Kustaa Saksi Keep Your Garden Alive Spring -Summer 2019 - Season XII-The Finnish Season - Spazio Nobile
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Catalogue
Season XII—The Finnish Season
17.05 — 8.09.2019
Keep Your Garden Alive
Spring —Summer 2019
Kustaa Saksi
Solo show, First Symptoms
Kustaa Saksi
The Amsterdam-based Finnish graphic storyteller, textile
artist and designer Kustaa Saksi creates and innovates with
the Jacquard weave, generating all kinds of textile art and
installations. He has already exhibited at the Victoria & Albert
Museum, the Cooper Hewitt Museum, the San Jose Museumof Art,
the TextielMuseum and Kunsthall Stavanger as well asin galleries
in New York, Paris, London, Helsinki, Singapore, Hong Kong,
Tokyo and more. His commissioned artworks are for clients
such as Nike, Issey Miyake, Ferragamo, Lacoste, Marimekko
and Swedese.
With his large tapestries—all produced in limited editions
of six or eight— made of mohair, alpaca, merino wools,
phosphorescent yarns, cotton, viscose, acrylic and lurex, he
opens the door into his fantastical and esoteric wonderland.
The transformation of his view of nature into textiles leads to a
very intense visualisation of all kinds of allegories. Heknows no
limits in his textile research, performed on weaving machines
at TextielLab, associated with TextielMuseum Tilburg in the
Netherlands. The machines make up a kind of tableau vivant
where he explores diverse craft techniques. His collection
Hypnopompic is a voyage into his imaginative and imaginary
botanic gardens that are full of seeds, wild insects and hypnotic
animals like the owls you can often find in the Nordic art and
design iconography. Another recent series, Reveille, explores
living elements and animals in a more abstract way, including
through texture and tactility.Even more wild and exotic, the
Woolgathering collection maximises the effect of masks and
battlefields and explores an extraordinary abyss.
Spazio Nobile represents Kustaa Saksi since 2017. His new
cycle of tapestries First Symptoms has been launched since
2019.
2 3 KUSTAA SAKSI
Solo and group exhibitions City, Mexico – Muna/Egg, light installation at Het Stadsmus,
Hasselt, Belgium – Hypnopompic/Reveille, Siu Siu, Taipei,
Taiwan, Muna/Egg, light installation for Lux Helsinki,
Finland
2014 — Hypnopompic, Helsinki Music Centre, Helsinki,
Finland – Muna/Egg, Frankfurt Book Fair, Frankfurt,
Germany – Hypnopompic, Le Botanique, Brussels, Belgium
– The Soft House, Museo Poldi Pezzoli, Milan, Italy /
Hypnopompic TextielMuseum, Tilburg, The Netherlands
–Hypnopompic, Centrocentro, Madrid, Spain
2013 — Hypnopompic Artifact Gallery, New York, USA
2019 — Finnish Cultural Institute, Stockholm, SE ; Spazio – Hypnopompic, Vitra, London, UK –Hypnopompic,
Nobile, Art Brussels, Tour & Taxis, Brussels, BE; Spazio Korjaamo Gallery, Helsinki, Finland – Being/Dreaming, KK
Nobile, solo show First Symptoms, Brussels, BE; The Gallery, London, UK –Paper Pavilion, Stockholm Furniture
Archipelago large art tapestry installation, European Council / & Light Fair, Stockholm, Sweden
Finnish Presidency, Brussels 2012 — Cartoon Network 20th Anniversary Exhibition, Los
2018 — The Former Faculty of Biology, Riga, Latvia. – Simply Angeles, USA
Scandinavian – Nordic Design 1945–2018, TextielMuseum, 2011 — Bookmark 2, Zirkumflex Gallery, Berlin, Germany
Tilburg, The Netherlands. – IC-98: 2016–2018 (A World In 2010 — Kustaa Saksi’s Garage, Pori Art Museum’s Gallery,
Waiting), Taidehalli, Helsinki, Finland. – Artists’ Kalevala– Pori, Finland
Echoes from the Past, Kerava Art Museum, Finland. – 2009 — Pen-Paper-Scissors,Victoria & Albert Museum,
Echoes – 100 Years in Finnish Design Felleshus, The Nordic London, UK – History of Nike Running, Nike Showroom
Embassies, Berlin, Germany – Phantasmagoria, Spazio 1948, London, UK- Beneath The Surface, Nemo, Portland,
Nobile, Vanderborght Building, Brussels, BE OR, USA
2017 — Hotel Panorama, PAN Amsterdam, The 2008 — The Heroes Maxalot Gallery, Amsterdam, The
Netherlands. – Netherlands – 100 Pieces of Havana,Dray Walk Gallery,
Systema Naturae, Kunsthall Stavanger, Stavanger, Norway London, UK- Offpiste – In the Land of Kustaa Saksi,Old
/ Summer Group Show, Gallery Fumi, London, UK – School, Singapore – Offpiste – In the Land of Kustaa Saksi,
Collecting Europe, Victoria & Albert Museum, London, UK CCP, Manila,
– Echoes – 100 Years in Finnish Design, POLIN Museum, Philippines – Selected prints, The Main Post Office Gallery,
Warsaw, Poland Helsinki, Finland
2016 — Beauty, San Jose Museum of Art, San Jose, CA, 2007 — Today’s Art, The City Hall, The Hague, The
USA– Hypnopompic, Centro Cultural Inca Garcilaso,
Netherlands – A nice set, Hong
Lima, Peru– Objects of Desire, Design Museum, Helsinki,
Kong, Tokyo, Paris, Madrid, Melbourne, Singapore –
Finland – Porto Cervo, Gallery Fumi, Porto Cervo, Sicily,
Illustrative, Espaces Commines, Paris, France – Illustrative,
Italy – Woolgathering, Usagi Gallery, Hong Kong. SS –
Villa Elisabeth, Berlin, Germany
Beauty – Cooper Hewitt Design Triennial, Cooper Hewitt
2006 — Kustaa Saksi’s Collection, La Condition Publique,
Museum, New York, NY, USA – Hypnopompic, Instituto
Roubaix, France – Icebreakers, Louvre des Antiquaires, Paris,
Iberoamericano de Finlandia,
France
Madrid, Spain
2015 — Hypnopompic, Bergdorf Goodman, New York, NY, 2005 — Printemps, Artazart, Paris, France
USA – Hypnopompic, MUMEDI Design Museum, Mexico 2004 — Kustaa Saksi, Espai Pupu, Barcelona, Spain
4 KUSTAA SAKSI 5 KUSTAA SAKSI
First Symptoms Aura
Collection 2019
Jacquard Weave, Mohair, Wool, Cotton Velvet,
Acrylic
170 x 250 cm
Edition of 6
First Symptoms is the new cycle of 6 woven tapestries in
© Miia Panula
size approx 170 x 250 cm, mixed media in silk, mohair,
rubberized cotton, cashmere wool, transparent polyester
film, velvet, etc. They were first exhibited at the Finnish
Institute in Stockholm in February 2019 before moving to
Brussels.
