https://anastasia-artemeva.com https://anastasia-artemeva.com Sat, 08 Mar 2025 03:36:21 +0000 https://anastasia-artemeva.com en https://anastasia-artemeva.com/About Mon, 23 Jun 2014 12:35:14 +0000 https://anastasia-artemeva.com https://anastasia-artemeva.com/About <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/c4ba4e880d154a885058946d627c366681a9d9a9d6b7e128c21e48482976b6d5/IMG_3653.jpeg" data-mid="203971710" border="0" data-scale="47" src="https://freight.cargo.site/w/1000/i/c4ba4e880d154a885058946d627c366681a9d9a9d6b7e128c21e48482976b6d5/IMG_3653.jpeg" />Image by Adelaide Maher, Tokyo, Japan, July 2023 Anastasia Artemeva is a visual and socially-engaged artist based in Helsinki. Her projects explore and make space for new interactions. Conceptually, the works are based on codes of social norms and accepted truths, which are influenced by socio-political, cultural and personal limitations and boundaries. Her work explores collective everyday rituals like going camping, storing items in the basement, and placing people in prisons - practices that are considered normal. Anastasia is interested in boredom and ordinariness, not dreary, not beautiful, but kind of plain gestures that go unnoticed yet are the strangest and the most violent, or the most kind. Her practice is focused on temporary spaces: how we inhabit them, how we co-exist in them, how spaces and their histories affect us and how we affect them. How people survive, live, and make themselves at home even in the most challenging and isolated environments. Spaces for antisocial behaviour, such as streets, prisons and schools are particularly precious subjects. Anastasia works with art installations, text, sound, and textile. She creates artwork for theatrical productions and conducts art workshops. Anastasia graduated from Limerick School of Art and Design (Ireland) with a BA in 2012, and from Aalto University (Finland) with a Masters degree in 2016. Her recent projects include Prison Outside - art and research work on issues of incarceration. Anastasia has received training in Criminology, as well as Human Rights protection studies, and Diversity in arts. She has worked in collaboration with Helsinki Prison (Helsingin Vankila), Finnish foundation for support of ex-offenders(Kriminaalihuollon tukisäätiö), M-cult, Performance center Esitystaiteen Keskus, International School of Helsinki, amongst many other institutions. Artemeva has written for the Visual Artist’s News Sheet, Paper Visual Art and IMAGE InSEA: International Society for Education through Art magazine. She is currently studying car mechanics.&nbsp; Please see the artist’s CV here. An overview of previous workshops is here. anastasia.artemeva(at)outlook.com info(at)prisonspace.org https://anastasia-artemeva.com/CV Mon, 23 Jun 2014 12:39:30 +0000 https://anastasia-artemeva.com https://anastasia-artemeva.com/CV Anastasia Artemeva Higher Education Aalto University, Master's Degree in Visual Culture and Contemporary Art, 2016 Limerick School of Art and Design, BA (Hons) Sculpture and Combined Media, 2012 Additional Education Car Mechanic, Ajoneuvoalan perustutkinto, Stadin AO, Helsinki - 2024-26 Dialogue cards facilitator certification, Arts promotion center Finland &amp; Culture for All, 2023 Diversity Agent Course, Culture for All Service, Globe Art Point, Center for Culture Policy Research Cupore, Helsinki, 2019 Introductory Course on Human Rights, International School of Human Rights and Civic Action, Sakharov Center, Moscow, 2016 Certificate in Criminal Law, Limerick College of Further Education, Limerick, 2013 Short Courses Verkon vaarat, naisten päihde- ja vankilatyön webinaari 3.9.2026 Traumainformoitu työote, Kouluttaja: Satu Deraz, 21.11.2025 2016 - Finnish Red Cross Trainings Technical Certification SFS 6002 (sähköturvallisuuskoulutus) Tulityökortti Ensiapukoulutus Ilmastointihuolto (Tukes) Current Projects Recreation - artistic work with fabrics and spaces of confinement &amp; rest. Prison Outside -&nbsp;artistic research project focused on imprisonment, justice, and the role of the arts&nbsp; in facilitating rehabilitation and overcoming stigmatisation Selected group exhibitions &amp; events 2023 Decolonizing Space in the Global East Conference, University of Helsinki 2023 Mustarinda Open Day, workshop 2023 (M)itä? Biennale, Joensuu, with Jaakko Ruska and others 2023 Yö Fest, Yö Galleria, Helsinki 2022 Yö Kekri arts festival, Yö Galleria, Helsinki 2022&nbsp;Free Translation Workshop, Villa Eläintarha, Helsinki 