Richard Grayson, By Our Own Hand, Matt’s Gallery, Nine Elms, The Residence, 42-44 Ponton Road, SW8 5BA, Opening Event: Friday 1 June 4 – 8pm, exhibition continues 2 – 3 June 2018, 12 – 5pm
By Our Own Hand is the first exhibition in Matt’s Gallery’s new space in Nine Elms. In 2019 Matt’s Gallery will open at Bellway’s The Residence – this exhibition offers a preview of the core and shell space that will become our new venue. By Our Own Hand is an artwork made with the participation of individuals and organisations in Wandsworth. The starting point of the work is a cross-stitch tapestry made by Richard Grayson between Christmas 2012 and Easter 2015. Working with stitching, appliqué, or other techniques involving textiles and cloth, participants have developed, designed and made individual panels. Brought together these form the component letters of the phrase “Boredom Is Always Counter-Revolutionary”, originating from a text by writer and filmmaker Guy Debord. The exhibition is accompanied by a full colour publication designed by Phil Baines, which will be available at the launch. It features an introduction by the artist, full-page colour reproductions of each panel, documentation of the creative process, and a specially commissioned essay by writer Jes Fernie.
For his second exhibition at Matt’s Gallery Ben Rivers presents a new film, which is the first instalment of an ongoing project that will be developed and completed over the remaining months of 2018. Echoing his seasonal work Things (2014) the film is divided into chapters determined by the months of the year in which the footage was captured. The work follows the artist’s itinerant life, and has been filmed in various locations including São Paulo, Krabi in Thailand and Nottingham in the UK. Ghost Strata explores the differing scales of impact that humanity’s presence on the earth has in the present and into the future. Rivers blends his own footage with found sound and text elements to create an evocative meditation on time, memory and extinction.
Series of 10-day shows continues at Matt’s Gallery, Bermondsey
Roy Voss, Fathom
June 9 – 17, PV Friday June 8, 6-9pm
Rasheed Araeen, Auth Rangelay Yaar (Eight Colourful Friends)
June 23 – July 1, PV Friday June 22, 6-9pm
Nicola Bealing, Capital Crime
July 7 – 15, PV Friday July 6, 6-9pm
July 21 – 29, PV Friday July 20, 6-9pm
There will be a break in August, in September we will be showing:
September 8 – 16, PV Friday September 7, 6-9pm
September 22 – 30, PV Friday September 21, 6-9pm
We will soon be announcing exhibitions by Naomi Pearce, Jo Stockham and Borbala Szanto.
Matt’s Gallery thanks Ron Henocq Fine Art for their generous support.
Possessions_inc is a video and web project by Matt’s Gallery and Richard Grayson. Episode 24 is currently available to watch.
Over 2016-2018 Matt’s Gallery will be posting monthly instalments of the video project Possessions_inc. Part series, part blog, part essay, part talking head, Possessions_inc. is an expanding exploration of: ideas of value, ways we invest in objects, the Bilderberg owl, animatronics, the mystery of Rennes Le Chateau, codes, fakes, oligarchs, the missing head of Philip K Dick, treasure hunting, M.R. James, the V.I.P. Lounge, drug smuggling, computer animation, animism, Pygmalion and the insurance industry.
A specially commissioned essay by Lars Bang Larsen titled To Be Spoken Like A Thing Possessed is also available on the website.
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To watch the episodes click here
Material Sight is a major new commission by artist Fiona Crisp, that uses photography, moving image and sound to approach the material environments where scientific experiments that challenge the limits of our imagination are carried out. Over nearly two years, in a research partnership with Arts Catalyst, Crisp has worked at three world-leading research facilities for ‘fundamental science’: Boulby Underground Laboratory, sited in the UK’s deepest working mine, Durham University’s Institute for Computational Cosmology, and Laboratori Nazionali del Gran Sasso, the world’s largest underground laboratory for particle physics, housed inside a mountain in central Italy. To accompany the exhibition KOSMICA: Ethereal Things, a major event exploring our intimate human connection with particle physics and the physics of the universe, takes place on June 15. Attendees will experience impossible situations, encounter the mysterious realm of subatomic physics, and unravel the cosmic web through experiments, performances, music and poetics. The book The Live Creature and Ethereal Things: Physics in Culture will also launch alongside the exhibition.
