The museum exhibition brings to life Ailey’s words: “I wanted to paint. I made watercolours. I wanted to sculpt. I wrote poetry. I wanted to write the great American novel,” and describes his dances as “movements full of images.”

This dynamic showcase combines visual art, live performance, music, a range of archival materials, and a multi-screen video installation drawn from recordings of Alvin Ailey’s American Dance Theater (AAADT) repertory to explore the full range of Ailey’s personal and creative life.

Edges of Ailey – an immersive exhibition

Presented in three parts, Edges of Ailey consists of an immersive exhibition in the Museum’s 18,000 square-foot fifth-floor galleries, an ambitious suite of performances in the Museum’s third-floor Theater, and an accompanying scholarly catalogue.

The exhibition centres on the man himself, capturing the full range of Ailey’s passions, curiosities, and creativity revealed in his archives, across his dances, and within a continuum of other artists spanning nearly two centuries. These elements form a historical account, provide a constellatory survey, and unfold as a tribute to the legendary artist’s life, career, and far-reaching impact on the histories of dance, Black creativity, and American culture. Edges of Ailey affirms the artist’s place as one of the most culturally and historically significant artistic figures in the United States and the world.

“Following six years of dreaming, planning, and researching, the extravaganza that is Edges of Ailey finally enters the world,” said Adrienne Edwards, Engell Speyer Family Senior Curator and Associate Director of Curatorial Programs. adding, ” Now audiences will have the chance to know his story. It is no small task to hold someone’s legacy of this cultural magnitude in your hands. We have made something that aims to have the same imagination, sparkle, generosity, rigour, and daring as did he.”

Edges of Ailey was developed through extensive archival research. From the sweeping holdings of performance footage, recorded interviews, notebooks, letters, choreographic notes, and drawings, to other ephemera gathered from nearly 10 sources, the archives forge a vital throughline in the gallery. A dynamic montage of Ailey’s life and dances will play on a loop across an 18-channel video installation, created by filmmakers Josh Begley and Kya Lou, with Edwards.

This film is composed of newly digitized performance documentation, dances made for the camera, animated archival images, televised broadcasts, and contextual footage of cultural, social, political, and social events of the time.

Visitors also encounter intimate displays of never-before-seen selections from Ailey’s archive, providing a foundation for understanding everything from his daily routine and artistic thinking to the demands of touring and his grappling with being gay. Ailey’s short stories and poems are shown publicly and reproduced in the catalogue for the first time. 

The ways Ailey appears in the show through archives form a surround, circling the galleries, which are presented in red: walls, an archipelago of elevated platforms, customized systems of display, and curtains. This staging of deep crimson reflects Ailey’s formative “blood memories” as well as the colour of theatre curtains and seating of the proscenium theatres in which Ailey’s dances are typically performed, and the pews and carpets of many Southern Black churches.

The exhibition is arranged thematically into sections that span an expanded Black southern imaginary that enfolds histories of the American South with those of the Caribbean, Brazil, and West Africa; the enduring practices of Black spirituality; the profound conditions and effects of Black migration; the resilience for and necessity of an intersectional Black liberation; the prominence of Black women in Ailey’s life; and the robust histories and experiments of Black music; along with the myriad representations of Blackness in dance and meditations on dance after Ailey. 

Throughout the presentation of Edges of Ailey, a robust live performance program in the Museum’s third-floor Theater will accompany the in-gallery component. The performance series is inspired, motivated, and organized to reflect Ailey’s commitment to building a platform for Black modern dancers and choreographers. The performances feature all facets of the AILEY organization in residency at the Whitney for one week each month, for a total of five weeks.

This allows visitors to experience the full scope of Ailey’s world and legacy, including performances of classic and contemporary works by the two repertory companies—Alvin Ailey American Dance Theater and Ailey II—as well as showcases by students from The Ailey School, workshops and education programs from Ailey Arts In Education, and classes from Ailey Extension. 

