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APR 1 0 – MAY 3, 20 26 | OP E N I N G: AP R 9, 5 - 8 P M

                       OLA
                       KOLEHMAINEN

                                                          MAIN HALL

                                                          Ola Kolehmainen is one of the first-generation
                                                          artists of the “Helsinki School”. He has become
                                                          known for his minimalist-abstract approach
                                                          using 20th and 21st century modern architecture
                                                          as a starting point. In his works, Kolehmainen
                                                          examines the meta-level of art and architectural
                                                          history through a minimalist lens.

                       LUIS
                       OLASO

                                                          STUDIO I

                                                          For Luis Olaso’s oil and acrylic works the expres-
                                                          sive power springing from within forms is the
                                                          starting point. The expressionism manifesting
                                                          feelings is mingled with symbolism and the mean-
                                                          ing of lines, forms and colours is accentuated via
                                                          the visual tropes the artist brings to the fore.

                       SAMPO
                       APAJALAHTI

                                                          STUDIO II

                                                          Sampo Apajalahti’s works often include a “pic-
                                                          ture-in-picture” still life, which he uses to chal-
                                                          lenge conventional ways of looking. In so doing,
                                                          he questions what it is that defines itself as the
                                                          object of the gaze – is it the painting as such or
                                                          the (painted) image contained in it?
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