Alison Turnbull, Butterflies in Colombia, BBC Radio 4, broadcast 18 June 2018, 4pm
Following on from her recent exhibition at Matts Gallery, If Mimicry Minded, and a butterfly expedition to the Pacific rainforest in Chocó, Colombia in 2017, Alison Turnbull presents a programme on butterflies for BBC Radio 4. Produced by Cast Iron Radio, it explores the butterflies of this remote and socially conflicted region, the differences and tensions between art and science and highlights the importance of artist Maria Sybilla Merian and writer and lepidopterist Vladimir Nabokov. Alison Turnbull made numerous recordings in the field and in the studio and conducted interviews with scientists at the Natural History Museum, Kew Gardens and Harvard University – as well as with her collaborators in the rainforest itself. Broadcast on BBC Radio 4 on Monday 18 June 2018 at 4pm and then available on BBC iPlayer for 30 days
Throughout the summer, from July to September, Alison Turnbull will be exhibiting works from the series Japanese Paintings at Rodic Davidson Architects, London. The small-scale, geometric paintings are based on arrangements of the tatami mats used in traditional Japanese interiors. Twice as long as they are wide, and laid out in interlocking grids, the tatami were originally conceived to accommodate one person lying down or two seated. They act as units of measure, both for Japanese architecture and for these intensely coloured abstract paintings. Japanese Paintings will be exhibited in bespoke wooden display boxes in the windows of the architectural studio and can be seen in Bury Place, London WC1 (opposite the British Museum) during daytime and at night.
Alison Turnbull is exhibiting four paintings and six drawings in the group show In the Future, curated by Rosalind Davis. In this exhibition 20 artists seek to track and to trace, creating repositories of knowledge that look both forward and back, that address technology, organizational methods and information systems. Some choose to look at how we observe space, through sci-fi technologies or envision otherworldly species. Alison’s work in the show addresses the proposition “In the future people will live in space…” – her paintings are informed by star charts, celestial space and natural phenomena. Drawings are made on ‘various types of ruled and gridded printed papers, which derive from different cities throughout the world… exercise books ledgers, tables, and diary pages. On each she draws a repetitive pattern involving colours and forms that take their cue from details in the found sheet itself, in a modest but powerful gesture of give and take.’
Animal Condensed >> Animal Expanded, Jennet Thomas’s first solo show at Tintype, presents the second of a trilogy of her short films offering a sardonic narrative about the after-effects and nefarious reality of intensive farming and Artificial Intelligence. A charged skirmish between conformity and dissent is enacted as a quasi-documentary that quickly escalates into exceedingly strange domestic science-fiction. A man and woman speak urgently to camera about their relationship with an intelligent substance they call ‘Animal Expanded’. The man has swallowed Animal Condensed; as it expands it flows throughout his home, improving his family. He holds his five-year-old daughter up to camera: “Look how her fibres are formatting! She is her very own accelerated portfolio.” Jennet Thomas presents her films in extraordinary, visually co-ordinated environments in which objects and performance are threaded through the exhibition. Watch the trailer below:
Lucy Gunning, [these roarers], Whitstable Biennale, Long Beach, by The Street, Kent, 2 June 2018, 11 – 4pm
Lucy Gunning, Bernice Donszelmann and Helen Robertson are presenting a performance as part of the Whitstable Biennale, taking place on Long Beach. Whitstable Biennale is a festival of performance, film and sound, taking place every two years on the Kent coast. There is a long-standing artistic community in Whitstable, and the festival has grown out of grassroots activity in the town. It commission artists to create ambitious and experimental new works, and stage live performances, film screenings, talks, digital works, events and workshops, engaging audiences with the most compelling new work from across the UK and beyond.
Every Thought There Ever Was is a major new touring exhibition by Lindsay Seers.
Incorporating industrial robotics in conjunction with a three-screen video projection, the work is shaped by philosophical ideas and scientific research concerned with the phenomenon of consciousness. Through digital animation, special effects, drawing and sound design, Every Thought There Ever Was explores the extraordinary brain functioning that occurs in the condition of schizophrenia. Two screens, supported by robot arms, move with the images, bringing agency to them as an active element in the work.
