Kristján Gudmundsson | Jarosław Kozłowski | Ville Kumpulainen | Milja Laurila | Dominik Lejman

We proudly present the group exhibition Inconsistent Ways of Seeing, highlighting the correlation between image and language. The five artists selected for this presentation all work in different medias and share a mutual interest in exploring their diverse points of view dealing with the relationship between text and visual art. They are all connected by how they challenge the subject of association with what we see and assume based upon our knowledge and experience of correlating the image with the words that define it. This disassociation process disrupts the identity relationship between the verbal and the visual encouraging abstract thinking.

Combining text with images has a long history in art and especially so in the last century, with Dadaism, Surrealism, Fluxus and the emergence of Conceptual Art. The artists in the 1960s and 70s treated language as an equal element in their works, creating a new perspective on interpreting and presenting ideas. This exhibition continues this dialogue with works spanning over the last three decades.

We are thrilled to present Niko Luoma’s solo exhibition For Each Minute, Sixty-Five Seconds. This exhibition features a selection of works from his Adaptations series, which focuses on his fascination with reinterpreting artworks from art history that have either influenced him or the way we think as a society about art. It is accompanied by his newest publication with the same title by Hatje Cantz and vitrines including not previously presented drawings and sketches.

Niko Luoma is one of the world’s leading abstract photographers and a key figure in the Helsinki School movement. He diligently works within the analog photographic process while his geometrical compositions are done without any digital manipulation. His method of working is intentional, and the composition of the image is well planned, yet he never really knows the final outcome until it’s printed. Luoma’s photographs find their contextual roots in how he combines cubism with constructivism to form his own style of abstraction. He pushes the parameters of how we perceive and interpret through his use of the photographic process as a means to create his own visual language.