2022 Free Translation Workshop, Mikkelin Kriisikeskus, Mikkeli, FInland&nbsp; 2021 On the Same Page, performative workshop, MAD HOUSE Helsinki&nbsp; 2021 Continued overleaft, workshop, Seinäjoen Taidehalli 2021 Burn_, Pixelache Festival, Oodi Library Helsinki 2021 HIAP Suomenlinna Residency Open Studios 2020 Quantum Critic, Art School Masters, St. Petersburg, curated by Natalia Alekseeva, Ramiro Camelo, Timo Tuhkanen 2020 Quantum Critic, Myymälä 2, curated by Natalia Alekseeva, Ramiro Camelo, Timo Tuhkanen 2019 Performance Night, Museum of Impossible Forms, Helsinki 2018 Joutokumpu, Finlayson Area, Tampere, curated by Annika Niskanen2017 Poikkeustila:Martial Law, Maunula, Helsinki 2017 Pixelache Festival, Suvilahti, Helsinki. 2016 3rd International Casablanca Biennale of Contemporary Art, Morocco.2015 Invisible Neighbours with Annika Niskanen, Esitystaiteen Keskus Performance Art Centre, and Helsinki prison. 2015 Performanssifiesta, Hirvitalo &amp; Mahdollisuuksien tila, Tampere, Finland 2015 Urban Fishing, Elävä Pori Toimisto, Pori, Finland 2015 Current State, Kaapelitehdas, Helsinki 2015 The Plane Invasion, the Church Gallery, Limerick, Ireland 2015 Frozen Species, Hakaniemi and Esitytaiteen Keskus Performance Art Centre, Helsinki 2015 LUX Helsinki Light Festival, Topelia, Helsinki2014 - 2015 Katiska &amp; The map service of Kalasatama urban participation workshop, building a playground in the wasteland with a community of residents Working groups: Artemeva-Bergström-Niskanen &amp; Niemistö-Niskanen Artemeva, Esitystaiteen Keskus, Kattilahalli and Kalasatama residents 2014 Hospital Shop Window Festival, Hospital, Ireland 2014 The Last Lingonberry, Kivinokka, Helsinki 2014 DARK MATTER or Optimism as a Strategy, with Ormston House at Supermarket, Stockholm 2014 LUX Helsinki Light Festival, Hesperian Puisto, Helsinki 2013 Lorg Presents, curated by Alicia Lydon, the Shed, Galway, Ireland 2012 Gracelands. Circling the Square, curated by Vaari Claffey, EVA International Biennial of Visual Art, curated by Annie Fletcher, Limerick, Ireland 2012 The Future is Now, Graduate Show, Limerick School of Art and Design, Ireland 2012 CatDig, curated by Lotte Bender, Limerick, Ireland 2012 LSAD Open Drawing Awards, curated by Siobhan Piercy, LSAD Church Gallery, Limerick, Ireland 2011 Anti Racism Network, the Back Loft, La Cathedral studios, Dublin, Ireland 2011 Living Place, Faber studios, Limerick, Ireland 2011 Unlikely Event, Like studios, Limerick, Ireland 2011 Art in the Making: The thin line between art and documentary, The Guest House, Cork, Ireland 2011 The Double Life of Catherine Street, CatDig, with Tracy Fahey and LSAD students, Limerick, Ireland 2011 Millipede , Occupy Space, Limerick, Ireland 2011 Vitiate, Old Franciscan Church, Limerick, Ireland 2011 DRY, the Loft, Limerick, Ireland 2011 My Limerick, Hunt Museum, Limerick, Ireland 2010 Mamuska Le Cat Salons, the Loft, Dublin, Ireland 2010 Table of Contents, LSAD Gallery, Limerick. Ireland 2010 Student Art Awards, Royal Dublin Society, Dublin, Ireland 2010 Confused, the Stix, Limerick, Ireland 2010 The Grey Cabinet, LSAD Gallery, Limerick, IrelandPersonal and collaborative exhibitions &amp; events 2024 Don’t avoid me at the vast, mean, etheral space, with Steve Maher and Eoin O’Dowd, Galleria Loisti, Helsinki2023 Generous Autonomy, Seinäjoki Railway Station, curated by Alan Bulfin and Pii Anttila 2017 Mökki/Дача with Liisa Ahlfors, Galleria Huuto, Helsinki2017 Sentences, Galleria Lapinlahti, Helsinki 2017 Birthday, solo performance by Mikkö Niemistö, sound design by Johannes Vartola2017 Leviathan with Steve Maher, Galleria Oksasenkatu 11, Helsinki2016 Invisible in Seven Days, with Annika Niskanen, Kallio Kunstahalle, Helsinki2015-2017 Dear You project with Arlene Tucker and various schools in Helsinki and abroad2015 Nocturne, Third Space, Helsinki Residencies 2023 Mustarinda art residency, Finland 2023 ORES, Örö, Finland 2021 Connecting Points, Helsinki International Artist Programm HIAP, Suomenlinna, Finland 2021 (Postponed 2023) Arts Initiative Tokyo, Japan, supported by the Finnish Cultural Foundation 2017 M-Cult, Helsinki, Finland 2012 Faber Studios Residency Award, Limerick, Ireland 2011 Like Studio, Limerick, Ireland Reviews/Press Mitobira fashion collective, Tokyo, Japan, 2023,&nbsp;https://3tobira.or.jp/2023/08/14/2/https://www.a-i-t.net/en/blog/p16905/ Тюремный проект художницы Анастасии Артемьевой строит мосты между людьми с разным жизненным багажом, Anna Mattila, YLE Novosti, 