Finnish Landscape

This Critics’ Pick appeared on

Kader Attia, Mimesis as Resistance, 2013–16, HD video, color, sound, 16 minutes 7 seconds. Installation view.

This open-air museum, like all others, is an elaborate fiction. Confined to an island and only accessible by a footbridge, the place—with its traditional wooden buildings, original furnishings, and costumed interpreters—appears to be caught in a time warp. Commissioned by the nonprofit Checkpoint Helsinki and curated by Joanna Warsza, “Finnish Landscape” features ten local and international artists subjecting this bucolic yet artificial landscape to critical scrutiny.An outline of Seurasaari looks like an elongated leaf in Erik Bruun’s arresting graphic design created for the poster of the exhibition, which takes its title from a sonnet penned by Bertolt Brecht during his exile in Finland.

One of the more playful interventions, Ilya Orlov’s A House with the View, 2016, has a mechanized, naked male mannequin shielding itself with a round, rotating landscape painting—one of the artist’s own—as if it were a fig leaf. The negative space made in freshly dug-up ground for Natascha Sadr Haghighian, Jumana Manna, and Haig Aivazian’s piece Accounts of Things and People That Have Been Moved, 2016, acts as a poignant reminder that the wooden structures housed on this island were wrenched out of their natural environment in order to be preserved here.

Presented in archival boxes throughout six guest rooms of different houses on the island, Liisa Roberts’s series of photographs titled “Remnants,” 2011–16, all taken at the Tapiola housing estate, a utopian garden city built in the 1950s, alludes to the practice of storing objects in the houses at Seurasaari for the winter, only to bring them out again in the summer. Such cycles inform Kader Attia’s video installation Mimesis as Resistance, 2013–16, featuring a lyrebird, which has the ability to imitate all natural and unnatural sounds, including that of its own unmaking.



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