Being a lifetime sufferer, Kustaa Saksi is using Migraine as a
source of inspiration : Prodrome, Aura, Attack, Post-drome,
Visual Delusions. As he states about this new series of art
works : “You can discover as iconography transparent oriental
rugs, but infinitely small, plastic filigreed spherical objets d’art like
radiolaria, wallpaper designs, cobweb-like figures or concentric
circles and squares, architectural forms, buttresses, rosettes,
leafwork, fretwork.”
“What we can say, in general terms, is that these hallucinations
reflect the minute anatomical organization, the cytoarchitecture,
of the primary visual cortex, including its columnar structure
— and the ways in which the activity of millions of nerve cells
organizes itself to produce complex and ever-changing patterns.
We can actually see, through such hallucinations, something of
the dynamics of a large population of living nerve cells and, in
particular, the role of what mathematicians term deterministic
chaos in allowing complex patterns of activity to emerge
throughout the visual cortex. This activity operates at a basic
cellular level, far beneath the level of personal experience. They are
archetypes, in a way, universals of human experience.” –
Oliver Sacks, Neurologist
6 KUSTAA SAKSI 7 KUSTAA SAKSI
Archetypes Aftermath
2019 2019
Jacquard Weave, Alpaca, Mohair, Cotton Velvet, Jacquard Weave, Mohair, Elirex, Wool, Acrylic,
Wool, Acrylic Trevira
170 x 250 cm 170 x 250 cm
Edition of 6 Edition of 6
© Miia Panula
© Miia Panula
8 KUSTAA SAKSI 9 KUSTAA SAKSI
Attack Sprout
2019 2019
Jacquard Weave, Silk, Mohair, Linen, Polyester, Jacquard Weave, Mohair, Cotton, Rubber,
Rubber, Wool, Elirex, Trevira Acrylic, Polyester, Trevira
170 x 250 cm 170 x 250 cm
Edition of 6 Edition of 6
© Miia Panula
© Miia Panula
10 KUSTAA SAKSI 11 KUSTAA SAKSI
In Full Bloom
2019
Jacquard Weave, Mohair, Cotton Velvet, Acrylic,
Cotton, Wool, Trevira
Jussi Tiainen
170 x 250 cm
Edition of 6
©
© Miia Panula
12 KUSTAA SAKSI 13
In the Fish Trap Under Shelter II
2013 2016
Collection: Hypnopompic Collection: Woolgathering
Jacquard Weave Jacquard Weave
Mohair Wool, Merino Wool Mohair Wool, Alpaca, Viscose, Acryl, Lurex
170 x 243 cm, Ed. of 6 170 x 200 cm, Ed. of 6
Jussi Tiainen
Jussi Tiainen
©
©
14 KUSTAA SAKSI 15 KUSTAA SAKSI
Battle of Harapouri Hanging Loose
2016 2017
Collection: Woolgathering Collection: Reveille
Jacquard Weave, Mohair Wool, Acryl, Cotton, Jacquard Weave
Biofur Cotton, Polyester Mohair Wool, Acryl, Lurex
170 x 190 cm, Ed. of 6 86 x 168 cm, Ed. of 8
Jussi Tiainen
Jussi Tiainen
©
©
16 KUSTAA SAKSI 17 KUSTAA SAKSI
Zenith Nightless Night
2016 2017
Collection: Woolgathering Collection: Reveille
Jacquard Weave, Mohair Wool, Merino, Biofur Jacquard Weave
Cotton, Acryl, Eco-Cotton Mohair Wool, Rubber
170 x 190 cm, Ed. of 6 166 x 232 cm, Ed. of 6
Jussi Tiainen
Jussi Tiainen
©
©
18 KUSTAA SAKSI 19 KUSTAA SAKSIArachne’s Web A World in Waiting
2013 A collaboration between IC-98, Visa Suonpää and
Collection: Hypnopompic’Arachne’s Web’ Patrik Söderlund, and designer Kustaa Saksi to create
Jacquard Weave, Mohair Wool, Merino Wool, a vision of the world in 2,000 years time. The piece has
Viscose, Acryl been displayed at the V&A Museum in London, in the
170 x 234 cm, Ed. of 6 RIGA Biennale and at the Kunsthalle, Helsinki, with
future exhibitions in development.
Jussi Tiainen
©
20 KUSTAA SAKSI 21 KUSTAA SAKSISeason XII - The Finnish Season 17.5 - 8.9.2019 Keep Your Garden Alive Kustaa Saksi, First Symptoms photos by Margaux Nieto, courtesy of Spazio Nobile 22 KUSTAA SAKSI 23 KUSTAA SAKSI
Art Brussels, 37th edition 25 - 28.04.19 Cosmogony Duo Show with Kustaa Saksi & Bela Silva photos by Margaux Nieto, courtesy of Spazio Nobile 24 KUSTAA SAKSI KUSTAA SAKSI
photo by Sebastien Erras
Bela Silva
Bela Silva is born in Lisbon, Portugal, and studied at both
the Porto and the Lisbon Fine Arts Schools in Portugal;
ArCo, Lisbon; Norwich Fine Arts in the UK; School of
The Art Institute of Chicago in the United States. She
currently lives between Lisbon and Brussels, Belgium.
