Marja Kanervo
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Marja Kanervo
Instalacija u Umetničkom muzeju u Bonu, 2006. (I deo)
Installation in Kunstmuseum Bonn, 2006 (part 1)


Born in 1958 in Finland
lives and works in Finland

Installation in Kunstmuseum Bonn, 2006 (part 1)
Photo: Marja Kanervo

Man lives in rooms. He needs and searches for such spaces out of existential necessity. The cave provided for this essential need in prehistoric times, and the dwellers often used the cave walls to paint or scratch scenes describing their daily lives. As the first organized settlements developed, the need to create a living environment accompanied it, which from then on becomes the expression of any given culture through its architectonic forms. The enclosed space separates the interior from the exterior. Although this “room” has the function of providing a protective shell, it is first kindled into life as an elementary space for the promotion of human existence and endeavor by the introduction of light. With these “rooms” of a cultural history of building, mankind has not only developed a self- image but also a scale model of his self image. Space exists as a materialized entity. It is enclosed and defined by borders -like a skin. It is, therefore, to be understood as part of a living organism with a vital infrastructure, which, like every other living body existing in tension between interior and exterior, is subject to a perpetual process of change.

Marja Kanervo draws our attention to these fundamental connections with her space -oriented works. In her early installations she transcends her aesthetic obligation and therefore, the formal criteria for painting and sculpture. Since the early eighties, she has considered space to be a new artistic perspective. However, she is not concerned with formal dimensions in the manner of minimal-art.

Instead she regards presenting a room’s material and visual characteristics, as well as its contextual connotations, as a fundamental challenge, to make the people who have created the space become emotionally and intellectually conscious of it. That is why she considers space to be a physical dimension, and penetrates this body with her actions. The space is part of the whole, and therefore, part of her body and part of the visitors moving around within it. She rarely adds supplementary objects to her later works, but rather makes reductive impingements in her search for criteria connecting her consciousness to the pre-existing space. It is a search for distinguishing characteristics in order to reveal and vocalize function or history. She strips it of its alien influence and restores its significance and original meaning. She removes foreign objects, whether tiled, paneled, mounted wall cladding or plaster layers from bygone eras, and leaves them as they are, on the floor, as artifacts and evidence of the artistic intervention. She often unearths words or other elements which generate a relationship to the position and a context for the building and rooms in which she is working.

Andreas Vowinckel

From his essay for the catalogue Breaking the Ice, Kunstmuseum Bonn, 2006

Biography

Marja Kanervo was born in 1958 in Finland. She lives and works in Finland. She studied at the School of Fine Arts at the Academy of Finland and at the Konstfackskolan in Stockholm, Sweden. In 2006 she took part in the group exhibitions Anttolanhovi in Anttola, Finland, Joen kolmas ulottuvuus in Joensuu, Finland, Breaking the Ice at Kunstmuseum Bonn, Germany, and Mustavalkoinen metafora in Helsinki Art Hall, Helsinki, Finland.

Rođena 1958. godine u Finskoj.
Živi i radi u Finskoj.

Instalacija u Umetničkom muzeju u Bonu, 2006. (I deo)
Fotografija: Marja Kanervo

Čovek živi u sobama. Takvi prostori su mu potrebni i on ih traži iz egzistencijalne potrebe. Pećina je zadovoljavala ovu osnovnu potrebu u praistorijsko doba, a njeni stanovnici često su koristili zidove pećine da bi na njima naslikali, ili urezali, prizore koji su opisivali njihov svakodnevni život. Razvoj prvih organizovanih naselja pratila je potreba da se stvori životna sredina, koja, od tada pa nadalje, postaje izraz bilo koje date kulture kroz njene arhitektonske forme. Zatvoreni prostor razdvaja enterijer od eksterijera. Premda ova ''soba'' ima funkciju da pruži zaštitnu ljušturu, ona prvo oživljava kao elementarni prostor za promovisanje ljudske egzistencije i ljudskog truda putem uvođenja svetlosti. Posredstvom ovih ''soba'' kulturne istorije građevinarstva, čovečanstvo je razvilo ne samo sopstvenu sliku, već i njenu maketu. Prostor postoji kao materijalizovani entitet. On je obuhvaćen i definisan granicama – kao kožom. Otuda ga valja shvatiti kao deo živog organizma sa vitalnom infrastrukturom, koja je, poput svakog drugog živog tela koje postoji, u napetosti između unutrašnjeg i spoljašnjeg, podložna neprekidnom procesu promene.

Marja Kanervo skreće nam pažnju na te suštinske veze svojim radovima orijentisanim na prostor. U svojim ranim instalacijama ona prevazilazi svoju estetsku obavezu, a, zbog toga, i formalne kriterijume slikarstva i skulpture. Ona prostor, počevši od ranih osamdesetih godina prošlog veka, smatra novom umetničkom perspektivom. Nju, međutim, ne zanimaju formalne dimenzije u maniru minimalističke umetnosti.

Umesto toga, za nju je osnovni izazov da predstavi materijalne i vizuelne karakteristike neke sobe, kao i njene kontekstualne konotacije, kako bi postigla da ljudi koji su stvorili taj prostor postanu emotivno i intelektualno svesni njegovog postojanja. Ona, zato, smatra da je prostor fizička dimenzija, i svojim delovanjem prodire u to telo. Prostor je deo celine, a otuda i deo njenog tela i deo posetilaca koji se kreću unutar njega. U svojim kasnijim radovima ona retko koristi dodatne predmete, već, umesto toga, reduktivno utiče u svome traganju za kriterijumima koji povezuju njenu svest sa postojećim prostorom. To je traganje za karakteristikama koje razlikuju prostore među sobom, a cilj joj je otkrivanje i formulisanje funkcije istorije. Ona lišava prostor stranih uticaja i vraća mu značaj i prvobitno značenje. Ona uklanja strane predmete, bilo da se radi o zidnim pločicama, ili panelima, ili plastičnim slojevima iz prošlih epoha, i ostavlja ih na podu takve kakvi jesu, kao artefakte i kao dokaz umetničke intervencije. Ona često razotkriva reči, ili druge elemente koji stvaraju odnos prema poziciji i kontekstu zgrade i soba u kojima radi.

Andreas Vovinkel

Odlomak eseja iz kataloga Breaking the Ice, Kunstmuseum Bonn, 2006

Biografija

Marja Kanervo rođena je 1958. u Finskoj. Živi i radi u Finskoj. Studirala je na Školi likovnih umetnosti pri Akademiji Finske i na Konstfackskolan u Stokholmu, Švedska. Godine 2006. učestvovala je na grupnim izložbama Anttolanhovi u Antoli, Finska, Joen kolmas ulottuvuus u Joensuu, Finska, Breaking the Ice u Kunstmuseum u Bonu, Nemačka, i Mustavalkoinen metafora u Domu umetnosti u Helsinkiju, Finska.