The work draws on an experimental treatment known as Avatar Therapy, in which those living with schizophrenia can speak to their persecutors in a digital world. Guided by first person accounts and a collaborative drawing exchange, Seers’ work has been shaped by conversations with scientific partners including Anil Seth at The Sackler Centre for Consciousness Science and Chris Frith, Emeritus and Professor of Neuropsychology, UCL to explore the current studies and thinking on the condition.
Pursuing her on-going fascination with how an individual’s biography embodies history, Seers takes Victorian surgeon James Miranda Barry as her narrator. Barry transcends time through a connection with the offspring she gave life to by performing a groundbreaking emergency Caesarian section operation. Barry’s future life sees her manifest as an Avatar with an ability to cure.
Every Thought There Ever Was is funded by Wellcome and is co-commissioned by Matt’s Gallery, London; The MAC, Belfast; Focal Point Gallery, Southend-on-Sea; Hospitalfield, Arbroath; and John Hansard Gallery, Southampton.
The exhibition will premiere at The MAC, Belfast from May 3rd to July 29th 2018. Following this it will open at Focal Point Gallery, Southend-on-Sea, from September 8th to December 23rd 2018, in 2019 at Hospitalfield and in 2020 at John Hansard Gallery.
Lindsay Seers is presenting a new work as one of six commissions highlighting the progression towards equality through the stories of the women who have contributed to the spirit and history of Knole. Curated by Lucy Day and Eliza Gluckman, the project shines a light on historical women’s voices, marking 100 years since the Representation of the People Act that gave women the vote in the UK for the first time. The history of women’s rights is well illustrated at Knole, where Vita Sackville-West, the only child of the 3rd Baron Sackville, was prevented from inheriting the house because of her gender. The loss of Knole deeply affected Sackville-West, leading her to write that ‘Knole is denied to me forever, through a technical fault over which we have no control’. Seers’ work focuses on ‘the love letter’, the famous description of Virginia Woolf’s book Orlando dedicated to Vita Sackville West. Drawing in particular on the correspondence between Vita and Virginia it takes the form of a digital book with text, spoken word, music and film. Other commissioned artists are Lubaina Himid, CJ Mahony, Emily Speed, Alice May Williams and Melanie Wilson.
Melanie Jackson, Deeper in the Pyramid, Banner Repeater, London, until 22 July and Primary, Nottingham, until 1 July 2018
Melanie Jackson’s Deeper in the Pyramid continues at Banner Repeater in London, following the exhibition at Grand Union in Birmingham. The work comprises animation, sculpture, and a graphic novel with writing by Melanie Jackson and Esther Leslie, taking us on a journey of lactic abstractions, through the webs of bio-invasion and collective fantasy that interconnect various life forms through milk, its technologies and representations. The ontologies of species and gender have always been shaped by our relations with this primal liquid, and ensuring a ready supply has driven research in genetics, fertility and robotics. It is now open for radical transformation as new bio-organisms emerge, and real science merges with the fantastic. The project has been developed with Grand Union, Birmingham and Primary, Nottingham. The exhibition will open with a talk and Q&A with Jackson and Esther Leslie.
In addition, Primary in Nottingham is presenting a billboard that extends Jackson’s Deeper in the Pyramid outside the building. This is showcased as part of In Another Place, a collaboration between the Contemporary Visual Arts Network East Midlands and ten regional organisations, who have invited visual artists to present original artworks on advertising billboards in a range of locations for 6 weeks. Transforming these everyday hoardings into a vibrant display across the region, In Another Place aims to bring art to audiences, in places where normally they would see advertising. The billboard is installed on the corner of Ilkeston Road and Balfour Road
Beth Collar’s research and work often revolves around objects or motifs that have had a role in making societies, making identities, creating images of dominance and telling histories – objects that in many ways are more real, more powerful perhaps, than individuals. Examples of this would be her long-term investigation into the tomb effigy or her work exploring the motif of the tensed, clawed hand, or a more recent concentration on the rippling surface of the male forehead in advertising imagery and beyond. In this new project, Cloaked Output Vol 2: Spirals of Focus, which explores her preoccupation with the again, rippling surfaces of the cloaks on western, male monumental sculpture, Collar has been collecting footage of historically important people represented in the form of public sculptures. Based on her archive of collected footage from around Europe, the work strings together a thread of white patriarchal power that covers the continent in this ubiquitous, nearly indiscernible form.
