Academy of Fine Arts

 

MA thesis references of Academy of Fine Arts are available in the ARSCA database (starting 2014) and on this website (1995-2013).

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  • Vainionpää, Anniina (2018)
  • Niskanen, Tero (2018)
  • Lassila, Maija (2018)
    Opinnäytteeni keskeinen kysymys on, millaista tietoa maalaus muodostaa ja millaisen suhteen maalaus todellisuuteen luo. Opinnäytteeni kirjallisessa osassa tarkastelen maalausta suhteessa eurooppalaiseen visuaaliseen maailman näkemisen ja ymmärtämisen historiaan, omaa asemaani tässä historiassa sekä syitä, miksi maalaan. Taustoitan länsimaisen maalaustaiteen suhdetta maailman visuaaliseen haltuunottoon historiassa. Taidehistorioitsija Svetlana Alpersin esittämä alankomaalaisten taiteilijoiden "kartoitusimpulssi" 1600-luvulla toimii opinnäytteessäni esimerkkinä siitä, kuinka maalaus oli historiassa tärkeässä asemassa todellisuuden kuvaajana ja kartoittajana. Kun muut välineet, kuten valokuva, tulivat maalauksen tilalle todenmukaisempina tai ajankohtaisempina maailman kuvaamisen tapoina, maalaustaide jäi marginaaliin. Joissakin piireissä maalaus on jopa yhdistetty patriarkaaliseen ja kolonialistiseen kulttuuriin, minkä vuoksi välineenä sitä on nykytaiteessa myös kyseenalaistettu. Esitän tässä työssä esimerkkien valossa, kuinka maalaus on aivan oma tiedon muotonsa, ajatteluja olemisen tapa, jota muilla välineillä ei voi saavuttaa. Rinnastan oman tiedetaustani antropologiassa suhteessa valintaani maalata. Esitän, kuinka länsimainen, objektiiviseksi ja rationaaliseksi ajateltu tiede ei saavuta mielestäni suoraa yhteyttä maailmaan siinä missä maalaaminen. Eritoten väri ja maali muuntuvina ja ruumiillisesti sekä tiedostamattomasti koettuina asioina toimivat reitteinä konkreettiseen kokemukseen olemassaolosta. Hyödynnän tässä antropologi Michael Taussigin ajatuksia väristä maailman ruumiina ja liikkeenä, joka ei asetu suoraan subjektin tai objektin asemaan modernissa dualistisessa yhteiskunnassa. Myös maalari Elizabeth Murrayn ajatukset väristä ja maalista omana elämänmuotonaan tulevat esiin. Oman työskentelyni ja kirjallisten esimerkkien kautta pohtien siten esitän, kuinka maalaus toimii olemisen kokemuksen ruumiillistajana ja eräänlaisena vaihtoehtoisena kartoituksen muotona sellaiseen olemisen tapaan, jossa modernin ja dualistisen yhteiskunnan rajalinjat ihmisen ja ihmisestä ulkoisen välillä voivat hämärtyä. Opinnäytteeni taiteelliset osat olivat esillä Helsingissä Kuvan keväässä 6.-28.5.2017 sekä Project Roomissa 15.-31.12.2017. Teoskonaisuuksissa pyrin muodostamaan avoimen ja vuorovaikutuksellisen maalauksen oman tiedon paikan, jossa maalaus tekemisen muotona ja katsomisen tapana kommunikoi maailman sisällä, ei erillään siitä.
  • Vanitas 
    Langenskiöld, Christian (2018)
    My thesis project consists of a Master’s Thesis as well as eleven photographs that were presented at Kuvan kevät in May 2018. The photographs are the result of the work I have done at the Academy of Fine Arts during my master’s studies and the purpose of the text is to give an account of how my work evolved into what became my part of the Kuvan kevät exhibition. In a broad sense my interest as an artist circles around the human condition. Especially what it is like to live as a vulnerable being and how our mortality is reflected in our inner landscape, our behaviour and how we organize ourselves in groups and societies. In my thesis it has been my aim to look at how this interest has come about and how it has shaped my work. I also speculate about the direction that it is taking me in. During the last six years I have worked with subjects such as a fallout shelter, surgery, prosthetics and hospitals and the purpose of my thesis has partly been to reflect on how these themes relate to one another in my practice. My intention has been to present the questions and ideas that interest me as an artist in order for me to develop a more defined practice.
  • Jotuni, Kim (2018)
  • Isomaa-James, Merja (2018)
  • Kaljonen, Jukka-Pekka (2018)
  • Isakova, Anastasia (2018)
    This Master’s Thesis consists of two parts: the exhibition Dark Lines. Works by Ian Bourgeot (5.11.-12.12.2015) and the written component under the same name. In the written part, which can rather be called an essayistic documentation, I go through the events and initial considerations leading to making the exhibition, its goals and the outcome. Dark Lines was the first occurrence when Ian Bourgeot’s drawings were presented to the public, although he has been producing artworks during his entire adult life. Arkadia International Bookshop - a second-hand bookstore owned and run by Ian Bourgeot and his wife Liisa Bourgeot - was chosen quite naturally as the exhibition venue. Although Bourgeot’s works exist in abundance, only a small number of them was eventually included in the exhibition, the main part of which was made up of his latest drawings (2014- 2015). However, several of the selected works dated back to 2005. The written part is based mainly on my personal experience of discovering Ian Bourgeot’s art. I elaborate on how I became interested in his drawings, introduce Bourgeot as an artist, present some facts from his biography, and explain the underlying principle for the selection of the artworks. I analyse the process of working with the space, which meant, in practice, creating an exhibition inside the existing space of the bookshop. My attention is especially drawn to the meanings attributed to different rooms in Arkadia and the relation that emerged between them and the artworks. I ponder over the idea of the white cube, compare Arkadia with it and think about the meaning of the whole exhibition from this perspective. Finally, I write about the exhibition as a crucial moment for Bourgeot’s further development as an artist, bringing some examples. The process of working on Dark Lines and its written documentation also broadened my understanding of art, and even culture in general. It helped me to better realise the features of curatorial practice as well as my own ways of doing and developing it further in future.
