THREE-BODY PROBLEM. Petri Eskelinen, Ilmari Gryta and Krister Gråhn

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Exhibition history 2014-

Three Finnish sculptors with common interest: mobile works of art, in space as well as in time. All three share a curiosity on the laws that keep the world moving. Space and it’s mysteries fascinate these artists.

In the Three-body problem exhibition time, place, view angles and physical relations become distorted, loosened from each other and defined again. The exhibition is composed of art works moving in time and space made by three sculptors. The curiosity to the laws and mysteries moving the world is the uniting factor between them. The name of the exhibition refers to the classic physical problem, where the lines of two three-dimensionally moving bodies can be calculated and predicted but three freely moving bodies transform the calculations to approximations and the trajectories unpredictable. The three-body problem can be examined as the junction of unpredictability, where the predictable changes to unpredictable.

How to feel your hands on your own back? How to get the space around you move? How to display the life of a plant through a human being? How to see objects in the way a fly does? Born in Rovaniemi, Petri Eskelinen is interested in displaying impossible phenomena possible, plain, technical solutions. His art works challenge the viewer participate. ‘Unlike the smart phone, I want the mechanics and usability of my art works remind us of a ritual demanding a little strength, like when winding an alarm clock. The conscious and subconscious movements of the human body are the object of my technical study, in the same way as the figure of the human body attracts the artist who paints it.

Observations of human character, our time and environment interest Ilmari Gryta. He brings out different visions and operating models of individuals and society. With his art works he asks, why the humanity build a world, which is formed of various fights between good and bad, and the imbalance originating from that struggle. ‘The question is, do healthy and well-to-do people have the right to carpe diem, and not consider those living in misery? Do people living in misery have the right to abandon to carpe diem and escape to fancies of a better life? Would our life be happier or could we appreciate life more if we could achieve a perfect balance? No matter if we live in the past, in the present or in the future, one is definite: our smallness in front of the natural forces.’

The Finnish language has many dialects and dialect areas. Similarly, dialect areas can be distinguished in the pictorial language. Images get read in different ways in different parts of Finland. In Krister Gråhn’s art works the language often has an important role. It appears either in the names of the art works or as the random talk uttered by the viewer – voice or vibration. Pictorial and verbal languages are not separate communication forms. They are rather overlapping than parallel – they support and pierce each other. The meaning of the image or word may change. When they are presented together in different situations, one can redefine them and at the same time give them a chance together refer to a new, third meaning. Language is not stabile and locked but it varies depending on the means of communication.

Picture: Petri Eskelinen, Model of a Tunnel, 2014. Photo: Tom Hovinbøle

10/10/2014 11:00 AM–1/11/2015 6:00 PM