Exhibition evaluation Porcelain has a long history in Russia, and now in Vantaa we can see how versatile Russian Contemporary Artists use the material

The shapes of disposable cups become baroque porcelain sculptures and ceramics bend into conceptual art at Vantaa Arts.


Until 17.1.2020, form on the surface at the Vantaa Art Museum Arts (Paalutori 3, Vantaa). Open Tue, Wed, Fri 11–18, Thu 13–20, Sat – Sun 11–16.

Baroque it is said that it brought everything lushly together. The abundance of style was created by blurring the boundary fences between the species and drawing from music to architecture, from fashion to sculpture, and from gardening to literature.

Russian contemporary art duo Crocodilepower, ie Peter Gološtšapovin (b. 1982) and Oksana Simatovan (b. 1979) porcelain sculpture Trashbarocco (2020) brings together, in the spirit of the Baroque, the signs of the consumer culture of our time: a work built in the form of disposable cups reflects time that draws mainly from its own habits and from the waste it produces itself.

Crocodilepower: Trashbarocco, 2020.­

The sculpting creamy cake is part of the ceramics exhibition at the Vantaa Art Museum Art Form on the surface. The exhibition brings out the possibilities of ceramics as a material for contemporary art in many ways.

In a loosely hung and elegant whole, ceramics is the starting point for video art, light, sculpture, painting and installation. Familiar artists working in Finland, such as Tommi Toijan (b. 1974), Pekka Paikkarin (b. 1960) and Kirsi Kivivirta (b. 1959), in addition, many fresh and versatile Russian contemporary artists on display are on display.

In Russia ceramics and especially porcelain have a long and respected history. In the 18th century, Russian factories began to develop their own methods of making the then-desired porcelain.

The Muscovite in the exhibition Annouchka Brochet (b. 1967) has dealt with the production of the Konakovo plant in its production. The factory is formerly known as the famous Kuznetsov factory, which produced earthenware products cheaper than porcelain. Where porcelain was suitable for the imperial court, household ceramics made of faience also ended up in ordinary homes as coffee cups and cups.

Annouchka Brochet, The Cerebellum. How to connect the brain, 2019–2020.­

In Arts, Brochet is seen as a work that, however, draws more from the language of Western contemporary art than from the decorative tradition of faience and porcelain treasures. Brochet’s installation in Arts’ side room The cerebellum. How to connect the brain (2019–2020) recalls the tradition of feminist art and its bloody way of dealing with corporeality.

Ceramics conceptualizes in almost the opposite way Natalia Khlebtsevich (b. 1971) in the installation Victim’s aggression (2018). In his work, Khlebtsevich focuses on clay as an organic material, which, however, petrifies unchanged in the combustion process. The installation highlights the “carved” nature of burnt clay by displaying objects reminiscent of archaeological finds: Latin tiles are attached to the pieces of work, which look like half-frozen fabrics, sorting the samples into different types of bitterness.

Natalia Khlebtsevich, Uhrin aggression, 2018.­

Exhibition brings out familiar factors in a new light. The space is dominated by a massive horn shaped from red clay, Pekka Paikkarin Call (2005).

Works referring to Kirsi Kivivirta’s painting have a balancing effect.

Kirsi Kivivirta’s works in the exhibition.­

Tommi Toija the Great The blower of the world (2012–2019) is surprisingly light Johanna Rytkölä (b. 1956) alongside planetary works.

This year, who participated in the Academy of Fine Arts master’s exhibition Maisa Majakan (b. 1989) works depicting youth culture seem to have become an established part of the field of Finnish ceramic art.


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