Among her shows: Chicago’s Ann Nathan Gallery and
Rhona Hoffman Gallery; Lisbon’s Museu do Azulejo (Tile
Museum), Museu Anastácio Gonçalves in Lisbon, Palácio
da Ajuda, and Fundação Ricardo Espírito Santo; and also
shows in China and in Japan. She has participated in group
shows of tile art in Brazil, Spain, France; ran ceramics
workshops in Japan and Morocco; and been awarded
residencies at Kohler, Wisconsin, USA, and at Fabrica
Bordalo Pinheiro, Caldas da Rainha, Portugal.
She has created several public art pieces, namely tile
panels for the Alvalade subway station in Lisbon; panels
for the Sakai Cultural Center’s gardens in Japan; and
panels for the João de Deus School in the Azores Islands.
She created 12 large pieces in 2017 for the gardens of the
museum of Ancient Art as well as exhibited her work that
same year at the museum of Orient in Lisbon, mixed with
the collections.
Bela Silva Book is available at the gallery with an essay by
Anne Bony, ed. Galerie du Passage, 2018.
Spazio Nobile represents Bela Silva since 2017.
26 27 BELA SILVALa dame du soir
2019
stoneware with cast slips
circa ø 50 x 80 cm
© Margaux Nieto
© Margaux Nieto
28 BELA SILVA 29 BELA SILVAPop Corn Je t’écoute
2019 2019
low or side table low or side table
glazed stoneware with cast slips glazed stoneware with cast slips
circa ø 43 x 43 cm circa ø 53 x 45 cm
© Margaux Nieto, Courtesy of Spazio Nobile
© Margaux Nieto, Courtesy of Spazio Nobile
30 BELA SILVA 31 BELA SILVADame au corset
2019
glazed stoneware with cast slips
circa ø 68 x 48 cm
© Margaux Nieto
© Margaux Nieto
32 BELA SILVA 33 BELA SILVALes oiseaux amoureux
2019
glazed stoneware
42 x 60 x 38 cm
© Margaux Nieto
34 BELA SILVA BELA SILVAKaspar Hamacher
Kaspar Hamacher (1981, Eupen, BE) is graduated
from the Academie Beeldende Kunsten of Maastricht,
Netherlands. Taking nature as his basis, he is focused
resolutely on physical rather than conceptual design.
“Die Werkstatt could be anywhere where I feel comfortable:
inside or outside, in the forest or at the workshop. It’s in me.
You go to the place where it is easiest to find yourself. Now
I feel comfortable and Die Werkstatt is also a resting place
where I can take time, often alone, and therefore I feel like I
am Die Werkstatt. In my work, I start with a concept and
then I apply it directly in the material. I make no drawings or
models and I start from scratch. I have an idea of a functional
or conceptual object that I then try to communicate. Wood
is a medium. It’s a composition that allows me to express my
feelings. My roots are: origin, childhood, images and dreams,
always together with what I feel. I shape the wood until
nothing. Less is more to avoid feeling burned out.”
All pieces by Kaspar Hamacher are unique or bespoke
and stamped by the designer.
Kaspar Hamacher is represented by Spazio Nobile since
2016.
36 37 KASPAR HAMACHERBanc sculptural /Sculptural Bench 2017 Hêtre massif / Solid beech 200 x 65 x 65 cm 38 KASPAR HAMACHER KASPAR HAMACHER
Four Shelves
2017
solid oak
300 x 35 cm
© Margaux Nieto
© Margaux Nieto
40 KASPAR HAMACHER 41 KASPAR HAMACHERNotre-Dame
2019
solid oak burned
43 x 50 x 80cm
Der
© Margaux Nieto
Ausge-
brannt
Stein
© Margaux Nieto
2018
solid oak
105 x 70 x 35 cm
Low
Chiseled
© Margaux Nieto
Table
2018
chiseled fire
sculpted solid oak
220 x 45 x 17 cm
42 KASPAR HAMACHER 43 KASPAR HAMACHERChiseled Tray 2018 solid oak 76 x 39 x 5 cm 44 KASPAR HAMACHER 45 KASPAR HAMACHER
Long Chiseled Bench
2018
solid oak
260 x 29 x 32 cm
© Margaux Nieto
46 KASPAR HAMACHER 47 KASPAR HAMACHERGarnier & Linker
Guillaume Garnier and Florent Linker are
two French creators based in Paris. Their
work is about giving a contemporary design
to rare materials and savoir-faire. All pieces
are handmade in small series by French master
craftsmen. As designers, they get their inspiration
from decorative arts and sculpture, to create
pure-shaped forms revealing their materiality.
With their background in interior design, they
offer objects that meet all demands of modern
interiors, with bespoke options according to
architects and decorators needs.
Garnier & Linker are the scenographers of
Spazio Nobile & The Random Collection at
Biennale Interieur, Hall 1, L40, 18-22.10.2018, as
part of The Landmarks designed by Studio Verter
Spazio Nobile represents Garnier & Linker since
2018.
