Published by: Hatje Cantz, 2014
Format: 29.50 x 24.50 cm, hardcover
Pages: ca. 256 pages, ca. 180 illustrations
Texts: Holger Broeker, Alistair Hicks,Erika Hoffman-Koenige,
Andréa Holzherr,Timothy Persons, Lyle Rexer, Pari Stave,
Christoph Tannert, Jyrki Parantainen
Graphic design by: Hannes Aechter
I find it amazing that after twenty years of existence, the Helsinki School cannot be defined by any one fixed point of view. Conceptually there is a red thread connecting one generation to another in the way they perceive and present their ideas but not necessarily in how they apply them.
Timothy Persons (introduction)
Following the first four volumes of the Helsinki School, this new publication looks back at the development of this group of photographers over the past twenty years and traces the emergence of the photographic tendency bearing this name.
In a collection of essays, international curators, art critics, and museum directors describe their encounters with the Helsinki School, from the first exhibitions in the late nineties to the youngest generation of photographers. A discussion between Timothy Persons and Alistair Hicks concludes these contributions. The texts are accompanied by installation shots from numerous international exhibitions, archival materials, books, posters, invitations, and most recent works by the different generations of artists.
Published by: Hatje Cantz in 2009
Format: 30.90 x 27.60 cm, hardcover
Pages: 120 pages, 77 illustrations, 69 in color
Texts: Jorma Puranen, Liz Wells
Artist: Jorma Puranen
Design by: Jorma Hinkka
"In Icy Prospects I have expressly reflected on the nature of the painterly, the sublime, and the mysterious.” Jorma Puranen
His latest series, Icy Prospects, was inspired by the ways the great explorers as well as today’s tourists to the North Pole are fascinated by the arctic landscape. Puranen painted a board with black, high-gloss acrylic and then took long exposures of the icy landscapes mirrored in this wooden surface. The results are extremely painterly, highly aesthetic, fragmented impressions of nature in which the ground, the brushstroke, and the reflection are inseparably superimposed. In this way, the photographer creates a relationship between the philosophical concept of the "sublime terror” of the forces of nature and his own experience of life in these regions, typifying the north as a projection surface for fantasies and the imagination.
Published by: Hatje Cantz in 2007.
Format: 29,50 x 24,50 cm hardcover
Pages: 232 pages, 187 color illustrations
Edited: University of Art and Design, Helsinki (TaiK)
Texts: Andrea Holzherr, Timothy Persons
Artists: Joonas Ahlava, Joakim Eskildsen, Miklos Gaál, Veli Granö, Ilkka Halso, Nanna Hänninen, Maarit Hohteri, Tiina Itkonen, Ulla Jokisalo, Jan Kaila, Ari Kakkinen, Aino Kannisto, Sanna Kannisto, Sandra Kantanen, Pertti Kekarainen, Ola Kolehmainen, Milja Laurila, Janne Lehtinen, Ville Lenkkeri, Anni Leppälä, Noomi Ljungdell, Niko Luoma, Susanna Majuri, Arno Rafael Minkkinen, Jyrki Parantainen, Jorma Puranen, Riitta Päiväläinen, Heli Rekula, Nanna Saarhelo, Pentti Sammallahti, Jari Silomäki, Mikko Sinervo, Marjukka Vainio, Ea Vasko, Pernilla Zetterman
Designed by: Margarethe Hausstätter, Claudia Stein
Based on the success of volume one, the latest installment of The Helsinki School represents one of the most unique approaches to the state of conceptual photography today. Volume two is dedicated to sustaining the dialogue between one generation and another who have either taught, graduated, or attended the University of Art and Design Helsinki, Finland. It will accompany an exhibition with venues all over the world. This unique, richly illustrated publication, based on a concept by Timothy Persons and Jorma Puranen also looks ahead to the emerging next generation.
Published by: Pohjoinen Publications, 1999
Artist: Jorma Puranen
Language: English / Finnish
A book by Jorma Puranen, inspired by and drawing on an archive of late 19th-century portraits of the Sami people of Lapland at the Musee de l’Homme in Paris. Puranen traveled to the original source of the images in Northern Norway and reinserted his rephotographed images of the portraits in the Northern landscape, creating a sort of dialogue between past and present, and both a tapestry and continuum of existence, with portraits standing in for present-day Sami and appearing on trees, rocks, water, snow. Like much of contemporary Finnish photography that is conceptual, the body of work is extremely layered and resonant, both intellectually rigorous and emotional.