28.8.2021 Беседка с акцентом на тюрьмах и визуальном искусстве, Катя и Варя, podcast supported by Russian language library of Finland, summer, 2021 линк Quantum Critic, curators Natalia Alekseeva, Ramiro Camelo, Timo Tuhkanen, Exhibition Catalog, 2021 Interrupting space, Hannah Horten,&nbsp;DIY-Helsinki 28.12.2020 link Камерное искусство: как арт-программы помогают заключенным по всему миру, Наталья Зонова, Нож,&nbsp;Декабрь 2020 /Chamber art: how art programs help prisoners around the world, Natalya Zonova, Knife Media, December 2020 linkUsing art to build bridges between people living in prison and people outside,&nbsp;Wemakemoneynotart.com, Regine, 1.6.2018&nbsp;link Anastasia Artemeva: Poikkeustila. Interview with M-Cult blog,&nbsp;https://maunulassa.wordpress.com/portfolio/anastasia-artemeva-poikkeustila/, 2017 These Animals Goes Limerick, Chris Hayes, Limerick Leader, December 27, 2015 After the Future 2012 Eva International Biennial Catalogue, May 2013 Great Expectations, Mary Conlon, Gerry Walker,&nbsp; Irish Arts Review, Autumn 2012 Exit Limerick Review Special, Pippa Little and Paul Sullivan, EVA International Biennial of Visual Art, Limerick Leader, Saturday June 16, 2012 The Future Is Now, Graduate exhibition Catalogue, 2012 Presentations &amp; Lectures 2023-26 Diversity Clinic &amp; Dialogue Cards facilitation, with Culture for All &amp; TAIKE, various institutions in Finland and abroad.&nbsp; 2022&nbsp;Gathering for Rehearsing Hospitalities, Frame Finland, 5–8 October, 202 Helsinki, Finland 2022 Prison Outside Get Together, online, event for collaborators of Prison Outside 2022 GAP Summit, Diversity Clinic educator, Globe Art Point2022 Diversity Agent Course, Culture for All Service, Globe Art Point, Center for Culture Policy Research Cupore, Helsinki, advisor 2021 Free Transaltion: Workshop for professionals, online 2021 Update, workshop on cultural diversity, with Tatian Solovieva, Agents of Change: Mediating Minorities course, Cultura Foundation link 2020 VI Abramkin Prison Conference, Center for Prison Reform, May 21, 2020, Moscow, Russia 2020 Artist in Society course, guest speaker, Finnish Academy of Fine Arts 2019 16th&nbsp;ETMU Conference, University of&nbsp;Tampere Finland2019 Free Translation art exchange methods, State institution of the Moscow region “Electrostal Social and rehabilitation center for minors “Confidence”, Electrostal, Russia2019 Free Translation art exchange methods&nbsp;Moscow State University of Psychology and Education 2018&nbsp;Prison Outside #2 Conference, PUBLICS, Helsinki, 21. November 20182018 Free Translation art exchange methods&nbsp;Moscow State University of Psychology and Education2018 Free Translation art exchange methods&nbsp;Kaluga Regional Government Hall, Kaluga, Russia2018 Taidekoulu MAA, MAA Kulma, Helsinki Art Museum HAM 2018 Practice and Power,&nbsp;Create and the Collaborative Arts Partnership Programme (CAPP), June 21.-23.2018,&nbsp;Dublin, Ireland.2017 Matroshka Dating, CulturaFest, K-13, Helsinki 2016 Teatterikesä Festival, Teatteri Telakka, Tampere, Finland 2016 Nordic Summer University, Circle 7: Practicing Communities, Orivesi, Finland 2012 Limerick School of Art and Design, Limerick, Ireland Art facilitation&nbsp; 2026 Art and Mechanics camp for gilrs, Cultural Center Caisa, Helsinki 2026 Artist-Expert, Culture for All Service. Development work within The Power of Art Against Discrimination, Stigma and Poverty project, focusing on accessibility, diversity and participatory artistic methods. 2026 Sea of Flags, EMMA – Espoo Museum of Modern Art. A community-based recreation of Germa Huijbers’ artwork with young people from Pointti. 2026 Art for schools, Cultural Center Caisa, Helsinki 2023-26 Käsikirja, workshops for multilingual children, with working group, Pessi, Vantaa, Sello&amp; Lippulaiva libraries, Espoo, Itäkeskus Library &amp; Maunula Library, Helsinki, Kunsthalle Seinäjoki 2024 Creative evenings for single parents, with the City of Vantaa 2024 Road Trip - car mechanics &amp; rules of the road via creative practices, the City of Vantaa 2023 A story you can touch, with Arts Initiative Tokyo, workshops for children in Tokyo, Japan February -&nbsp; May 2023 Monday Dreams - workshops for youth,City of Vantaa children’s cultural center &amp; Tyttöjen Tila/ Girls’ space Nice hearts ry.