“Edges of Ailey is one of—if not the—most ambitious and complex exhibitions undertaken in the Whitney’s history,” said Scott Rothkopf, the Alice Pratt Brown Director of the Whitney. “Now is Ailey’s time and our time as an art museum to recognize his immense creative force not simply as one of the 20th century’s greatest American choreographers, nor as its greatest Black choreographer, but as one of the greatest artists working in any medium anywhere in the world. This exhibition situates Ailey—and those he drew on and inspired—smack in the middle of the avant-garde, right where they belong.”

Edges of Ailey is organized by the Whitney Museum in collaboration with the Alvin Ailey Dance Foundation. The exhibition is curated by Adrienne Edwards, Engell Speyer Family Senior Curator and Associate Director of Curatorial Programs, with Joshua Lubin-Levy, Curatorial Research Associate, and CJ Salapare, Curatorial Assistant.

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Marble inlay, also known as “Pacchikari” or “Parchinkari,” is one of the most stunning and well-known types of Mughal art. It was indigenously produced in India. However, it is generally accepted that its roots are in Italy.

A marble that has been inlaid with motifs crafted out of precious or semi-precious stones is formally referred to as “pietra dura,” which is Italian for “hard stone.” Pacchikari, also known as the inlay of semi-precious stones like agate, turquoise, cornelian, jasper, bloodstone, mother-of-pearl, malachite, and lapis lazuli in marble, is an art form that can only be found in Agra.

The inlay is of such high quality that it gives the impression that the designs were carved directly into the marble. The incisions are so subtle that they are almost impossible to see. The stunning pietra dura work that was done on the Taj Mahal and the tomb of Itmud-ud-Daulah served as the source of inspiration for the trade.

The sequence of steps that eventually resulted in the realisation of a masterwork of inlay was honed by Mughal artisans in the 17th century, and it has remained relatively stable for over 400 years since then. This is because the Mughal artisans perfected the series of steps that culminated in the realisation of a masterpiece of inlay work in marble.

Even while the craft still made use of equipment and techniques from the Mughal period, the accuracy in workmanship that expert artisans attained thanks to their outstanding talents is not something that can be recreated by most machines in the contemporary day. Marble Emporium has ensured that the art is kept in its purest, most authentic form.

History of Marble Inlay

Inlay work, especially that done on marble or pietra dura, has been the subject of a great deal of discussion over its place of origin.

The origins of Pietra-Dura are somewhat mysterious—whether it was directly imported from Europe or introduced through another region remains unclear. What is certain is that it captivated Shah Jahan’s imagination profoundly, transforming his architectural endeavours into what resembled a magnificent treasure chest. Originally used to adorn palaces during the Renaissance in Italy, this exquisite art of stone inlay found a renaissance of its own upon reaching the shores of India.

Indian craftsmen successfully adapted it to their requirements, gave it an indigenous touch, and utilised the method to carve out classic Indian designs, which are now considered to be the crown jewels of Indian art.

Some people have the opinion that it grew slowly in India since we can see changes in the inlay work of the structures that were constructed throughout the reigns of Akbar, Jahangir, and then Shah Jahan. It is the first prominent structure in white marble, and its rich decoration in pietra dura gives the sense of a little valuable thing enlarged into a piece of architecture.

It is also the first building in the world to be constructed entirely of white marble. It shows the change from the time when Akbar’s buildings were made of simple red sandstone to the time when they were made of luxurious marble, with all the changes.

During the reign of Shah Jahan, the Musamman Burj, the Diwan-I-Aam, and the Diwan-I-Khas of Agra Red Fort, as well as the Taj Mahal, Agra, Red Fort, and Palaces, Delhi, were all examples of Mughal Inlay art at its most elegant and best stage. This was a phenomenon that never stopped happening in the field of Mughal Inlay art.

The procedure of working on marble inlay

White marble from Makrana, Rajasthan, or Crema Marfil from Italy is often the preferred choice for intricate inlay work due to its fine quality. If marble isn’t used, alternatives like black Kadappa stone or green marble are selected.

