2020 MOTHER – a Thin Red Line. Myymälä2, Helsinki. 19.3.-12.4.2020
MOTHER – a Thin Red Line re-examines and re-visits notions of the “mother-child relationship”, so often seen in art history as a sentimental connection between mother and child – here the works explore the more often complex and difficult relationship, moving between the voice of the mother, the child and an analytic observer. Towards a critical visualization and documentation of this unique bond.
The emotional bond between mother and child is often complex, subtle and abstract. With the cutting of the umbilical cord, physical attachment to our mothers ends and the emotional, psychological attachment begins. While the first attachment provides everything we need to thrive inside the womb, many psychologists believe the second attachment provides the psychological foundation and maybe even the social and physical buffers we need to thrive in the world.
“You may only remember a gentle caress or a slap from her hand, harsh or comforting words from her mouth, but only you deep down understand how she was to you. You may say it sometimes, but more often, you keep it in your heart.”
The exhibition features a variety of techniques and mediums that Goldstone feels best address the aesthetical issues, including the element of sewing and embroidery, which the artist strongly associates to her mother.
Artefacts and photographs from the artist’s personal archive, painting, installations and sound works.
The artworks and exhibition was supported by:
The Finnish Cultural Foundation & the Arts Promotion Centre Finland
2018 Earth Song / Maan laulu. GalleriaKONE, Hämeenlinna
29.9.-23.10.2018
This body of works represents the culmination of a 7 year long project.
Earth Song / Maan laulu exhibition features drawings, photographs, installations, research material and video that reflect on forgetting history and how world history events displace entire communities and their micro cultures, which then integrate with the majority culture and run the risk of ceasing to exist.
One important factor that has been crucial for me in creating these works is their materiality; my choice of materials and how they are presented becomes an integral part of the visual narrative. Many of the glass plates show the ware of time, dust and finger prints, water damage and crackle glaze fractures in the surface, all of this is important as it speaks of the passage of time. Both architecture and photographic materials are forever changing with time: eroding and moving towards futility. However, there is a sentient quality about both surfaces – a fragility that speak pleasurably of memory and the human condition.
2016 Intimate Resistance, Galleria Huuto - Jätkäsaari-Jätkä 1. Helsinki. 10.9.-25.9.2016
Intimate Resistance exhibition features photographs, installations and video stories that reflect on forgetting history and how world history events displace entire communities and their microcultures, which then integrate with the majority culture and run the risk of ceasing to exist.
Like a century-old Facebook, the discovery of this 80 – 90 year old time capsule has brought these images to light – and if the faces, traditions and culture from the past can be restored and preserved, so too is the dignity of people long vanished.
Anarchy of Silence 2010 Site responsive, installation, video and performance. States of Readiness,Landguard Fort, UK.
Curated by Caroline Wright
The work for this exhibition, which draws its themes from both historical and contemporary issues of preparation, anticipation and waiting, I propose to concentrate on specific concepts/notions of Defence and Protection referencing military and civil defence. The proposed works will engage directly with the fundamental reasons for the establishment of the Fort and the Geneva Conventions.
The installation, video and performance Anarchy of Silence is a site specific work created solely for the exhibition State of Readiness and takes its themes from the fundamental reasons for the establishment of Landguard Fort and the Geneva Conventions. Both of which were set up as a means of military and civil defense and protection, and in parallel time lines have been through processes of amendment owing to the changing nature of military warfare.
By drawing comparisons of the two both past and present through performance and installation the work aims at highlighting our own personal vulnerability and associated implications of world frailty and vulnerability.
Drawing the Lines at Place 2010
Installation, 2,5 x 1,5 x 2,5 meters, nylon threads, 7500 jig-saw puzzle pieces, lead weights
Built within the public arena over a period of 28 days in the now decommissioned Paloheimo power plant Voimala, working 9.00am - 5.00pm, 7 days a week, where the public were invited to participate with me in the construction of the work or observe and engage with me during its making.