&nbsp; September 2022&nbsp;Kolibrí Festivaali,multilingual festival for families, Helsinki &amp; Vantaa February - May 2022 Mother and baby art mornings, KlubOk Russian culture center, Helsinki October - December 2022 Крылатые Выражения/Words That Fly at "Cultural Marathon" program of the Russian-language library of Finland with Katya Skylar and Varvara Shumova August - December 2021 After School activity educator, Lauttasaaren Ala-aste, HelsinkiMarch 2021 Kulttuurin moninaisuuden työpajoja koululaisille/Culture diversity workshops for young people in Central Finland. With Arlene Tucker, Maikki Kantola and Arts Promotion center Finland.&nbsp;October 2019 Free Translation,&nbsp;State institution of the Moscow region “Electrostal Social and rehabilitation center for minors “Confidence”, Electrostal, Russia October 2018 Free Translation,&nbsp;With Arlene Tucker Kaluga Government Hall, Kaluga, Russia 2017 Idässä Versoo with writer Lauri Niskanen and Cultural Center Stoa and groups in Eastern Helsinki2017 Dear You: A Live Act, Helsinki, Finland. 3 day program at Ilmifestivaali, which included a school workshop, non-stop workshop, and interactive performance. Teatteri ILMI Ö. 13-14.10.201 2017 Fabric book making workshops, Venäjän tiede- ja kuttuurikeskus, Helsinki2016-2017 Afterschool art club,&nbsp;International School of Helsinki 2016 From Stories to Art, with Arlene Tucker, International School of Helsinki Publications Artemeva A: Delulu, Mustarinda Magazine: Kirjeenvaihto//Corresponding, ed: Neal Cahoon, Matias Loikala, mirko nikolić, Anu Pasanen,&nbsp;2024 Selected artist for illustration of The art for the dialogue cards on cultural diversity and sustainable development, the Arts Promotion Centre Finland (Taike) and the Ministry of Education and Culture, 2022. Artemeva A., Cowan, M., Orlov I., ed.,&nbsp;Shy Plumber: A Journal of Art and Anti-Art. Helsinki, Berlin, 2020 (ISSN 2736-8203) Artemeva A., Tucker, A: Dear You: Shared Spheres in Creative Spaces, Abstract, SPECIAL ISSUE InSEA Congress 2018: Scientific and Social Interventions in Art EducationArtemeva, Anastasia and Arlene Tucker 2019. “Process as the medium for socially engaged art.” In: IMAG#7, ed. Ângela Saldanha, Bernadette Thomas and Teresa Torres de Eça. InSEA: International Society for Education through Art, pp. 4-10. Artemeva, Anastasia, Deep Inside Moscow, Visual Artists News sheet, September 2016. Artemeva A. Prisons and Presence. Process-based artistic research. Master’s thesis, Aalto University, Department of Art anf Design. 2016. Artemeva A,&nbsp;This Page is About to Expire, Particular Future Scenarios, the Speculative Society #1, 2012 Artemeva A, Entitled, Paper Visual Art Limerick Edition, Summer 2012 Artemeva A,&nbsp;Страсть, 21 Proposals for the Turbine Hall, Road Books, 2011 Artemeva A, Stir It Up LSAD Magazine, May 2011Curatorial work 2020 #Burn_ Festival, Pixelache Festival 2021, Oodi Library, Helsinki2016 World Village Festival Maailma Kylässä &amp; Catalysti Association of Transcultural Artists ry2015 Gaming the System, with Pixelache Festival and Taidelinja HKL Helsinki, Finland2013 TomCat, urban festival in collaboration with artists and local businesses, Limerick https://anastasia-artemeva.com/Art-Other-disciplines Tue, 27 Jan 2015 16:18:31 +0000 https://anastasia-artemeva.com https://anastasia-artemeva.com/Art-Other-disciplines Curatorial projects &amp; Artist as a manager Gaming the SystemInternational festival, Helsinki, Finland.&nbsp;2015 <img width="1200" height="797" width_o="1200" height_o="797" data-src="https://freight.cargo.site/t/original/i/f6a2e8971d53f0779c21f9890946f0a1ebab25a33aa8fe6252c5d4a5c1f55033/21.jpg" data-mid="84872627" border="0" src="https://freight.cargo.site/w/1000/i/f6a2e8971d53f0779c21f9890946f0a1ebab25a33aa8fe6252c5d4a5c1f55033/21.jpg" /> Last Worker Standing Machinima, Timo Bredenberg, Video installation in the forem ticket sales booth in Hakaniemi metro station Gaming the System examines an understanding of what might be axiomatic to games and art. Games are understood as structured play with formalist and systematic rules governing players. Play not as a definition of this axiom but understood as what is embodied through the identification of play may give us a way to game the system. In cultural terms play is understood to pre-date culture itself, as “animals have not waited for humans to teach them their playing”, which has been stated by cultural theorist John Huizinga. With this in mind play is not exclusively human, but gaming and game design are both human activities. You need to play with ideas to reach something new since play pre-dates any new culture. Play is innate to many species, species whose ancestors