The inlay process starts with a design, possibly a floral or geometric motif, traced onto a brass sheet. This pattern is then transferred onto the marble surface. Following this, artisans meticulously carve the marble to prepare it for the inlay

Since the inlay process takes so much time, it takes the skills of many different professionals for each step. The method of pre-etching entails the shape of the marble, the composition of the individually designed pattern, and the covering of the marble with geru, a red mineral colour that enables the etched lines to stand out in contrast.

The next step is to cut the marble using the most basic of tools, which consists of a set of chisels and a predefined set of squares.

After that, thin slices of various coloured stones, both precious and semi-precious, are carefully arranged in the marble using an adhesive. Before setting the stone, the etched area is first filled with cement, then the marble is briefly heated, and lastly, the stone is arranged.

Coloured stone slices, both precious and semi-precious, are carefully shaped, polished, and then embedded into the carved marble using a strong adhesive. Sometimes, specific stones undergo heat treatment to enhance their colour, such as heating Jaisalmer Yellow stone to achieve a red hue.

Common stones used in this art include White Jasper, Chocolate Stone, various types of Marble and Bidasar, along with Lapis, Malachite, Ruby, and Amethyst among others.

To create the intricate components of the design, the semi-precious stones, such as malachite, cornelian, jasper, pearl, and coral, amongst others, are finely crushed and sculpted on an emery wheel that is handled by hand.

Once the inlay is securely in place and dried, the next steps are to polish the surface and edges to a gleaming finish. This polishing, done with a stone bar, ensures the shine endures for decades, leaving the piece splendid and ready for display. When an artist has a high level of talent, the decorations that they produce are more exact and intricate.

Contemporary displays of Marble Inlay

The craftsmanship of inlays and decorations has greatly advanced, significantly bolstered by modern marble decoration techniques and cutting-edge inlay machinery. Today, inlay marble crafts achieve a level of sophistication and precision that was once hard to imagine. This is largely due to the sophisticated equipment that not only speeds up the process but also ensures superior quality, allowing master craftsmen to produce exceptional work more efficiently.

Furthermore, the cost of these inlay marble works has decreased due to the use of these advanced marble inlay machines, which enhance precision and streamline production, delivering top-notch results quickly and efficiently.

Despite these technological advancements, the role of human creativity remains indispensable. It continues to drive innovation and excellence in the marble inlay process, constantly pushing the boundaries and refining the techniques used in marble craftsmanship.

Inlay stones are becoming popular for use in marble inlay products such as marble inlay flooring patterns, marble inlay boxes, marble inlay jewelry boxes, marble inlay tables, marble inlay flower vases, coffee tables and side tables with marble inlay patterns. Table tops come in many different colours and shapes, such as squares, rectangles, ovals, octagons, and so on. Along with its strikingly beautiful appearance, marble inlay flooring designs are by far the most popular option.

Inlays in marble, if chosen carefully in terms of pattern, style, and colour combination, are more than capable of lending an air of unrivalled opulence to the inside of any house. There are both black and white marble tiles available, but it is essential to choose the appropriate setting for their installation before proceeding. Even places like kitchens and hallways can benefit from the beauty of inlay work.

Inlay handicrafts endure

In Agra, close to the majestic Taj Mahal, approximately 3,000 to 4,000 marble carvers and inlay craftsmen reside, perhaps even more, nestled within the colonies of Nai ki Mandi and Gokulpura.

These artisans, about 4,000 strong, are the living pulse of a venerable tradition, crafting miracles from stone in these neighbourhoods. Artisans are broadly categorized into two groups: sadakars, who handle the basic shaping, and pachikars, who specialize in detailed inlay work.

While the preliminary cutting and carving are enhanced by machinery and performed by skilled sadakars, the more intricate inlay work is carried out by experienced pachikars. This specialized task demands a level of expertise akin to that required in the cutting and polishing of jewellery stones, utilizing chisels and grinding stones.

Tourists are welcomed into the workshops, usually located behind the storefronts, where they can witness firsthand the finesse of the karigars during inlay demonstrations. Here, they observe the artisans as they intricately cut and carve marble.