The Concept: This work explores our notions of place and non-place, collective memory and identity. I am interested in the enigma of the obscure ways in which place can shape and affect us or answer differently to how we understand ourselves in a place. Looking at place; not merely formed by its physical space, but as a collective construction, made up of the memories, experiences and traces of the individuals that pass through or inhabit them, which all combined, create a multi-faceted perspective, from which emerges a shared identity.
I wanted the work to be something that can be read as playful, poignant, beautiful or intimidating
“We learn a place and how to visualize spatial relationships, as children, on foot and with imagination.
Place and the scale of space must be measured against our bodies and their capabilities.” Gary Snyder (“Blue Mountains Constantly Walking).
For the duration of the making period I curated & invited 3 other artists to occupy the Viomala space with works fitting the exhibition theme PLACE / SPACE
Invited artists: Kalle Mustonen: Dream of Balance, 2007-2008
Jukka Korpihete & Tuomas Laitinen Vanishing Point - Ghost Drive
Commissioned by curators Kalle Hamm & Dzamil Kamanger for XXII Mäntän Kuvataideviikot 2015
The installation is comprised of an outbuilding with images woven into the building from the old glass plate negatives printed on oiled paper. It reflects on forgetting history and how world history events displace entire communities and their micro cultures, which then integrate with the majority culture and cease to exist. The work connects the passage of time with the domestic environment and poses a number of questions about our memories. How do we know what we know? Whose memories have we retained? Are our memories based on our experiences or stories we have been told? Do we have an accurate narrative of our past, or is our memory composed more of thousands of moments that may be random, layered, non-linear, borrowed, or created?
They become a visual document of the reticular formation of relationships, connections and context through which we define ourselves.
http://www.mantankuvataideviikot.fi/en.php?k=100880
2011 Bringing Down the Walls. Galleria KONE, Hämeenlinna
This exhibition means to examine cultural notions of place by deconstructing and re-contextualizing images and objects that reflect or influence the collective imagination.
When historical truth collapses, the collective memory has to re-create its contents.
Bringing Down the Walls bridges the use of physical space as metaphor with the construction/deconstruction process of identity building. By working in a variety of artistic media these works intend to investigate the reprocessing of memory and the complexity of location and identity. The story of a space can be traced through its emergent life, its life in construction, its life in use and reuse, its life in individual and collective memory and its life within a culture, suggesting that, while spaces can contain many lives, they can equally live many lives themselves. They mirror the process of how memory is formed, therefore mirroring the process by which we construct beliefs about ourselves and our pasts.
The intended works will deliberately invite multiple interpretations, not only focusing on the sites themselves, but also on their stories, which express a particular memory (or create it). This approach is especially useful if one assumes that there is no single, universal valid interpretation, but that different groups interpret history differently and consequently construct different memories.
There Goes the Neighbourhood a series of paintings on photographs proposes to investigate the love-hate relationship I have with these houses and the sprawling communities they create. Through painterly intervention, I intended to pay homage to these structures present and past that have literally housed thousands. The resulting brightly coloured blocks or voids will reference the architecture of the original structures but also turn them into visual icons, no longer hidden in the landscape.
"The end does not justify the mean " - Anthropology of a Collaborative Process
2013 Into the woods, Finnish contemporary art at Knipsu, Bergen, Norway. International exchange exhibition. KNIPSU Bergen, Norja ja GalleriaKONE, Hämeenlinna.
Curated by Hilde Jørgensen and Maya Økland
The work "The end does not justify the mean " - Anthropology of a Collaborative Process documents; from it's inception to the present day, the process of an ongoing project between school children in Finland and Africa that started in December 2011 as a means to raise
awareness to all children’s rights to a proper education.
Through an installation of archived material and by isolating, reworking, images, texts and objects the work will give an aesthetic visual form to a process.
When artists produce a finished work the process behind it's completion is left behind to the viewer, but not to the artist.