existed before humanity ever systematized play as games. We know play as we know ourselves. This understanding of play mirrors the way we recognize ourselves within larger systems. This self-recognition is an embodied way of pervading the systems and structures, which are seen through our behaviour and social norms. This is to say that inherent in the recognition of play is a gaming of the system, which functions as a reflexivity of complex systems. <img width="1544" height="928" width_o="1544" height_o="928" data-src="https://freight.cargo.site/t/original/i/b4808cebfbe9211720f726271945875f28709662f2a6fb6ceb4b736bff085892/Screenshot-2020-09-28-at-20.00.32.png" data-mid="83994666" border="0" src="https://freight.cargo.site/w/1000/i/b4808cebfbe9211720f726271945875f28709662f2a6fb6ceb4b736bff085892/Screenshot-2020-09-28-at-20.00.32.png" /> An excerpt from the programme of events Understanding the art works in Gaming the System as reflexivity, with regard to our lived environments and play is a cue to explore art as a gaming of the system. Through this project These Animals have invited artists who use the materials and contexts of daily life to perpetuate art works. Art that games the system might make us know ourselves anew in the culture we live beyond our current recognition. These Animals is an artist group comprised of Pii Anttila, Anastasia Artemeva, Alan Bulfin, and Steve Maher, brought together through shared interest in creating an art happening in an urban place. The artist collective invited practitioners from Finland and abroad for the debut event in September 2015. Our collaborators included&nbsp;taidelinja Aalto University School of Arts Design and Architecture forumvirium&nbsp;and Pixelache festival.&nbsp; https://theseanimals.wordpress.com/ Empathy as Resistance2017 A: For empathy to exists, does there need to be a certain degree of otherness, so you can say “I empathise with this person”? If, following for example a dictionary definition of empathy, one empathises&nbsp; - she is able to feel how the other person is feeling. So then does the other need to be removed enough, for the act of empathy to exists and to make sense? If they are too close to you, is there a need for empathy, does this term have weight? On the other hand, can one empathise with a virus or with a parasite, or is it too far removed? Is empathy a special effort you make for someone totally other, yet they are close enough that you understand what you are going through. A: I think the problem in empathy often is that people think that they can know how the other is feeling. I mean at least I don’t think that I have the right to say that I feel what you are feeling, that I can be the one who defines the ability to empathise. The defining needs to come from the person who is being empathised with. See more at https://pixelache.ac/posts/empathy-as-resistance-self-other-care-who Empathy as Resistance is a discussion group that met during 2017 to focus on themes that are common within our process-based projects. During Pixelache Festival 2017 we held a special edition meeting, in a format of discussions, workshops and a community meal, open to all. The aim was to reflect on the questions raised during the discussions this year, and view them within the context of our practices. Here is a taster of our discussion. For our meetings we had been preparing questions that relate to the subjects of empathy as resistance. Some of these questions developed deeper, and some left open-ended. Pixelache is an association of artists, cultural producers, thinkers and activists involved in the creation of cutting-edge cultural activities.&nbsp;Amongst our fields of interest are: experimental interaction and electronics,&nbsp;code-based art and culture, grassroot organising &amp; networks,&nbsp;renewable energy production/use,&nbsp;participatory art, open-source cultures, bioarts and art-science culture,&nbsp;alternative economy cultures,&nbsp;politics and economics of media/technology,&nbsp;audiovisual culture,&nbsp;media literacy &amp; ecology and engaging environmental issues.The project was established by John Fail and Agniezska Pokrywka and produced by Anastasia Artemeva and Pixelache. Our collaborators in 2017 were Karolina Kucia, Waleed Rashwan, Shelley Etkin &amp; Anniina Ala-Ruona (Garden of Others). <img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/d71f7e1a6e54b7010631a78be480c3d4de1898ae5ef11e1c63ebe899da9f19e4/20170703_102757.jpg" data-mid="227483739" border="0" data-scale="64" src="https://freight.cargo.site/w/1000/i/d71f7e1a6e54b7010631a78be480c3d4de1898ae5ef11e1c63ebe899da9f19e4/20170703_102757.jpg" /> A: Who deserves empathy? What position are we in if we empathised with bad people? Does it make me a good person? For example the institution of prison divides, and we become a part of the machine. By empathising with the perpetrator we become part of the machine. So then should we empathise with the prison guards then as well? If we empathise with the inmates, their victims, what about the guards? The feeling of empathy does not mean that we agree with what people we empathise with do. Is empty something that we feel is not towards what the person and their deeds, but about specific experiences? At Pixelache Festival 2017, Local and De-Centralised, the working group provided a five-hour long event, which featured three sections, to present individual projects and discuss relevant questions that they bring up in relation to Empathy as Resistance.https://pixelache.ac/posts/empathy-as-resistance-who-we-are-pixelache-festival-2017 <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/5bc1536aa5f987359aefb65fd7b5b0a73867aab6d15d93d55214cc3f5fea55d3/37040331954_8b9075abe3_k.jpg" data-mid="227483737" border="0" src="https://freight.cargo.site/w/1000/i/5bc1536aa5f987359aefb65fd7b5b0a73867aab6d15d93d55214cc3f5fea55d3/37040331954_8b9075abe3_k.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/cd73fb86dcf509b4f9a9b77248627e7df52d99d7f8fb16ab8679e1f2747dfeef/37491343570_88b8ae4716_k.jpg" data-mid="227483736" border="0" src="https://freight.cargo.site/w/1000/i/cd73fb86dcf509b4f9a9b77248627e7df52d99d7f8fb16ab8679e1f2747dfeef/37491343570_88b8ae4716_k.jpg" /> Anniina Ala-Ruona &amp; Shelley Etkin: Lunch as a Temporary Autonomous Zone At Pixelache Festival, we served a lunch that was made from ingredients from the Garden of Others, a communal home garden in Kumpula, and a biodynamic farm in Sipoo. The remaining ingredients, which we could not source locally, we purchased. The lunch was offered for approximately 20 guests. The meal was served in three courses. The first course was massaged kale salad, with carrots, oil, and salt alongside gluten free and wheat bread with a wild pesto spread with wild-harvested herbs. The main course was caramelized pumpkin and root vegetable soup with coconut milk. The final course was dessert of zucchini bread with homemade rhubarb sauce, featuring a vegan and dairy option, both of which were gluten free. The meal was framed with the support of Hakim Bey and the Temporary Autonomous Zone, which was also forming and effecting our work in the squatted Garden of Others. At each of the tables, where guests were seated, had a written quote from Temporary Autonomous Zone, dealing with dinner parties, food, politics, collective gatherings, and revolution. These were offered as food for thought and prompts for discussion. While serving the food, we invited guests to bring attention to how the food was impacting their ways of thinking, speaking, and being. The overall atmosphere of the meal was pleasurable, though the space was quite ragged (or rough) and everybody left with a full belly. There was some movement of the guests between the seats and tables throughout the event. The focus was on the food and coming together through sharing a meal, keeping it simple, and it created a lively and intriguing happening. <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/5b279843ebf9838461b6aa25d7970e23f18367f2221195728053c3f70abacf51/37079303283_ce8f41b612_k.jpg" data-mid="227483740" border="0" src="https://freight.cargo.site/w/1000/i/5b279843ebf9838461b6aa25d7970e23f18367f2221195728053c3f70abacf51/37079303283_ce8f41b612_k.jpg" /> Karolina Kucia: At Pixelache Festival, I presented part of the research material for the project I am doing together with Tero Nauha. It is a fiction film we are working on in Andalucia in Spain. I have presented our collaborators from there -- the workers from the Almeria region, who are part of a workers union called soc-sat. It is formed by the workers union merged with the field workers union. They work in the plasticulture, which produces a large amount of vegetables for the European market. This kind of farming began in the 1970s and has been called, in that region, the Almeria miracle, bringing one of the poorest regions of Spain into the economic race. This model of farming has spread into Egypt, Jordan, Morocco, Tunisia, New Zealand, and South Korea, among