The resulting artwork is a blend of techniques—carving, inlaying, engraving, sculpting, and undercutting—a method where multi-layered decorative items are masterfully created from a single piece of stone.

Since the Taj Mahal is one of the most popular tourist destinations, the business of producing Pietra Dura relics in Agra, Uttar Pradesh is thriving. These artefacts include tabletops, medallions, elephants and other animal shapes, jewellery boxes, and other ornamental objects. Even though the patterns are more Persian than Roman or Medici, this form of art is very much alive and thriving in the Indian city of Agra.

Where to buy:

The primary destinations for purchasing marble artefacts in Agra include the areas surrounding the Taj Mahal complex, Sadar Bazaar, Kinari Bazaar, and Munro Road. At the Taj Mahal Complex, the Uttar Pradesh State Emporium, known as Gangotri, provides a variety of marble handicrafts at reasonable prices.

Marble inlay items are widely available across Agra’s bazaars, villages, stores, and emporiums, and can also be found in other regions like Rajasthan and the city of Varanasi. Additionally, numerous websites offer inlay products, with platforms like artefactindia.com and marble crafts being among the popular choices for these exquisite items.

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Minakari, also known as Meenakari, is an enamelling technique that was developed in Safavid-era Iran for the purpose of painting and colouring the surfaces of ceramic tiles and metal objects. The countries of Iran, Afghanistan, Pakistan, and India are the primary producers of this art form, which is also practised as an art form.

The fine patterns that are typical of minakari art are often used to decorate a wide range of things, such as jewellery, plates, containers, vases, frames, and other display items.

History of Meenakari

The history of the Meenakari craft may be traced back to Persia. Since “Mina” is the feminine form of the Persian word “Minoo,” which means “Heaven,” Mina is preoccupied with the cyan hue that represents heaven.

Craftsmen in Iran are credited with this technique’s invention, which was brought to people in other nations (including India) by the Mongolians. The Mughals, who were known for their love of elaborate Mughal jewellery, eventually became acquainted with this Shahi craft.

The Journey of Meenakari from Persia to India

Originating in Safavid Iran during the Sasanian era, Meenakari is a craft of enamelling that found its way to India through historical exchanges. It was introduced to Rajasthan at some point during the 16th century by Raja Man Singh (Amber), who requested the services of Meenakars from the court of the Mughals, which was situated in Lahore.

Due to him, these Meenakars were able to establish themselves in Jaipur, and as a result, the art was able to remain. These days, Jaipur is considered the Meenakari art capital of India. This marked the beginning of Meenakari’s evolution within the rich cultural tapestry of India, blending Persian influences with indigenous artistic traditions.

Legendary Meenakari Gems

Meenakari flourished as a royal splendour and cultural synthesis hallmark during the Mughal period. It adorned thrones, crowns, and architectural marvels commissioned by Mughal emperors, showcasing intricate designs and vibrant enamelling techniques.

These majestic artefacts, once symbols of imperial power and artistic finesse, now find their esteemed places in renowned museums such as the British Museum and the Metropolitan Museum of Art. Displayed to awe-inspiring effect, these pieces not only reflect the cultural richness of their era but also stand as a testament to the enduring allure of Meenakari artistry across centuries.

The Mughal queens, or begums, cherished Meenakari jewellery, incorporating these exquisite pieces into their collections as symbols of status and refinement. The art form extended beyond decorative purposes to encompass religious artefacts used in Hindu rituals, reflecting its adaptation and integration into diverse cultural practices across the Indian subcontinent.

The Mughals played a pivotal role in refining Meenakari, infusing it with a rich palette of colours and elaborate motifs that symbolized power, prestige, and cultural exchange.

Process of making meenakari

The production of meenakari is an extremely time-consuming, intricate, and challenging procedure. It calls for a significant amount of expertise as well as commitment. The process includes fusing coloured powder glass to a base made of a material such as metal, glass, or ceramics.

