Flower, Strain, Kiln, Pigment | 7.–30.10.2022
Özgü Gündeşlioğlu, Natalie Hamada, Sara Moayed, Haliz Yosef
Kuratointi: Feminist Culture House
by Laura Nevanperä
Väännä säädintä adjust the parameter
“Radical opacity”
Radikaalin opaakit eleet kertovat and it will tell you
mihin et pystynyt, what you couldn’t do
mitä on tapahtunut, what had happened, where are we now
missä me olisimme and where couldwe be
ja olemme nyt but I can’t do it alone
mutta en yksin tähän pystynyt I can’t
en pysty I can’t
Säikäytän äitini halaamalla tätä mother is afraid of touch
Rinnakkaiset maailmamme our worlds breast to breast
kaipaavat toisiinsa limittymistä wish to interlace like
kuin kun olimme yhtä samaa organismiawhen we were an organism
Rinnat koskettavat aristavaa olkapäätä breasts touch gently the sulking shoulder
Warmth of my Mother
Wrath of my Mother
lämpö joka jää kirvelemään, imeytyy ihon pinnasta it lingers, it lingers, on the skin
verenkiertoon ja rintalastan alle gets absorbed into veins and
under the ribcage
Nobody taught us
Languages of Tenderness
we’re Tender like a Steak
Kielten välit I speak my mothertongue
Kielten bakteerit but my mother doesn’t speak
Puhu kieltä kiellä ne minulle – tongue your feelings
lick them for me
A handful of clay
Pölystä ja maan tomusta sculpts
vaivatut hahmot
Proto-Genitals
Keskeltä halkaistu symmetrinen Split in the middle
Muoto Form a Symmetrical Form
There are feminisms like
Feminities, Femen, fem-entities, Males and Fe-males – Fe=iron – Fe-people made of iron and smoke and grit, something that they say it is not a real man but feminized, pushed aside against-their-will
Cell-Sculptures
by a hidden hand whose real name is Coincidence
Maskuliininen – kovaa, kiiltävää, kylmää, vahvaa MASC – HARDER BETTER
STRONGER
vaan voi feminiininenkin olla but feminine can be also cold
kovaa ja kylmää and hard
vieraantunutta and estranged
Jokut puhuvat planeetoista Venus and Mars
tomukasaumista don’t care about your tears
Venuksesta ja Marsista they’re dust
mutta planeetat loukkaantuvat yksinkertaistuksista just like us
yritän olla lempeä I am trying, i’m trying to be
gentle
but i’m
Tender like a Steak
Äiti synnytti oman kuvansa She gave birth to a picture of herself
pienen, randomgeneroidun äidin to a tiny randomly generated mother
joka torjuu kuvansa who denies their image
Rakentaa kokonaan uuden tilalle and imagines a new image
On itse oma näkymätön kätensä becomes their own insivible hand, kills the
false-god of Culture and Coincidence
Näkymätön muuttuu näkyväksi And their hands become visible
Aineeton lihaksi God turned into flesh
Oma kuva omaksi Own image into own image
Mutta ei saa koskaan valmiiksi but never finishes, always resting
Lepää, katsoo silti ja poikii still looks at and keeps bearing
make yourself at home! but my home is alien
Ole kuin kotonasi and I’ll make it in the empty streets and kicked rubbish can
Mutta kotini on vieras in an abandoned ceramic vessel
ja teen sen tyhjille kaduille, kaadettuun roskikseen where flies dance
kirpputorin hylättyyn keraamiseen astiaan
Halaan äitiä niin pitkään että se sulaisi
I want to melt the estrangement between us
Just like speech, the Language of Flowers and the Language of Touches is created through interaction, pain of misunderstanding and happiness of connection.
As we have hard time understanding each other, some things can only be said certain way and never be translated to any other language or medium. Something always changes, something remains.
the feelings, the associations, the affects that certain words have
I felt kanashii 悲しい , samishiiさみしいand hazukashii 恥ずかしい
that your wish for an understandable, English text could not be promised
as I see you and your work
I also want you to see me and my toughts and feelings
to see, to imagine
to feel empathy towards the image imagined
that’s what my feelings of sadness, loneliness and embarresment were from
The Shame of the Dominator
I felt sorry
I want to get close to you all
We’d be all welcome together
on this same plant of land with our various connections
a space where I propably haven’t spend a lot more time than you
But language can also be like a child
the intimacy of motherstongue
A Child has hard time pretending
emotions are transparent
if they’re allowed
Vilpitön, ei vilppiä,
but babies can already lie and manipulate, a study shows
the words can manipulate the way we imagine
My discomfort transformed the expression of my feelings to Japanese
Not so intimate but still strong because of all the associations I had grown on the words trough empathy towards anime characters
Ikari Shinji doesn’t care about your tears, but I care about his
I am touched that you trust us to be opaque in the processes, share your toughts, feelings
the determinity to trust
is the last resource we have when we’re all hurt
I come across Rooa in the gallery, and we talk about parenthood, like how one could act as a mother or a father for someone, as Koko Hubara speaks about äitiminen. Mothering? After my dad died when I was 17 I’ve grown closer to my mom, closer than I ever even imagined possible. When I left Oulu to move to Turku, mom hugged me for the first time I remember. It hurt, it was foreign. But at some point I became determined to keep hugging, keep cultivating the new way of affection and connection, to learn the new language. The pain in our hugs melted little by little, year by year. But I still wish I had a dad, someone taking that role, someone who could do isiminen, as Rooa put it. Fathering. For me it would mean there would be someone to take me to a hardware store or ceramics course by a car, follow my life from their rooted, elderly masculine, fatherly point of view mixed with unlimited support and akward worry.
We hug a long hug and I leave the gallery with kirpeät kyyneleenalut silmissäni, acrid beginnings of tears in my eyes.
Laura Nevanperä on kirjoittanut tekstin vierailtuaan Flower, Strain, Kiln, Pigment -näyttelyssä. Lue lisää näyttelystä.
Teksti on yhdeksäs osa vuoden 2022 TITANIK julkaisua, joka toteutetaan uudessa muodossa. Kokeellisia kirjoittajia pyydetään tuottamaan teksti, joka resonoi kunkin näyttelyn kanssa. Tekstit julkaistaan näyttelyn aikana Titanikin nettisivuilla ja koottuna vuoden lopussa painettavana kirjasena. Sarjan aiemmat tekstit löytyvät täältä.
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Laura Nevanperä wrote the text after visiting the exhibition Flower, Strain, Kiln, Pigment. More info.
This text is the ninth contribution to this year’s TITANIK publication. Authors working with various forms of experimental writing are invited to produce a text responding to each exhibition. The contributions will be published on the website during the show, and later on as a booklet. You can find the earlier contributions here.