other countries. There are three factors ensuring the continuity of vegetable production in this region. First is the highest amount of photosynthesis, due to the highest amount of sunny days in Europe. Another factor is enough cooling winds to ensure continuous workflow in the fields. And the cheap labor force, mostly from North Africa and Sub-Saharan region, Eastern Europe, and South America. The workers union, due to their history in Spain after the reign of Franco. One of the most famous stories that this soc-sat has been involved in, was the communist village Marina Leda, which continues to this day. I showed some video material (embedded) featuring an interview with Spitou Mendy, who is the spokesman for the union, clarifying the situation of the workers in that area. I present this case in relation to Empathy as Resistance, to draw from the old strategy of unionizing, as a strategy of collective refusal, the refusal of being disconnected. This treats ‘Responsibility’ as the ability to respond, as something that happens in process, starting from the sense of not being able to respond, by making, unmaking, and recognizing the ability to respond as a shared process among various agents. <img width="3000" height="2400" width_o="3000" height_o="2400" data-src="https://freight.cargo.site/t/original/i/71b0112fd4f7799fa363bd56728d02a47eda5e6baa51033630a41fd58882ebd1/EaR.jpg" data-mid="227483738" border="0" src="https://freight.cargo.site/w/1000/i/71b0112fd4f7799fa363bd56728d02a47eda5e6baa51033630a41fd58882ebd1/EaR.jpg" /> Anastasia Artemeva: At Pixelache Festival, I had a visual presentation of my ongoing project called Prison Outside. I presented processes and challenges that I faced particularly working with institutions. These institutions include NGOs, state-run correctional facilities, and art institutions as well as funding bodies. I spoke about different roles I have experienced taking on as an artist during the production of socially-engaged projects based around the subject of imprisonment and presented in collaboration with men and women recently released from prison or who are on probation. These roles were: listener, representative or one who represents, collaborator, and judge. Following this, there was an open discussion amongst all those present through the presentations, about different methodologies that are employed in my projects. These vary from a collectively designed artwork such as a play to open hands-on craft workshops. The direction and approach to engagement of the collaboration depended on each group gathered and the institution involved. I like to look at the institution as another member of the collaboration and navigate accordingly. Working with an undefined position of art within the project creates resistance to the question of who defines what the project is as well as who defines its artistic value. Cover Image &amp; group photo: Anastasia Artemeva Festival photography: Antti AhonenMeeting in the Middle2016<img width="700" height="467" width_o="700" height_o="467" data-src="https://freight.cargo.site/t/original/i/7d9cecab036ef231b942fab5aa8e31be388fa527db358c91e93535f309a0497f/Meeting-in-the-Middle.jpg" data-mid="227818478" border="0" src="https://freight.cargo.site/w/700/i/7d9cecab036ef231b942fab5aa8e31be388fa527db358c91e93535f309a0497f/Meeting-in-the-Middle.jpg" /> Are you an artist who wants to cooperate with the public sector? Meeting in the Middle is a professional forum on artistic collaborations with communities outside of art field. As the definition of art is expanding, new forms of creative practices have developed to include artistic research, interaction with communities and multidisciplinary dialogue. Collaborations between public institutions and creative practitioners, be it in a form of a socially-engaged projects, artwork commissions, the use of public space or social research, have established a solid presence by now. However, an opportunity to carry out a first-hand research, plan and gain insight from a professional experienced in the field is sometimes unavailable, often simply for the lack of time and contact between the artist and the group of interest. Often artists find themselves planning a public project without engaging with the audience or collaborators, relying purely on theoretical research. Meeting in the Middle is a professional forum for artists and non-artists who want to collaborate on production of creative projects. The intention of the event is to open up the discourse on