This is accomplished by subjecting the material to very high temperatures, often in the range of 750 to 850 degrees Celsius (1,380 to 1,560 degrees Fahrenheit) during the firing process. This results in the material being known as vitreous enamel or ceramic enamel, depending on which term you want.

On the metal, the glass, or the ceramics, the powder will melt and flow, and then it will cure into a vitreous coating that is smooth, long-lasting, and resilient. Any steel, stone, substance, or anything that can endure and maintain the fusing temperatures may have enamel applied to it. Enamel can be used in a variety of applications.

The chunk of steel that will be used for Meenakari is affixed to a lac stick before the process begins. On it are sculpted or engraved patterns of flora and fauna, such as flowers, birds, fish, and other animals, that are beautiful, intricate, and exquisite.

The enamel dust of the desired colour is then dispensed and hurried into the grooves after the walls and grooves necessary to retain and grab the colour have been generated as a result of this process.

The colour is melted by the temperature of the kiln, and the melted colour is distributed uniformly throughout the groove. The art of Meenakari is characterised by complex and ornate patterns that are created via the use of geometric lines and forms, along with other gorgeous motifs. Dishes for serving, vases, frames, displays, containers, and jewellery are all common places where you’ll find Meenakari art applied as a decorative element.

Metal oxides are combined with a little bit of powdered glass to create the colours that are used in enamelling. According to the scientific explanation, the shade of colour that is produced is determined by the oxide concentration of the material alone. These colours are ordered according to how difficult they get, starting with the one that is the most difficult of them all.

When the combinations are still in their unprocessed state, the colours do not appear immediately; rather, they appear only after the product has been heated in the furnace. Amritsar, Punjab, Germany, and France are the most common countries from which enamel colours are purchased and transported.

The Meenakari art style, which is featured on a wide range of objects, is well-known for having characteristics that are both distinctive and immediately noticeable. This includes things like anklets, earrings, jewellery boxes, picture frames, key chains, stools, seats for tiny temples, and even anklets and earrings.

The states of Rajasthan and Gujarat are the most well-known for the Meenakari products and jewellery that they produce, with Jaipur serving as the industry’s primary hub. In the enamelling done in Jaipur, traditional Mughal hues like red, green, and white are employed. It is common knowledge that Nathdwara, Bikaner, and Udaipur are famous for their silver. Glass enamelling is a speciality that may be seen at Meenakari and Pratapgarh.

Even in modern times, people in many parts of India continue to perform this art form. The hue known as gulaabi Meena, which is closer to rose pink, is the one most often seen in Banaras. Meenakari in Lucknow prefer to work with blue and green Meenakari rather than silver. Enamel work over gold is often done in Delhi, Banaras, and Jaipur.

Paintings created in the time-honoured and conventional style of Meenakari may be seen in collections all over the globe. It is grand, and it maintains its crown-worthy status by providing a sensation and experience befitting a monarchy. The artistic form is important to a large number of individuals in a variety of distinct ways. It can be found in all parts of the nation, and each region has developed its unique style and approach to implementing the art form.

Where to buy

Since the 16th century, Jaipur has served as the most important place for Meenakari jewellery. Other regions of the state are also known for making and selling Meenakari jewellery worldwide. Most Meenakari jewellery made of gold is made in Jaipur, Delhi, and Benaras.

Most Meenakari jewellery made of silver is made in the cities of Bikaner, Udaipur, and Nathdwara. The glass enamelling that is used in Meenakari jewellery that originates from the Pratapgarh area is in great demand due to the region’s more affordable price tags.

These hubs not only offer a wide range of traditional Meenakari items like jewellery, home decor, and religious artefacts but also provide insights into the intricate techniques and cultural significance behind each piece.

For those outside India, online platforms specializing in traditional crafts and artisanal goods often feature a selection of Meenakari art. Websites dedicated to promoting Indian handicrafts and international marketplaces showcase a diverse array of Meenakari paintings, sculptures, and jewellery, providing global accessibility to this cherished art form.