  • Hyvärinen, Saara (2018)
  • Enges, Fredrik (2018)
  • Lecklin, Johanna (2018)
    In my study, Performed Realness: On participatory Art and its Ethics, I address questions stemming from my artistic practice and concerning participatory art, the split between documentary and fiction, performed realness, the ethics of the abovementioned, and authorship. I discuss these topics in dialogue with other artists’ artworks and with theories. Nevertheless, my intent is not to execute a comprehensive study on works, that have the same traits as mine. Works with moving image, my own and other artists’, which leave me to wonder and perplex me were a starting point of my research. – Is this true? Are these people performing or are they just being themselves in front of the camera? Can one be in front of the camera without performing? In this thesis, I also address the role of an artist conducting research. The work of an artist-researcher is often a balancing act between autobiographical and scholarly text. All artistic research does by no means concern the researcher’s own artistic production. In my work as an artist conducting research, I act in a double role: On one hand, when I conduct research, I consider the artwork with an outsider’s eyes; on the other, I use maker’s knowledge, which cannot be seen in the result. Art historians Katve-Kaisa Kontturi and Hanna Johansson write about similar methods, of doing research with art. The research springs from a dialogue with artwork. The method of writing vulnerably, which anthropologist Ruth Behar elaborates on—the relation between personal stories and ethnography, in which the vulnerable observer writes him/herself into the text—is also suitable for artistic research. My research has followed the stages of my piece Story Café (2004–2011). The piece is divided into stages: a participatory café, in which I record on video stories that the participants tell; installations of the recorded stories; and dramatizations that are based on them. The aim of the café part was to collect stories from the participators. I have used the stories to in various ways dramatize works with moving images. The meetings in the café part of Story Café resemble participatory and social artwork. On account of Story Café, an inquiry into theories on participatory art and participatory artworks is emphasized in my research. I address questions that originate from the work in relation to, for example, curator Nicolas Bourriaud’s definition of relational aesthetics, art researcher Miwon Kwon’s discussion on nomadic site-specific work, and art historian Grant Kester’s dialogical aesthetics. I also consider critic and curator Claire Bishop’s critique on relation aesthetics and art researcher Shannon Jackson’s analysis of the abovementioned. I present other artists who create participatory works, such as Rirkrit Tiravanija and Minna Heikinaho, because their work includes topics similar to mine. How do the power relations between the artist and the participant manifest themselves, and how is authorship divided in participatory work? Who is the author if the audience’s contribution helps to produce a piece? I examine what kind of ethical questions an artist-researcher faces in his/her work. My artistic work is based on ethical principles with similarities to philosopher Emmanuel Lévinas’ thoughts of meeting the other. Filmmaker Trinh T. Minh-ha’s films and texts have influenced the handling of ethical questions in my thesis and in my artwork. I address ethical meetings in my analyses of my piece, Story Café, and of other artists’ work, such as Santiago Sierra’s pieces; Renzo Marten’s film Episode III: Enjoy Poverty (2009); and Miriam Bäckström’s film Kira Carpelan (2007). Kira Carpelan and Episode III: Enjoy Poverty blur the boundary between fiction and documentary in an interesting way. I consider the dividing line between documentary and fiction through an analysis of my own and other artists’ work. I examine the split between them in works that include moving images. What is performance? How much direction, scriptwriting, framing and maker’s viewpoint does a documentary piece contain? I refer to filmmaker Susanna Helke’s research on style in documentary film and film theoretician Stella Bruzzi’s definition of performative documentary film, and I include the concept of a played documentary [documentarie joué], which philosopher François Niney uses for documentary film, into the context of art. I also discuss the relation of docufiction to my works and the works I have chosen to study. The variation between performing and realness plays a role in ethical scrutiny: I distinguish appearing in fiction from appearing in a recording. Nonetheless, the difference is not always clear. In my study, Performed Realness: On participatory Art and its Ethics, I discuss gender performativity by means of gender theorist Judith Butler’s definition. Several of my dramatized works explore gender. Gender performance may form a vital part of a piece’s theme, as in There is a Lot of Joy, too (2005), in which a youth is concerned with his gender. Dramatized moving image pieces based on recordings from Story Café deal with girls’ aggression in its various forms in my solo show, The Cage (2013). My thesis has followed the phases and topics that arose in my artistic practice. However, my artistic practice has proceeded in a different vein from the research, more organically and intuitively. A short tale that I have recorded in the meandering Story Café becomes a moving image; a verbally narrated character becomes flesh anew in a fictive world. In some of the of the works that I analyse, the split is explicit; a crevasse exists between the performed and the given depiction of reality. By contrast, in others, it is rather a drift, where the border between realness and performance is not clear.
  • Demozay, Annie May (2017)
  • Jalava, Kristian (2017)
  • Seppälä, Mia (2017)

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