48 49 GARNIER & LINKERDiatomée
© Margaux Nieto
2018
a series of vases in lost-wax molten glass
for Spazio Nobile
approx. 28 x 10 x 10cm
ed. of 20
© Margaux Nieto
© Margaux Nieto
©Jeroen Verrecht
50 GARNIER & LINKER 51 GARNIER & LINKERYellow Twins
2014
Christian Ghion for Glass Is Tomorrow
Vase by blowers from Saint-Just Team
free blown glass
260 x 29 x 32 cm
© Margaux Nieto
52 GLAS IS TOMORROW 53 GLAS IS TOMORROWSeason xii - The Finnish Season Keep Your Garden Alive is a group exhibition with
eighteen Finnish renowned and emerging artists
Keep Your Garden Alive and designers who are currently reshaping the
contemporary Finnish art and design scene. The
At Institut finlandais, until 13 July 2019.
exhibition is curated by Lise Coirier, Pro Materia &
Curated by Lise Coirier, Pro Materia/Spazio Nobile &
Spazio Nobile Gallery, and Kati Laakso, Director
Kati Laakso, director, The Finnish Cultural Institute for
of the Finnish Cultural Institute for the Benelux, in
the Benelux. In collaboration with the Finnish Institute
collaboration with Institut finlandais. The exhibition
for the Benelux, Institut finlandais and Finland’s
suggests a narrative on how to observe what is fragile
Presidency of the Council of the EU.
around us, and how to protect it.
© Aurélien Mole
© Aurélien Mole
© Aurélien Mole
© Aurélien Mole
54 SEASON XII - THE FINNISH SEASON 55 SEASON XII - THE FINNISH SEASONInfo Season XII - The Finnish Season
© Aurélien Mole
Keep Your Garden Alive
Curated by Lise Coirier, Pro Materia/Spazio Nobile &
Kati Laakso, director, The Finnish Cultural Institute for
the Benelux. In collaboration with the Finnish Institute
for the Benelux, the Finnish Institute France – Institut
finlandais and Finland’s Presidency of the Council of
the EU.
Spring – Summer 2019
The Finnish Cultural Institute, galerie de l’Institut
finlandais, Paris, France, 24.4 – 13.7.2019
Vernissage : 23.4.2019, 18.30-20.00 / Group exhibition
Keep Your Garden Alive, Summer 2019
& Formosa: A New Layer Taiwan meets Yii
Révélations Bienniale, Grand Palais, Paris, France
23.5 - 26.5.2019, 22.5.2019 – Preview & Vernissage
(by invitation), 10am -10pm
Spring – Summer 2019
Solo show of Kustaa Saksi
17.5 – 8.9.2019 at Spazio Nobile, Brussels, Belgium
Spazio Nobile Lise Coirier,
Vernissage: 16.5.2019 +32 475 53 19 88,
by Pro Materia Gallery
Sunday Brunch: 19.5.2019 lc@spazionobile.com
Contemporary Applied Arts,
Design & Photography Gian Giuseppe Simeone,
Brussels Gallery Weekend +32 477 27 29 04,
ggs@spazionobile.com
Laura Laine, Subtle Bodies Rue Franz Merjay 142
5.9-22.12.2019 1050 Brussels, Belgium Press & PR :
Belgium:
+32 2 768 25 10 Sophie Carrée,
(the gallery is closed from 15 July until 25 August) www.spazionobile.com +32 2 346 05 00
sophie@sophiecarree.be,
www.sophiecarree.be
Autumn – Winter 2019/20 Me - sa / wo - za / Wed - Sat,
Group Show 11.00-18.00 France & international:
Elsa Sarfati,
at Spazio Nobile, Brussels, Belgium & sur rendez-vous / +33 6 10 84 27 48
20.9 – 22.12.2019 – Vernissage: 19.9.2019 op afspraak / by appointment elsa.sarfati@gmail.comCOLLECT AAA (NL)
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• 2019, January-February | Living Corriere |
Kustaa Saksi
• 2019, Feb 4 | TLmag Extended | When Migraines
Lead to Art: Kustaa Saksi’s ‘First Symptoms
• 2018, December 6th | New York Times |
Kustaa Saksi (EN)
• 2018, July 26 | TLmag | Kustaa Saksi & IC98,
Woven Visions of a Distant Future
• 2018, March 8 | TLmag |
Kustaa Saksi : Herbarium of Dreams
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66 KUSTAA SAKSI 67 KUSTAA SAKSITélérama.fr Living Corriere (IT)
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76 KUSTAA SAKSI 77 KUSTAA SAKSILiving Corriere (IT) New York Times (EN)
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January- February 2019
Alessandro Pasinelli - © Omar Sartor
www.spazionobile.com | Rue Franz Merjay 142 | 1050 Brussels | +32 2 768 25 10
www.spazionobile.com | Rue Franz Merjay 142 | 1050 Brussels | +32 2 768 25 10
78 KUSTAA SAKSI 79 KUSTAA SAKSINew York Times (EN)
New York Times (EN)
New York Times (EN) 6th 2018
December
December 6th 2018 December 6th 2018
by Diane Daniel - Diane Daniel
- Diane Daniel
2/3 3/3
www.spazionobile.com | Rue Franz Merjay 142 | 1050 Brussels | +32 2 768 25 10 www.spazionobile.com | Rue Franz Merjay 142 | 1050 Brussels | +32 2 768 25 10
80 KUSTAA SAKSI 81 KUSTAA SAKSITLmag 30 (FR, EN)
2018, July 26
by Lara Chapman
Stories Ku s t a a Sa ks i x IC 9 159
1 — Kustaa Saksi, A World is Waiting, vue de
l'installation de la tapisserie /installation view of
the tapestry, 2018, RIGA Biennale, Lettonie
/Latvia
2 — Processus de tissage de la tapisserie de
Kustaa Saksi /Weaving process of Kustaa Saksi's
tapestry, TextielLab, Tilburg, NL
2.
Les artistes finlandais Visa Suonpää et Cloîtres du MET. Je ne cessais de repen- type de flore dominerait le monde depuis
Patrik Söderlund, le duo d’artistes ser aux plantes représentées sur les Svalbard dans deux millénaires ?