Additionally, art galleries and exhibitions worldwide occasionally feature Meenakari artworks, offering opportunities to acquire unique and curated pieces that blend historical craftsmanship with contemporary interpretations.

Celebrating the artistry and legacy of Meenakari

As admirers of Meenakari art, we are drawn not only to its rich historical roots and intricate craftsmanship but also to its enduring allure in contemporary times. Each piece, whether a delicately enamelled pendant or a vividly adorned vase, carries within it centuries of tradition and the skilled hands of artisans who have mastered this ancient craft. By owning a piece of Meenakari, we not only cherish its beauty but also become custodians of its cultural narrative, connecting us to a heritage that spans continents and epochs.

As we bring these treasures into our homes and lives, we celebrate the artistry and legacy of Meenakari, ensuring its timeless elegance continues to inspire and enchant for generations to come.

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Dubbed the ‘Relaytionship’, the artwork has been launched by the Business and Tourism Programme and is a fluid and dynamic piece of digital art, evolving and growing alongside the Birmingham 2022 Queen’s Baton Relay as it traverses 72 nations and territories of the Commonwealth in 294 days.

Having launched in October in the West Midlands – home to Coventry UK City of Culture 2021 and the Birmingham 2022 Commonwealth Games – this is the first reveal of the Relaytionship which has gathered pace and been fuelled by contributions from people across the globe.

To coincide with the Queen’s Baton arriving in the country, the first evolution of the poem and artwork has been revealed at a virtual showcase event, hosted by the British High Commissioner to India, Alex Ellis.

The Relaytionship artwork was revealed by Apache Indians, who grew up in Handsworth in Birmingham, during the virtual showcase event. 

It was originally designed by West Midlands-based audio-visual artist Tommy Xiao Ji in collaboration with spoken word artist Amerah Saleh.

The Relaytionship was created by the Business and Tourism Programme to embody the artistic and diverse heritage of the West Midlands whilst reflecting the power of art to connect cultures, countries, and continents.

The artistic collaboration will absorb words and images from people in India, a country with a rich poetic legacy and influence, and continue its journey alongside the Queen’s Baton.

Having connected voices from every corner of the Commonwealth, a final version of the hybrid piece of artwork will be revealed when the Queen’s Baton returns to the West Midlands.

Amerah Saleh said: “In October we asked communities around the Commonwealth ‘What does Home mean to you? What does Incredible mean to you?’ and it is inspiring to see the first wave of responses unveiled.”

He added, “As we hoped to demonstrate when we launched the Relaytionship, we are all more connected than you would think. I look forward to developing the artwork as the poem develops and encourage everyone to express what Home and Incredible means to them.”

Becky Frall, Head of Tourism at the West Midlands Growth Company, which aims to attract more visitors to the region said: “The West Midlands’ destinations have a rich arts and culture offer, and it is exhilarating to see how well the concept of the Relaytionship is resonating in India.

She continued, “What the artwork has also revealed is the affinity between the West Midlands region and India, how connected we are despite the thousands of miles that separate us, and how our bond continues to evolve.”

She added, “We look forward to welcoming Indian visitors once again, as travel recommences and restrictions ease. We hope that this sentiment will continue to engage and build audiences as the artwork grows.”

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Street art, an ever-evolving dialogue between creativity and public space, has found a vibrant home within the nation‘s urban landscapes.

Venture into the world of street art in Czechia,  where walls become canvases, and passersby become part of the art. 

The streets of Czechia serve as an open-air gallery, inviting both locals and visitors to experience art in an unconventional setting.

From the cobbled alleys of Prague‘s Old Town to the industrial backstreets of  Brno, street art punctuates the urban scenery with bursts of colour and thought-provoking messages.

Street art in Czechia is rooted in a history of resistance and self-expression.

Themes of freedom, democracy, and unity are often woven into the art, serving as a reminder of the nation’s journey.  

In today’s Prague, the street art scene thrives, and this creative optimism permeates the narrow lanes and paths.

Look out for sculptures, installations, and murals that infuse the city.

