of truth and reality which constitutes our being in the world. As such we can think of time as a multitude of binds and strings which entwine as a kind of bricolage2 rather than an ever-expanding linear line. And here we are; bound to this earth with the binds of time.
This also raises questions of the dialectical nature of freedom and necessity. If we as aforementioned understand ourselves as a part of the intertwined network of time, being and experience then we can start to critically examine what these circumstances mean. We are a part of – whether we want it or not – countless different communities, societies and spheres of influence which constitute our existence; state, currency, sex for example.
This is the interface on which A Passing Permanence takes place, it’s intent to survey those structures and borders that compose experience and constitute our being in the world.
1 Beckett, Samuel. Company. United Kingdoms: Calder Publications; 1982.
2 French word for do-it-yourself, tinkering or creating from a variety of available things.
Text: Jaakko Rintala
Emma Jääskeläinen: Sudoku, 2018: marble (installed next to Mikko Kuorinki’s Day at the beach, 2017). Photo: Emma Sarpaniemi