Hilde Jørgensen and Maya Økland - Gallerist/Curators - The basis for the curatorial concept was the poem Interlude IV by Tor Ulven. In the authorship of Tor Ulven nature is often associated with the non-human, that which exists independently of us, who were there before our birth and who will be there after our death. The neutral natural phenomenons. The rain, the snow, the woods, the soil, the mountains. What is not disrupted by ups and downs, anxiety and depression, lust and jealousy, but stands firm as a bedrock. This longing for reunification with nature and the constituents of life will be a recurrent theme in the exhibition.
"The title of the exhibition "Into the woods" is linguistically derived from horror movies, but also reflects the hours we spent in the car traveling from studio to studio during the artist selection process".
http://knipsu.no/
And so it Goes 2014
Artist residency Grassina, Italy
Finnish Artists' Studio Foundation
And so it Goes is an unplanned work carried out during a one month residency in Italy, when I arrived I had a clear idea of the work I intended to make but owing to a series of totally unexpected turn of events. With my certaintyknocked off balance I gave myself pause and during that time in the social gatherings of the other resident artists I found myself listening to shared stories of love, death, life, happiness and sorrow and it was from these stories that this work emerged.
This work is part of an ongoing project
Before and after I Breath 2009
Public Space
Under Construction
Curated by: Lisa Torell
There are many ways of discussing
public space, this is one of them.
One project
Four days
Eleven artists
Three countries
Three words
time
routines
moments
Particpating artist: Satu Bethell, Samantha Epps, Edwina Goldstone, Lily
Johnson, Riikka Kiljunen, Romany Dear, Susie Olczak, Jyri Pitkänen,
Hanna Shepherd and Nathalie Wuerth.
Pelmuraali 2016 a Commissioned work by the City of Riihimäki, Peltosaari-project and Kulttuuriviritys-Projekti in order to create a community focused large scale - 20.5 x 3.5 metre out door wall art work.
The projects focuses were on; participation in the suburbs and exploring different ways to activate the sometimes passive citizens of Peltosaari with the help of socially engaged art projects and activities, culminating in the production and realisation of a collaborative art work to be unveiled in late April 2016.
Particular emphasis was made in the need to engage and involve as many of the residents of Peltosaari in the planning and making of the final work. Within these parameters my own goal was to collectively produce a work using the arts to bring together the various communities of Peltosaari from across geographical, ethnic, generational divides.
The project was divided into 4 key stages - Planning and Development - Preparation of materials - A series of artist-led workshops - Realisation of final art work.
https://www.facebook.com/liikettalahioon/?fref=ts
Maku Project was a year long socially engaged Art, Migration and Intercultural Adaptation project based on Non-formal learning through the arts to help integrate immigrants into Finnish culture.
Funded by the Finnish Cultural Foundation - Häme fund
In cooperation with Hämeenlinna immigrant cultural services - Maku/Taste Project - aimed to help familiarize migrants into Hämeenlinna's cultural facilities and the Finnish culture. As an integral part of the project workshops, cultural visits and creative projects were carried out based on carefully chosen and targeted needs expressed by various immigrant cultural services but most importantly by the immigrant's themselves.
The project was coordinated and supervised by artists Edwina Goldstone & Jaakko Autere.
Working partners: Invited artist Amal Laala, Hämeenlinna Settlement Association, Vanajaveden Opisto, Hämeenlinna Art Museum, Finnish Cultural Foundation, The City of Hämeenlinna, Ars Häme-GalleryKONE.
https://makuprojekti.wordpress.com/
https://www.facebook.com/Maku-Projekti-655273771189579/
Phantasmaˈgorical - Peddling Time at the World Village Festival 2016 together with performance artist Willem Wilhelmus. Peddling Timereferences the loss of localized meaning in our everyday world, as everything around us speeds up we become addicted to this roadrunner culture, cramming more and more into every minute, creating ‘Time poverty’ and a disassociation with our immediate surroundings and world events that shape them.
Together with the participating public we created a per-formative social sculpture, creating a space to experience time were one is invited to slow down, to physically and mentally interact and reconnect with place and time.
To understand how a sense of place becomes bound up with a person’s social and individual identity, we need to treat time and place, not as a stage for social activity but as a ‘product’ of it, where meaningful action and shared understanding is possible.