Among the treasures is one of  Prague‘s few legal graffiti walls, Tesnov.

Just a 15-minute stroll from the city centre, Tesnov offers a  fitting conclusion to your street art exploration, allowing you to craft cherished memories along the way. 

Drawing inspiration from Michelangelo‘s iconic Sistine Chapel fresco, Pasta Oner crafted his interpretation of the “divine touch” on Vitězné náměsti. This pop-art mural portrays the “hand of God,”  directing attention to the words “Choose to Be Happy.” This uplifting artwork emerged through Prague’s  Stuck in the City initiative! 

Last of all don’t forget the renowned John Lennon Wall.

Despite its frequent cleanings, the Lennon-inspired graffiti has graced this wall since the 1980s, never disappearing for more than a few hours.  Nestled in the heart of Old Town, this vibrant wall is adorned with uplifting quotes, Beatles‘ lyrics, and personal expressions through notes, musings, and artwork.  

Czechia‘s street art scene embraces a diverse range of styles and techniques. Stencils, graffiti, murals, and installations intermingle to create a visually striking and multi-dimensional tapestry.  

Czechia streets have become an ever-evolving canvas where art and the urban landscape merge to create a dynamic and captivating narrative. From political statements to cultural celebrations, the vibrant street art scene is a reflection of the nation’s identity, history, and boundless creative spirit. As you navigate the streets of Czechia, take a moment to appreciate the stories told by the walls around you – for they are not just art; they are windows into the soul of the nation.

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Curated by Joasia Krysa with five curatorial collaborators, the second edition engages with some of the pressing issues of our time, addressing environmental damage, political conflict and the impact of technology. On view until 17 September 2023, the biennial comprises around 50% new commissions and site-specific works that span installation, sculpture, film and performance.

Helsinki Biennial expands across Vallisaari Island, HAM and the wider city

This year, Helsinki Biennial returns to Vallisaari, a former military island that is the most diverse natural and recreational destination in the Helsinki archipelago. 15 artworks will be situated on the island, both outdoors and within its historical gunpowder cellars, each operating in a subtle dialogue with the surrounding environment and its unique ecosystem.

“The biennial takes its point of departure from Vallisaari Island, the regenerative energy of multispecies landscapes, and data which is manipulated by algorithms. It gathers ideas from an eclectic mix of influences – from natural science and cosmology, the supernatural and artificial intelligence, data science and science fiction, the sense-making practices of humans and nonhumans, and the actions of sentient and other – worldly beings – to identify some of the conditions through which new directions may emerge,” elaborates Joasia Krysa, curator of Helsinki Biennial. 

Installed in a wooden cabin on Vallisaari Island, Technoshamanic Systems by Suzanne Treister presents microcosmic non-colonialist plans for alternative visions of survival on earth and inhabitation of the cosmos. Treister’s watercolour paintings are accompanied by a new AR component which makes the Interplanetary Meditation and Biospheres Islands element of the artwork appear to float up in the sky.

Jenna Sutela’s Pond Brain, a water-filled bronze bowl expanding upon the shape of the artist’s head, is also located on Vallisaari. The instrument invites the viewer to rub it in order to make it ‘sing’. When played, it interacts with sound produced using machine learning technology to create an ever-emerging soundscape based on signals from the wider environment, including sounds from outer space and under the sea.  

Works by Diana Policarpo, Bita Razavi, Tabita Rezaire, Tuula Närhinen and INTERPRT will take over the large arched halls and gallery space at HAM Helsinki Art Museum. Following her representation of Estonia at the 59^th Venice Biennale, Bita Razavi’s participatory sculptural work considers the political and colonial structures of different countries.

Diana Policarpo’s installation consists of massive, rock-shaped sculptures with embedded video and sound which investigate how humans treat the world as their property. Tuula Närhinen’s Deep Time Deposits: Tidal Impressions of the River Thames depicts the river as a cyclical time machine and an archive of human life that is shaped by nature.