IC-98, s’est associé en 2017 avec l’artiste tapisseries de licornes et de chasse ; l’idée
et designer Kustaa Saksi pour imaginer m’est donc venue très naturellement. TLmag : J’ai lu que vous aviez intégré
le monde tel qu’il serait dans deux des grains à la tapisserie. Pourriez-vous
millénaires. De cette collaboration est TLmag : Quelle a été l’influence spatiale nous en dire plus ?
née une tapisserie soigneusement du V&A sur votre travail ? P.S. : Cette idée a germé pendant l’une
tissée de fleurs sauvages en prise avec P.S. : Pour ce type de projets, on a ten- de nos premières visites au V&A. Nous
l’idée d’une apocalypse positive. dance à s’adapter au site pour ajouter avons d’emblée compris qu’il nous fau-
Baptisée A World in Waiting, cette pièce quelque chose au contexte existant. drait tisser des graines dans le tapis,
a été exposée au Victoria and Albert Dans ce cas précis, il nous a semblé non seulement pour représenter le
Museum, à la Biennale de Riga et à la intéressant de perpétuer la tradition monde, mais aussi pour lui conférer
galerie Kunsthalle d’Helsinki en du V&A et de dialoguer avec sa collec- une matérialité. C’est précisément de là
attendant d’autres étapes dans son tion. La tapisserie et son histoire des qu’est venu le titre A World In Waiting :
périple et développement. arts appliqués constituaient donc un les graines tissées dans la tapisserie
TLmag s’est entretenu avec Patrik excellent point de départ. représentent un monde en attente, elles
Söderlund au sujet des nombreuses attendent de germer. La tapisserie se
strates et histoires tissées dans cette TLmag : Quels autres éléments ont trouve d’une certaine manière en ges-
tapisserie, mais aussi du déroulement façonné l’idée que vous vous faisiez de tation, elle attend de donner naissance.
de cette collaboration. cette pièce ?
P.S. : Nous avons adopté une perspec- TLmag : Ce travail s’est-il avéré difficile
TLmag : Pourriez-vous nous parler de la tive post-humanité et entrepris de faire sur le plan technique ?
réflexion sur laquelle repose A World in abstraction des êtres humains et des P.S. : Oui et non. Nous nous sommes pro-
Waiting ? animaux pour accorder toute notre curé les graines auprès de l’Institut des
Kustaa Saksi
Patrik Söderlund : Nous avons été invi- attention au mille-fleurs et le transfor- ressources naturelles de Finlande, qui ne
tés en 2017 à contribuer au projet intitulé mer en prairie. Il nous fallait également les avait pas toutes en réserve du fait de
Collecting Europe du Victoria and Albert intégrer une référence à l’avenir ; nous la saison. Il est intéressant de se heurter
& IC98
Museum et du Gœthe-Institut, dont avons donc décidé de combiner la aux saisons lorsque l’on produit un travail
l’objectif était d’imaginer à quoi ressem- réserve mondiale de semences du conceptuel comme celui-ci, fondé sur
blerait l’Europe dans deux millénaires. Svalbard au le changement climatique une réflexion théorique et philosophique.
Nous avons organisé une visite au V&A dans l’océan Arctique, sur lesquels Sur le plan conceptuel, nous avons com-
pour étudier les tapisseries de chasse j’avais lu et réfléchi. pris que l’œuvre serait meilleure en y
qui s’y trouvaient. Les tapisseries et Nous sommes également partis de l’idée intégrant davantage de graines, ce qui
Visions tissées d’un lointain futur leur façon à la fois réaliste et stylisée de
représenter le monde ont toujours sus-
d’imbrication totale entre la culture et la
nature : l’humanité continuera de façon-
était impossible, mais pas plus mal. Sur
le plan technique, nous voulions vérita-
/Woven Visions of a Distant Future cité notre intérêt. Elles s’accordent avec
nos animations, où nous superposons
ner la nature pendant des millénaires,
même si elle disparaît. D’une certaine
blement tisser les graines à la tapisserie,
et pas nous contenter de les fixer à l’ar-
Interview de /by Lara Chapman
des événements fantastiques à des élé- façon, la réser ve de semences de rière ou de bricoler une autre solution.
ments réalistes. Parmi nos principales Svalbard symbolise puissamment cette Nous avons donc décidé de collaborer
références figuraient également les idée. Mais qu’arriverait-il si ces graines avec Kustaa Saksi avec le TextielLab de
tapisseries exposées à New York, dans les étaient animées d’une vie propre ? Quel Tilbourg, dont les ingénieurs ont conçu
82 KUSTAA SAKSI 83 KUSTAA SAKSITLmag 30 (FR, EN)
2018, July 26
by Lara Chapman
Stories Kustaa S aksi x I C9 160 Stories Ku st a a Sa ksi x I C 9 161
In 2017, the Finnish artist duo IC-98, There was also the idea that culture and also a designer, to work with us as it would
comprising of Visa Suonpää and Patrik nature are completely intertwined and close the project in a perfect circle.
Söderlund, teamed up with artist and even if humans disappear, nature will still be
designer Kustaa Saksi to create a vision of shaped by man, by humans, for millennia to TLmag: How did the collaboration work?
the world in 2,000 years time. The result come. In a way, the Svalbard Seed Vault is Did you have specific roles? What was the
was an intricately woven tapestry of a strong symbol of that. But what happens process like?
wildflowers that grapples with ideas of a when those seeds start to have their own PS: From IC-98’s point-of-view, it was a
positive apocalypse. The piece is called A lives? Which kind of flora would be domi- slightly new situation. It’s always risky
World in Waiting. It has been displayed at the nant from Svalbard in 2,000 years? when you invite somebody to do a work
Victoria and Albert Museum, in the RIGA with you. Although we had never met
Biennale and at the Kunsthalle, Helsinki, with TLmag: I have read that you wove the Kustaa, we clicked immediately and it was
future exhibitions in development. seeds depicted in the tapestry into it, a super enjoyable collaboration.
