projects ­čĺČ




For the time being, emergency exit only.

Launched in 1889 Kinetoscope was the first commercial motion picture exhibition device. It was designed for films to be viewed through a peephole by one individual at a time, creating the illusion of movement by conveying a strip of perforated film bearing sequential images over a light source with a high-speed shutter. Soon Kinetoscope was joined with a cylinder phonograph called kinetophone to produce sound. These devices together created unprecedented astonishment and confusion of time and space in the public.

Modern digital reconstruction has constantly transgressed the boundaries of time and space for the benefit and entertainment of our species. In the science fiction movie The Matrix(1999) humanity is unknowingly trapped inside a simulated reality created by intelligent machines. In spite of all dystopian imagery, our contemporary simulations are desired and ever more realistic.

In my work For the time being, emergency exit only the simulation has been suspended in the state of limbo faute de mieux.

The viewer can explore the view seen through the peephole with a special door handle encircled with blue light and simultaneously listen to the soundscape from the door phone.

For the time being, emergency exit only was exhibited in January 2020 in Extended Cinema -exhibition, Exhibition Laboratory, Helsinki, Finland.

Mit├Ą tapahtuu, jos elokuva syntyy s├Ąvellyksen sis├Ąll├Ą ja samanaikaisesti? ├ä├Ąniteoksen soidessa kuvattu filmi k├Ątkeytyy ja piilottaa tietonsa. Filminkehitys asettuu samalle n├Ąytt├Ąm├Âlle orkesterin kanssa ja tuo n├Ąkyv├Ąksi fotokemialliset prosessit.

ÔÇŁKonsertto filmille ja orkesterilleÔÇŁ on Kuvataideakatemian ja Sibelius-Akatemian opiskelijoiden yhteisprojekti, joka toteutettiin yhdess├Ą Lappeenrannan kaupunginorkesterin kanssa. Teoksen musiikillinen tekstuuri ja muoto ovat syntyneet filminkehitysprosessin ohjaamina, ja kuten kuva syntyy esityksen aikana filmille, syntyv├Ąt kuultavat ├Ą├Ąnet soittimista mekaanisina prosesseina.

S├Ąvellysty├Âst├Ą vastaavat:
Jaime Belmonte
Tuomas Kettunen

Elokuva ja Performanssi:

Paola Guzman Figueroa
Lasse Vairio
Verneri Salonen
Appu Jasu

Appu Jasu

Etel├Ą-Saimaa -lehden arvostelu:

Videodokumentointia esityksest├Ą voi pyyt├Ą├Ą s├Ąhk├Âpostilla.

The annual BFA graduatesÔÇÖ degree exhibition at the Academy of Fine Arts of Uniarts Helsinki.



I wanted to embark on a bike ride to Berlin, and I needed to make some preparations for it. I checked some tips online and bought Osmo SoininvaaraÔÇÖs book ÔÇťCycling to NiceÔÇŁ. Then I bought a tent, padded bicycle shorts, a rubber basin plug etc. One evening I went out for a walk in a forest and found a bike frame that seemed adequate for my needs. In early June, I jumped into the saddle.

I spent my days looking for food and shelter. There were so many banal sights that I saw. A bird built a nest underneath the saddle, I lost my credit card in Lithuania, and I could not find my way around in Kaliningrad because I could not read the Cyrillic alphabet. The bird eventually left its nest without laying a single egg. When I arrived in Berlin, I took photographs of trees that had been numbered. I was told that there were altogether 440,000 trees and that each tree had an individual fostering plan.

The exhibition consists of three installations, which are accompanied by an interactive fundraising for the Taiteen Mets├Ą (ÔÇśForest for ArtÔÇÖ) campaign organised by the Finnish National Heritage Foundation. The opening of the exhibition will also feature an evening-long performance called AR-Mosquito.


Works were exhibited 20.09.-13.10.2019 in the Exhibition Laboratory, Merimiehenkatu 36 C, 00150, Helsinki.

Total of 244 names was written on the walls next to the piece for guessing the species of bird that was hiding in the gallery! That means that the whole 200ÔéČ material grant will be donated to Finnish National Heritage Foundation (

Big thanks for all of you, who put their guesses on the walls! ­čÖé

Post-Fossil Data?

The technological stethoscope is listening to the communication between two external hard drives. The computer acts as a director between them, and the jerry can speaker is the narrator.

This system is fully automated: it turns itself on and off during the gallery opening hours and hibernates in cycles for the sake of energy consumption. The process loops different file types and file sizes between the hard drives, making the audible performance varied in time.

Beneath the coulisses of designed cases, one can find informative labels which are not informative at all for the common user. What does it mean to be blind to the information given and to the fossil capitalism that made it all possible in the first place?

The work itself is a part of the issue that it represents but tries to be self-aware by presenting its total energy consumption via energy meter connected to the circuit. The data is playing, and here we are listening the materiality of digitality.

The work is presented in the Suoja/Shelter Festival in June 7-9.2019 at the Space of Free Arts / Vapaan Taiteen Tila
Vilhovuorenkuja 15
00500 Helsinki

Festival website:

Press release:

The work has also been part of Sound Art & Sonic Arts: Hidden Materialities
Exhibition Laboratory
Merimiehenkatu 36 C, 00150, Helsinki

Photographed interventions are build out of site specific materials and are to be disassembled by nature (decomposing/wind etc) or by myself and the places returned to their original state.
Creating these intuitive and experimental happenings were try outs for conscious being with that particular site and time.

Works were exhibited in a group exhibition called The Latency of the Images in January 2019 in the Exhibition Laboratory, Helsinki.

With the Ants

I set my phone apart from myself, start filming and stay in the frame idling as long as my phone battery lasts. I have also done some photography series and other videos with same principle or ”rules” to search and to give attention to the limited resources when using technology.

Yucca Elephantipes Artifici─ülis

I ordered an artificial Yucca palm tree from China, assembled it and planted it in the motorway interchange in Nokia, Finland.

2018, Filmiversumi, Savoy-teatteri, Helsinki, Suomi


I built a totem from blocks of birch and wanted to reach out of the frame that I was filming with my camera. I repeated the performance three times. Each time I got further.

The Void

Uncapitals residency project, Norway, 2018
Premiere 2018, Sigrids Gallery, Kj├Şllefjord, Norway

Video production:
Anton Riabinin, Verneri Salonen

Sasha Kozin, Camilia Schnack Tellefsen, Maria Lothe, Ksenia Shchetneva

Sound & 3d:
Dmitrii Antropov


A film project from the exhibition Numur – Islam ja min├Ą.

Numur ÔÇô Islam ja min├Ą -Exhibition was shown in Stoa gallery in Helsinki 1.11.ÔÇĺ17.11.2017 and in Migration Institute of Finland in Turku 26.2.ÔÇĺ18.3.2018.…

Production team:
May Ahmed, Verneri Salonen, Helena Oikarinen-Jabai
Cinematography and sound:
Verneri Salonen

A short excerpt from a documentary film that I’m currently working on.

In 2016 I was working in a grocery store and decided to make some art inspired by that place: A photographic artist magazine and a board with ATM Receipts framing shopping lists that I found from that place. Here’s some photos of those works. Published 2016.

I printed all the Trump news from Helsingin Sanomat web site on the day of the election on to a toilet paper. +30 articles one after another analyzing the same subject.

Electroacoustic piece + poem called ”digi waste”.

This is open system
Net works
= Networks
in the cobalt holes of Congo,
in the lithium triangle
in the server hall
In the battery