Tabita Rezaire’s Deep Down Tidal highlights water’s complex narratives by examining how the submarine fibre optic cables that transfer digital data are layered upon old colonial shipping routes. INTERPRT’s new work, Colonial Present: Counter-mapping the Truth and Reconciliation Commissions in Sápmi, is a case study that explores the histories of assimilation, land dispossession and state violence that continue to impact Sámi people through green colonialism.

Located in the city’s Market Square, Dineo Seshee Bopape’s work evokes connections to land and family through a new departure: a sculptural form of a billboard made of rammed earth that is textured with organic material and rocks of various sizes. The new work seeks to find a path to remembering and re-membering through fragmented parts of personal and collective family histories.

Helsinki Biennial’s public programme

The main exhibitions will be complemented by events, performances, workshops and discussions throughout the summer.

Lotta Petronella, Lau Nau and Sami Tallberg have created a transdisciplinary artwork interacting with the diverse inhabitants of Vallisaari Island through live events and performances. The work contains an apothecary, a lamenting choir, nightly recordings of moths, and a commemorative tribute to Ilma Lindgren – the person who secured the freedom to roam and forage in Finland. The work further invokes an oracle or cosmology of the island, with Lotta Petronella conducting personal oracle readings from hand-made cards created specifically for the artwork.

Danielle Brathwaite-Shirley invites visitors to take part in a role-playing performance event and installation exploring a new mythology for Vallisaari Island. Extending Brathwaite-Shirley’s practice, which intertwines lived experience with fiction to imaginatively retell the stories of Black Trans people, visitors journey through various scenarios with characters guiding their collaborative decision-making.

The characters take the form of physical sculptures on the island, with an online counterpart allowing visitors to listen to their background stories. While live events will take place over several days in June, August and September, the sculptures and online content can be experienced throughout the duration of the biennial.

Sonya Lindfors’ common moves is a new collaborative artwork that can be described as a ‘social choreography’ or ‘choreography of the community’. By occupying public space with simple scores and choreographies, the piece questions our conception of what we have ‘in common’: whether social norms and habits, or something shared, public, or regularly occurring. Rooted in local conversations and urgencies, common moves take place across several sites around central Helsinki and is in collaboration with BIPOC artists and volunteers.

Created as a collaboration between anthropologists Yen-Ling Tsai and Anna Lowenhaupt Tsing, filmmaker Isabelle Carbonell, and farmer and translator Joelle Chevrier, the Golden Snail Opera is a multispecies enactment of experimental natural history. The golden treasure snail, first imported to Taiwan from Argentina in 1979 to start an escargot industry, is now a major pest for rice agriculture. While pesticides are often used in their extermination, a new generation of friendly farmers in Taiwan’s Yilan County hand-pick the snails and integrate them within the ecology of the rice paddy. Golden Snail Opera incorporates percussion from Yilan opera, combining it with the noises of snails, water, birds, and other beings.

Rather than just forming an accompaniment, the sounds engage in a dialogue with a script comprising material from interviews, participant observation, and imagination. Through video and text, various beings of the rice fields offer an enactment of harmonious coexistence. For Helsinki Biennial 2023, screenings with live performance readings of the Golden Snail Opera will be staged at Central Library Oodi in June and August.

The public programme also incorporates initiatives from many of Helsinki Biennial’s curatorial collaborators. For example, Critical Environmental Data will create The Environmental Audiotour which comprises six audiostories that listeners can follow across various in-person locations in Helsinki or online. Museum of Impossible Forms will develop the Biennial’s discursive program of lectures, screenings, performances, and gatherings titled Polyphonic Entanglements, as well as an Agonistic Intelligence/s Summer School in partnership with HAM.

As part of the Helsinki Biennial Art Mediation Forum, ViCCA @ Aalto Arts will also organise and lead three collective experiences from the Curatorial School of “May”, activating specific themes of the biennial through and beyond the artworks. Lastly, the AI entity launches a website that combines HAM’s collection with machine learning technology to create an online map of the city, inviting users to explore new groupings from the collection based on geolocations and machine-made metrics.

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