Willie Doherty, REMAINS, Earagail Arts Festival, Letterkenny Regional Cultural Centre, Ireland, 10 July – 22 September 2018
Willie Doherty’s video installation REMAINS (2013) is being exhibited in the context of the Earagail Arts Festival in Letterkenny, Ireland. The work is filmed in a number of locations in Derry, Northern Ireland, used since the early 1970’s to carry out kneecappings, a form of punishment shooting used to control drug use and other forms of so-called ‘anti-social behaviour’. Despite the relative calm achieved since the signing of the Belfast Peace Agreement in 1998, paramilitaries still seek to exert control over the lives of those who live in some of the most economically deprived areas. In 2012, a number of parents were forced to present their children for punishment shootings. REMAINS builds on Doherty’s interest in the relationship between landscape and memory and in working in locations that are contaminated with untold stories; some forgotten, some half remembered or unacknowledged. Doherty uses the camera to examine these locations in almost forensic detail. His telling of these events is punctuated by the image of a burning car, a motif that first appeared in his body of work in the early 1990’s. On loan from the collection of the Irish Museum of Modern Art. Earagail Arts Festival is a bilingual (Irish and English language), multidisciplinary arts festival which takes place each July throughout County Donegal along the Wild Atlantic Way on the North West coast of Ireland.
Leah Capaldi is exhibiting the performance Overlay as part of a group exhibition at 16 Nicholson Street Gallery in Glasgow. Other artists in the show include Ross Little and Ani Schulze. In Overlay Capaldi asks a female and male participant to hold a static position, pressing two lengths of wood against the gallery wall, for 30 minutes. No fixings are used. The participants make no eye contact and face the floor, one participant is present on the structure at a time. The performance has previously been presented at the ICA, London, and Crispr, Bogota.
Hayley Newman, In My Shoes, Longside Gallery, Yorkshire Sculpture Park, until 17 June 2018
and Attenborough Arts Centre, University of Leicester, 7 July – 2 September 2018
Hayley Newman’s work You Blew My Mind is featured in the Arts Council Collection touring exhibition In My Shoes, which explores the ways in which artists based in the UK have represented themselves in their work since the 1990s. Encompassing a range of media including film, photography and sculpture, In My Shoes draws primarily from the Arts Council Collection, with key loans from other UK collections, to investigate these dynamic approaches.
Hayley Newman will return to Milton Keynes to work on A to B in MK, a participatory mapping project developed by the artist with Milton Keynes Community Collaborators. The project will take the form of a number of collective walks, runs and cycles of sections of MK’s Redway, emotionally mapping sections of the 273km network of paths and cycle lanes that run alongside the road grid. A to B in MK is part of Groundwork which will take place across Milton Keynes in July, August and September.
Hayley Newman is featured in a new publication by Routledge. Built around a diverse selection of writings from leading researcher-practitioners and emerging artists in a variety of fields, The Creative Critic: Writing as/about Practice celebrates the extraordinary range of possibilities available when writing about one’s own work and the work one is inspired by. It re-thinks the conventions of the scholarly output to propose that critical writing be understood as an integral part of the artistic process, and even as artwork in its own right. The book is edited by Katja Hilevaara and Emily Orley, and includes writing by Jane Rendell, Tim Etchells, Maria Fusco, Brigid McLeer, Kristen Kreider and James O’Leary.
Bruton was commissioned to produce an artwork for a large wall as part of the redevelopment of the Outpatients Unit at Charing Cross hospital. Using her own experience of painting and research carried out at the V&A Wallpaper Archive, she created the work Landing Girls. The piece looks carefully at the relationship between wallpaper and painting, she draws on the pattern and repetition of wallpaper whilst maintaining the physical traces of the painting process. Bruton writes: “The images are based on found decorative motifs from fabric and wallpaper design, with figures adapted from aviation diagrams and manuals. Within the work, fragments of pattern create an artificial environment to explore where small figures attempt to communicate with the viewer to playfully encourage them to navigate the space.”
Jo Bruton, John Moore Painting Prize 2018, The Walker Art Gallery, Liverpool, 14 July – 18 November 2018
Jo Bruton is one of 60 artists whose paintings will feature in the John Moores Painting Prize 2018 exhibition, marking 60 years of the UK’s longest-established painting prize. Paintings were selected from more than 2,700 entries by an esteemed panel of jurors. This year’s jurors include artists Marvin Gaye Chetwynd, Lubaina Himid MBE, Bruce McLean and Liu Xiaodong, and curator Jenni Lomax. In celebration of the Prize’s anniversary year, an additional award will be offered to the first prize winner – a three month fellowship at Liverpool John Moores University together with an in-focus solo display at the Walker Art Gallery in 2019.