TLmag spoke with Patrik Söderlund could you tell us about this? Normally, with IC-98, Visa does the draw-
about the many layers and narratives PS: The idea for the seeds was inspired ings and final visualisations, but this time
woven into the tapestry and the process by one of our first trips to the V&A. From he wasn’t doing that, so it was a new dy-
of collaboration. the very start, we realised that we should namic. Visa and I concentrated on the
weave seeds into the carpet, not only to conceptual and research side. We were
TLmag: Tell us about the thinking behind make a picture of the world but also give it in dialogue with climate scientists and the
A World in Waiting. a materiality. That’s actually why it’s called people responsible for the seed program
Patrik Söderlund: We were invited to con- A World In Waiting. It depicts a world that is to define the plants that would be viable
tribute to the project, Collecting Europe, waiting and, because we have those seeds in 2,000 years. We came up with the final
for the Victoria and Albert Museum and there, it is also a world waiting to be born. selection of the plants. And we decided
the Goethe-Institute in 2017. The idea of Waiting to sprout. It is pregnant in a way, on the medium of the weave. Then, with
the project was to imagine Europe in 2,000 the carpet, it’s waiting for its time. this background research, we gave that
years time. material to Kustaa and he was completely
3. 4. We did a research trip to the V&A to see TLmag: Was that difficult to achieve free to interpret that research in the way
3 — Installation, Norfolk House Music Room, 2017, V&A Londres /London
the hunting tapestries. We have always technically? he felt best and appropriate.
4 — A World is Waiting, tapisserie, détail /tapestry, detail been drawn towards tapestries because PS: Yes and no. We worked with the
of how they portray the world–there is Natural Resources Institute of Finland TLmag: How does the tapestry fit in with
the realism and then, at the same time, to source the seeds, some of which we your previous works?
a stylized quality. It corresponds with couldn’t get because of the season. This PS: Before the tapestry, we had been doing
une sorte de trame à double face per- des dessins et des aperçus f inaux. Que pourrions-nous voir de bon dans our animations, in which we superim- was interesting because we make con- quite a lot of dark work. People see our two
mettant d’insérer des poches naturelles Nous avons toutefois adopté une dyna- ce moment apocalyptique qu’est le pose fantastical events and realistic ceptual work like this, thinking theoretically latest animations, Nekropolis and Epokhe
pour les graines. Quand nous pensions mique différente pour ce projet : Visa changement climatique ? C’est cette elements together. Another important and philosophically but then we are faced as melancholic and dark, and they are. So
avoir repéré où en insérer une, nous arrê- et moi nous sommes concentrés sur la interrogation fondamentale qui a éveillé reference were the unicorn tapestries at with seasonality. It made us realise that we asked ourselves, would it be possible to
tions la machine, qui tissait en repartant conceptualisation et la recherche. Nous notre intérêt pour l’utilisation de plantes the Cloisters Museum in New York. I kept conceptually speaking, the work could be talk about the same things in positive terms?
une sorte de capsule autour des graines. avons dialogué avec des climatologues et de fleurs. thinking about the plants in both the uni- better if we could include more seeds. But I don’t mean positive from the human per-
et les responsables du programme de corn and hunting tapestries and then the at the same time, we simply could not in- spective but positive from the point-of-view
TLmag : Comment en êtes-vous arrivés semences pour identifier les plantes qui TLmag : La tension entre l’utopie et la ideas came about quite naturally. clude them, which is a great thing. of other species. So what good could we
à collaborer avec Kustaa Saksi ? pourraient avoir survécu dans deux mil- dystopie constitue-t-elle un sujet sur Technically speaking, we wanted to see in this apocalyptic moment of climate
P.S. : Nous avions découvert le travail de lénaires. Une fois obtenue la sélection le quel vous aimeriez continuer à TLmag: How did the site of the V&A influ- weave the seeds into the tapestry and change? That’s actually really important. It’s
Kustaa quelques années auparavant à finale de plantes, nous avons réfléchi travailler ? ence your work? not just attach them on the backside what made us interested in using plants and
Madrid, où nous exposions également. au support du tissage. À partir de ces P.S. : Oui. Nous collaborons avec Kustaa PS: In these kinds of projects, we tend to or something like that. We worked with flowers in the first place.
Nous ne l’avions pas rencontré, mais recherches, nous avons conf ié les sur une plus petite pièce qui intègre work site specifically, to add something to Tilburg’s TextielLab, where the engineers
son travail nous avait beaucoup plu. Le matériaux à Kustaa et lui avons donné également des plantes, mais différem- the context. In this case, we thought that it designed a kind of double-sided struc- TLmag: Is this tension between utopia
moment nous a semblé tout indiqué carte blanche pour interpréter ces ment. Elle accompagnera A World in would be great to continue the tradition of ture for the weave so that there would be and dystopia a theme you’d like to keep
pour inviter cet artiste-designer à nous recherches de la façon qui lui semblait Waiting et racontera la même histoire, the V&A as an institution and be in dialogue natural pockets in it for the seeds. working with in the future?