Susan Hiller’s Social Facts is showing at OGR, an extraordinary new cultural centre in a former train repair facility in Turin, Italy. Curated by Barbara Casavecchia, the exhibition takes its title from an expression Hiller often uses to describe the focus of her practice. Hiller’s exhibition at OGR offers an immersive experience that centres around a new project – Illuminations (2018) – a 30-minute video work featuring the voices of individuals describing experiences of mysterious and unexplained luminous phenomena. Including her largest audio visual works to date, Channels (2013); her earlier renowned and genre defining video installation Psi Girls (1999); as well as aura portraits from the more recent series Homage to Marcel Duchamp (2017), the exhibition explores the boundary between ordinary and extraordinary, credible and incredible, the rational and irrational.
Graham Fagen’s Guerre/Jardin, a neon work from 2014, is featured in Longing and Consolidation, the Watou Arts Festival. The festival takes place every summer in the Watou village in the Belgian province of West Flanders, near the French border.
Graham Fagen, We Suffer To Remain, National Art Gallery of The Bahamas, The Bahamas, until 29 July 2018
Graham Fagen’s The Slave’s Lament is being exhibited in tandem with visual responses by Bahamian artists Sonia Farmer, Anina Major and John Beadle in We Suffer to Remain at the National Art Gallery of The Bahamas. This is a project in collaboration with the British Council, whose premise focuses on the fact that artists in postcolonial spaces have strong and embryonic reactions that can influence and build on the advancement and celebration of de-colonial art practices.
Graham Fagen, Another Country: Aspects of Scottish Emigration to the United States, Saint John’s Art Center, Minnesota, until 3 June 2018
Graham Fagen’s Plans & Records and Am I Not A Man and A Brother are part of the group exhibition Another Country, which brings together twelve artists from distinct, ethnically and culturally diverse backgrounds, all born or currently living in Scotland. It assesses the historical and, at times negative, impact of Scottish colonialism on the United States, while at the same time tackling issues with contemporary migration, a complex subject with rapidly growing relevance in the current political climate. The work presented is personal as most of the artists are migrants themselves. Referencing the title of James Baldwin’s 1962 novel of the same name, the exhibition highlights that for each individual living in the same city, America can become ‘another country’, depending on one’s ethnicity, status and situation. Featured artists include Irineu Destourelles, Graham Fagen, Dawn Gavin, Andrew Gilbert, Euan Gray, Richard Guzman, Andrew Hairstans, Dana Hargrove, Birthe Jorgensen, Katherine Ka Yi Liu, Elaine Rutherford and Alberta Whittle.
Roy Voss, All The World’s A Sunny Day and The Way Things Are, Grundy Art Gallery, Blackpool, until 23 June 2018
Roy Voss is exhibiting The Way Things Are and All The World’s A Sunny Day in two simultaneous exhibitions at The Grundy Art Gallery in Blackpool. Stretching through two of Grundy Art Gallery’s ground-floor gallery spaces, The WayThings Are is a sculpture, precisely and elegantly constructed in poplar wood that approximates to the form of a pier. Inspired by Victorian lithographs, contemporary architects’ drawings and the artist’s own recollections, The Way Things Are extends the artist’s interest in romantic longing; between desire and lived experience, between memory and fact. Voss finds something simultaneously prosaic and profound about the British seaside pier. If the coastline is a boundary, a marker for the edge of ordinary experience, then the pier forms a space beyond this. The Way Things Are (2017) is commissioned by De La Warr Pavilion (Bexhill), Grundy Art Gallery (Blackpool) and Berwick Visual Arts (Berwick).
Forming a 360-degree horizon around the walls of another Grundy Art Gallery space, All the World’s a Sunny Day comprises a series of collages made from found postcards, where a single word has been cut from the back and reinserted into the image on the front. The meanings of these words conflate with the postcard’s image describing something of it and characterising an emotional state. Posted between the early 1960s and mid-1980s, the mass-produced postcards are now out of date and out of time. Sent both through a sense of duty, but also with love and a need to communicate and share, there is an intimacy in their brief, blue biro messages.
Mike Nelson’s Lionheart has been re-constructed especially for this exhibition providing a rare opportunity to see an early work by the British artist, whose installations usually only exist for the time period of the exhibition they were made for. Lionheart, 1997 consists of found materials painstakingly collected from specific locations by the artist and assembled to create a fictional drifter’s camp, complete with skins, traps, darts, trophies and beer cans. The work was purchased for the Gallery’s Permanent Collection in 2002 via the Contemporary Art Society Special Collection Scheme, an important seven-year collecting initiative (1998-2005), which enabled 15 regional museums to collect significant works by leading contemporary artists. Mike Nelson is known for his installations, which often take the form of extended labyrinths; immersive environments that involve the viewer.
Mike Nelson, General Rehearsal, Moscow Museum of Modern Art, Moscow, Russia, until 16 September 2018
Mike Nelson is exhibiting as part of the group project General Rehearsal. Organised over three floors at MMOMA’s historic Petrovka Street gallery, visitors will be met with Nelson’s work Again, More Things (a table ruin) (2014). Best known for creating powerful, immersive, large-scale installations, Nelson selected historic and contemporary figurative works from the V-A-C collection for his presentation, by artists including Pawel Althamer, Louise Bourgeois, Constantine Brâncusi, Alberto Giacometti, Sherrie Levine, Henry Moore and Willem de Kooning. Displayed on a reclaimed wooden floor as a mass of modelled figures, the sculptural installation, inspired by a Dieter Roth work, The Floor (Studio-floor from Mosfellsbaer, Iceland), (1973-1992), is what Nelson describes as a “levelling of sorts, questioning how we look at objects.” The piece also serves as an introductory model for how works are activated in the rest of the show. General Rehearsal is a content-rich, innovative presentation that combines works from three international art collections: V-A-C Foundation, KADIST and MMOMA. Designed to evolve and change like a living organism that adapts and responds to its environment, General Rehearsal adopts the structure of a theatrical play developing over three acts staged over a five-month period. In this framework, the project proposes considering artworks as actors in the play, having a potential agency similar to human beings. With the project V-A-C also introduces a more fluid, transparent method of working collectively and engaging all disciplines equally.
Mike Nelson, Indicators: Artists on Climate Change, Storm King Art Center, Cornwall, New York, until 11 November 2018
Mike Nelson’s Eighty Circles Through Canada (The Last Possessions Of An Orcadian Mountain Man) (2013) is being shown in the exhibition Indicators: Artists on Climate Change exploring the impacts of the changing climate. Both indoor and outdoor installations, including pieces newly created for the exhibition at Storm King, will illuminate the threats of a changing climate to our biological world and to humanity. Nelson will present a work inside the Museum Building entitled 80 Circles Through Canada: The Last Possessions of an Orcadian Mountain Man (2013). Informed by his friend and collaborator, the artist and mountaineer Erlend Williamson, the piece comprises a large set of driftwood shelves laden with Williamson’s last possessions before falling to his death in the Scottish Highlands. The reverse of the structure acts as a screen on which to project 80 transparencies of discarded stone fire circles, found and documented between Banff and Vancouver in 2012-13. The exhibition at Storm King marks the first time this work will be shown in the United States. The organizers of the exhibition are Nora Lawrence, Curator; David Collens, Director and Chief Curator; and Sarah Diver, Curatorial Assistant, who collaborated closely with artists to develop their ideas and proposed projects for the exhibition. Participating artists include: David Brooks, Dear Climate, Mark Dion, Ellie Ga, Justin Brice Guariglia, Allison Janae Hamilton, Jenny Kendler, Maya Lin, Mary Mattingly, Mike Nelson, Steve Rowell, Gabriela Salazar, Tavares Strachan, Meg Webster, and Hara Woltz.
Nathaniel Mellors and Erkka Nissinen, The Aalto Natives, KIASMA, Helsinki, Finland, until 9 September 2018
The Aalto Natives showcases artist duo Erkka Nissinen and Nathaniel Mellors who represented Finland at the 2017 Venice Biennale. The work is a humorous yet critical examination of Finnish identity that involves creativity, nerdy humour and a cast of national celebrities from prehistoric times to the age of robotics. This exhibition features the installation from Venice & Cobra Museum as well as 4 rooms of new animatronic installation by Mellors-Nissinen.