rejoindre, car cette collaboration nous la meilleure et la plus appropriée. depuis une autre perspective. Elle ajou- with the collection. So tapestry and its histo- When the weaving machine started, we PS: Yes . We are collaborating with
permettrait de clore le projet en beauté. tera une nouvelle strate à la grande ry of applied arts was a good starting point. looked for spots to insert the pouches of Kustaa on a smaller scale piece which
TLmag : Quelle place occupe cette tapisserie, mais je ne peux pas vous en seeds. When we found one, we’d stop the also includes plants, but in a different
TLmag : Comment s’est organisée votre tapisserie par rapport à vos œuvres dire davantage pour le moment… TLmag: What other things shaped your machine and then put the seeds there way. It will be a companion piece to the
collaboration ? Vous êtes-vous réparti précédentes ? concept for the work? and, once the machine started again, the big tapestry that will tell the same story
des rôles précis ? Comment s’est-elle P.S. : Les nombreuses œuvres que nous www.socialtoolbox.com PS: We were thinking from a post-hu- weave encapsulated the seed. from a different perspective. It will add
déroulée ? avions produites jusque-là étaient @ic98socialtoolbox manistic perspective. Trying to omit all another layer to A World in Waiting, but
www.kustaasaksi.com
P.S. : Il s’agissait d’une situation rela- très sombres. Le public considère à @kustaasaksi the humans and the animals and just give TLmag: How did the collaboration with I’m not saying anything else about that
tivement nouvelle pour IC-98. Les juste titre nos deux dernières anima- www.spazionobile.com centre-stage to the millefleurs [thousand Kustaa Saksi come about? for now…
collaborations présentent toujours des tions, Nekropolis et Epokhe, comme flowers] and make it a meadow. There PS: We had seen Kustaa’s works a few
risques ; nous n’avions jamais rencontré des pièces noires et mélancoliques. also needed to be an element about years back, in Madrid, when we both had www.socialtoolbox.com
Kustaa, mais le courant est immédiate- Une question s’est alors posée à nous : the future. I’d been reading about the exhibitions on at different venues. We didn’t @ic98socialtoolbox
www.kustaasaksi.com
ment passé et notre collaboration s’est pourrions-nous traiter les mêmes Svalbard Global Seed Vault and think- know Kustaa but we knew his work and re- @kustaasaksi
déroulée à merveille. Au sein d’IC-98, sujets de façon positive, du moins ing about climate change and the Arctic ally liked it. We thought that this would be a
TL # 30
www.spazionobile.com
Visa Suonpää se charge généralement pour les espèces autres que l’homme ? Ocean so we combined these elements. perfect moment to invite an artist, who is
84 KUSTAA SAKSI 85 KUSTAA SAKSITLmag 28 (FR, EN)
2018, March 8
Kustaa Saksi : Herbarium of Dreams
by Lise Coirier
Living with Art & Design Kus ta a S a ks i 2
Photo by Jussi Puikkonen
Photo by Jussi Puikkonen
Photo by Nina van Ewijk
2.
4.
1 — Herbarium Of Dreams, tissage Jacquard, laine mohair, polyamide,
acrylique, lurex / Jacquard Weave, Mohair Wool, Polyamide, Acryl, Lurex,
170 x 243 cm, ed. 6, 2013
Kustaa Saksi
2 — Arbor Vitae, tissage Jacquard, laine mohair, acrylique / Jacquard Weave,
Mohair Wool, Acryl, 170 x 245 cm, ed. 6, 2013
3 — Kustaa Saksi & IC-98, A World in Waiting, tapis en tissage Jacquard
avec l'encapsulage de graines, pour l'exposition Collecting Europe au
V&A de Londres, GB / rug in Jacquard weave with encapsulated seeds for
Collecting Europe at V&A Museum in London, UK,
553 x 302 cm, unique piece, 2017
3. 4 — Kustaa Saksi
Herbarium of Dreams TLmag s’est entretenu avec Kustaa
Saksi au sujet de son merveilleux uni-
vers ludique et coloré, en prélude à
poussé à étudier et à explorer les tex-
tiles, les imprimés et les motifs
contemporains de façon aussi inhabi-
Interview de / by Lise Coirier
l’inauguration de sa prochaine expo- tuelle ? Pourriez-vous nous donner un
« J e c u lt i v e u n i n t é r ê t sition pour Spazio Nobile sur le salon aperçu de vos inspirations ?
p o u r l e s H a l lu c i n at i o n s Collectible à Bruxelles en mars pro- K.S. : J’imagine des motifs, des formes,
et les rêves visuels qui chain. Dans la perspective d’une future des textures et des ornements que
Basé à Amsterdam, le conteur et illustrateur, artiste textile et designer finlandais Kustaa Saksi crée et innove à partir de la s u r g i s s e n t Da n s l e s installation à la galerie d’Ixelles, la trans- j’organise pour créer des compositions
technique de tissage Jacquard, donnant ainsi naissance à des œuvres d’art et des installations textiles singulières. Son limbes entre la veille et formation et la perception de l’espace contrôlées sur différents types de sur-
œuvre a déjà été exposée au Victoria & Albert Museum, au Cooper Hewitt Museum, au San Jose Museum of Art, au le sommeil » pour l’occasion constitueront des défis faces, tissages, textiles et installations.
TextielMuseum et au Kunsthall Stavanger, mais aussi dans des galeries de New York, Paris, Londres, Helsinki, Singapour, en soi. Tout mon travail est imprégné de l’idée
Hong Kong, Tokyo, etc. Il reçoit régulièrement des commandes de clients tels que Nike, Issey Miyake, Ferragamo, Lacoste, d’une nature envisagée sous l’angle
Marimekko et Swedese. Toutes produites en éditions limitées de six ou huit pièces, ses grandes tapisseries en mohair, alpaga, TLmag : Comment définiriez-vous la abstrait du ressenti. Je cultive un inté-
laine mérinos, fils phosphorescents, coton, viscose, acrylique et lurex nous font pénétrer dans son univers fantastique et Sa collection intitulée Hypnopompic relation que vous entretenez en tant rêt pour les hallucinations et les rêves
ésotérique. La transmutation de sa vision de la nature sous la forme de textiles permet de visualiser des allégories de toutes nous transporte dans ses jardins ima- qu’artiste textile finlandais avec l’esthé- visuels qui surgissent dans les limbes
sortes avec une vive intensité. Menées sur des métiers à tisser du TextielLab en association avec le TextielMuseum de ginatifs et imaginaires, qui regorgent de tique asiatique contemporaine ? entre la veille et le sommeil. Les créa-
Tilburg (Pays-Bas), ses recherches textiles repoussent les limites de l’impossible et font surgir des tableaux vivants à travers graines, d’insectes sauvages et d’ani- Kustaa Saksi : Il me semble que le désir tions qui en résultent prennent souvent
lesquels il explore différentes techniques artisanales. maux hypnotiques tels que le hibou, de comprendre et de respecter la nature la forme de tapisseries, de tapis, d’ins-
qui revient souvent dans l’iconographie et ses formes créatives constitue pro- tallations ou de tissus.
The Amsterdam-based Finnish graphic storyteller, textile artist and designer Kustaa Saksi creates and innovates with the nordique de l’art et du design. Une plus bablement le lien le plus solide entre
Jacquard weave, generating all kinds of textile art and installations. He has already exhibited at the Victoria & Albert Museum, récente série intitulée Reveille explore les esthétiques finlandaise et asiatique. TLmag : Pensez-vous que la tapisserie
the Cooper Hewitt Museum, the San Jose Museum of Art, the TextielMuseum and Kunsthall Stavanger as well as in galleries in des éléments vivants et des animaux Dans mon travail, je m’efforce d’estom- fasse actuellement son retour dans les
New York, Paris, London, Helsinki, Singapore, Hong Kong, Tokyo and more. His commissioned artworks are for clients such as avec un plus haut degré d’abstraction, per et de mélanger les perceptions intérieurs contemporains ?
Nike, Issey Miyake, Ferragamo, Lacoste, Marimekko and Swedese. With his large tapestries—all produced in limited editions of notamment à travers la texture et le tou- culturelles pour donner naissance à K. S. : On peut d’ores et déjà constater
six or eight— made of mohair, alpaca, merino wools, phosphorescent yarns, cotton, viscose, acrylic and lurex, he opens the door cher. Plus sauvage et exotique encore, quelque chose d’inattendu. qu’elle est en train de renaître et que les
into his fantastical and esoteric wonderland. The transformation of his view of nature into textiles leads to a very intense la collection Woolgathering exacerbe textiles novateurs suscitent un grand
visualisation of all kinds of allegories. He knows no limits in his textile research, performed on weaving machines at TextielLab, l’effet des masques et des champs de TLmag : Vous avez hissé le design gra- intérêt de la part des consommateurs
associated with TextielMuseum Tilburg in the Netherlands. The machines make up a kind of tableau vivant where he explores bataille et explore un extraordinaire phique, en particulier l’illustration, à un comme de l’industrie de l’art.
TL # 28
diverse craft techniques. abîme. niveau supérieur. Qu’est-ce qui vous a
86 KUSTAA SAKSI 87 KUSTAA SAKSITLmag 28 (FR, EN)
2018, March 8
Kustaa Saksi : Herbarium of Dreams
by Lise Coirier
Living with Art & Design Kustaa Saksi 3 Living with Art & Design Ku s t a a Sa ks i 4
Photo by Jussi Puikkonen
Photo by Jussi Puikkonen
5.
5 — Exposition Hypnopompic / Hypnopompic exhibition, Korjaamo Gallery, Helsinki, FI, 2013
6 — In The Fish Trap, tissage Jacquard, laine mohair, laine mérinos /Jacquard Weave, Mohair Wool, Merino Wool, 170 x 243 cm, ed. 6, 2013
His collection Hypnopompic is a voyage Kustaa Saksi: I think the desire to under- TLmag: Do you believe that tapestry is
into his imaginative and imaginary botanic stand and respect nature and its creative making a comeback in the contemporary
gardens that are full of seeds, wild insects forms might be one of the strongest links interiors?
and hypnotic animals like the owls you can between Finnish and Asian aesthetics. K. S.: You can tell it’s already having its
often find in the Nordic art and design ico- In my work, I tend to blend and confuse renaissance and that there is a lot of inter-
nography. Another recent series, Reveille, cultural aesthetics and form something est in innovative textile in both the art and
explores living elements and animals in unexpected. consumer contexts.
a more abstract way, including through
texture and tactility. Even more wild and TLmag: You have raised graphic design www.kustaasaksi.com
exotic, the Woolgathering collection max- and especially illustration to another level. @kustaasaksi
imises the effect of masks and battlefields What brought you to study and explore
and explores an extraordinary abyss. contemporary textiles, prints and pat- Kustaa Saksi exposera ses tapisseries
terns in such an unusual way? In short, à la galerie Spazio Nobile pendant
Collectible 21st Century Design, qui se
TLmag had the opportunity to discuss could you guide us into your world of tiendra au bâtiment Vanderborght à
this playful and colourful world of won- inspirations? Bruxelles, du 7 au 11 mars 2018.
ders with Saksi as an introduction to his K.S.: I make patterns, shapes, textures, En 2019, Spazio Nobile exposera Kustaa
upcoming exhibition at Spazio Nobile in ornaments, figures and repeats that I or- Saksi ainsi qu’une sélection de designers
finlandais.
March 2018 for Collectible and at the gal- ganise for controlled compositions on a
lery space in 2019. The transformation variety of surfaces, weavings, textiles and Kustaa Saksi will be exhibiting his recent
and perception of space for the occasion installations. Ideas of nature seen from tapestries at Spazio Nobile Gallery during
Collectible 21st Century Design at the
will be a challenge in itself. the abstracted edge of perception per- Vanderborght Building, Brussels, 7-11 March “ i ’ m i n t e r e st e D i n
vade all of my work. I’m interested in visual 2018. v i s ua l D e lu s i o n s a n D
TLmag: How would you define your delusions and dreams happening in bor- In 2019, Spazio Nobile will feature Kustaa Dreams Happening in
connection as Finnish textile artist derlands between wakefulness and sleep. Saksi alongside a selection of Finnish borDerlanDs between
designers.
and designer to contemporary Asian The results often take the form of tapes- wa k e f u l n e s s a n D s l e e p ”
TL # 28
aesthetics? tries, rugs, installations or fabrics.
88 KUSTAA SAKSI 89 KUSTAA SAKSIBy opening Spazio Nobile in April 2016, in the dynamic and cosmopolitan Ixelles neighbourhood of Brussels (Belgium), Lise Coirier and Gian Giuseppe Simeone have united their passions for design and art history, initiating a dialogue between contemporary applied arts, design and photography. Commissioning installations that are both experimental and artistic, with a particular sensibility to everything connected to nature and minerality, the gallery organises four to five exhibits each year, dedicated to both rising and established talents. Without creating borders between the disciplines, the visual arts interact with the fine arts. www.spazionobile.com @spazionobilegallery @finncultblx #spazionobilegallery #spazionobile #thefinnishseason #keepyourgardenalive #finncultblx
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