public art beyond artistic circles and encourage cooperation between artists and professionals of other fields. A broad range of activities, from planning a community art workshop to presenting a completed artistic work in a waiting room is encouraged. Together we will discuss projects, listen to each other’s ideas and address the desires of particular audiences and specifics of public places. After the networking session, a series of talks, addressing such information as funding, employment and commissioned work will take place. The specific focus of the day is on the role of interculturalism and multilingual collaborations and working relationship between international artists and Finnish public sector. Our intention is to provide possibilities to meet professionals from schools, kindergartens, libraries, hospitals, prisons, refuge centres and multicultural centres, tax office and social insurance institution. If you are looking for a collaborator, please get in touch via anastasia.artemeva(at)outlook.com and we will connect you with interested professionals. <img width="1200" height="797" width_o="1200" height_o="797" data-src="https://freight.cargo.site/t/original/i/831c18bc03f54df58ed9601faa4d853529c6f6d3523c1b867686d7c0bd4fc9ea/IMGP99991_1200.jpg" data-mid="227818477" border="0" src="https://freight.cargo.site/w/1000/i/831c18bc03f54df58ed9601faa4d853529c6f6d3523c1b867686d7c0bd4fc9ea/IMGP99991_1200.jpg" /> TomCat Festival Limerick, Ireland 2013 A multidisciplinary street festival facilitated collaboration of business owners, publicans and local artists of Catherine and Thomas streets, the centre of Limerick city in Ireland. A continuation from a very successful project by Spirit Store, a collective managed by Paul Tarpey and Marilyn Lennon, the format of the festival varies from year to year, always focusing on contributions from local trades, especially family-run business like pubs, butchers', piano shop and a cobblers', to name a few. Co-curated with Steve Maher and Gimena Blanco. Please read more about TomCat here <img width="2126" height="1594" width_o="2126" height_o="1594" data-src="https://freight.cargo.site/t/original/i/6dda652bfc721bb2c5ae640aca17f3c3b87c6b4a13e457b1e28143a7e37dcad1/breda-lynch-mullanys-sm-3.jpg" data-mid="83995795" border="0" src="https://freight.cargo.site/w/1000/i/6dda652bfc721bb2c5ae640aca17f3c3b87c6b4a13e457b1e28143a7e37dcad1/breda-lynch-mullanys-sm-3.jpg" />Breda Lynch, Soul Survivor, digital print, Mulhany’s Newsagent https://anastasia-artemeva.com/projects-1 Fri, 05 Feb 2021 11:17:04 +0000 https://anastasia-artemeva.com https://anastasia-artemeva.com/projects-1 https://anastasia-artemeva.com/Delulu Sat, 08 Mar 2025 03:36:21 +0000 https://anastasia-artemeva.com https://anastasia-artemeva.com/Delulu Delulu&nbsp; 2023/24 <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/6e5d521d42f54b4939b3ecf739bd5edad7fb5e2bda5ed5e2bed4394cb83cbe45/IMG_2659.jpg" data-mid="227872330" border="0" src="https://freight.cargo.site/w/1000/i/6e5d521d42f54b4939b3ecf739bd5edad7fb5e2bda5ed5e2bed4394cb83cbe45/IMG_2659.jpg" /> It’s September in Mustarinda and I spend most of my residency in the bedroom. There I sit in the armchair nursing my younger daughter. She is not that small anymore and I was hoping I will get a lot done. I stare at the wall, at the doors of the wardrobe, at the floor, at the ceiling. The light is coming from the window. There is a forest. The older child is next to us in the cot nesting, coming to terms that she is not the only one anymore. It’s time to go home and I hop in my car and I stop to nurse and I ride the train and I stop to nurse and doesn’t it all start with love. Translation to the Finnish by Matias Loikala <img width="1440" height="1800" width_o="1440" height_o="1800" data-src="https://freight.cargo.site/t/original/i/6e180a02ae51c977d29a1bcaef519eaa85ddfd62f099f32ddd5899ca0817fd45/03D51B05-9263-4D86-94A1-B098E303C040.JPG" data-mid="227872538" border="0" src="https://freight.cargo.site/w/1000/i/6e180a02ae51c977d29a1bcaef519eaa85ddfd62f099f32ddd5899ca0817fd45/03D51B05-9263-4D86-94A1-B098E303C040.JPG" /><img width="1440" height="1800" width_o="1440" height_o="1800" data-src="https://freight.cargo.site/t/original/i/a640687f19ff0a64118006a0b512a6ebfa74aef415cc950f2af288bb86c6d95f/1A6BF681-502B-44D4-83A1-097193BA545C.JPG" data-mid="227872537" border="0" src="https://freight.cargo.site/w/1000/i/a640687f19ff0a64118006a0b512a6ebfa74aef415cc950f2af288bb86c6d95f/1A6BF681-502B-44D4-83A1-097193BA545C.JPG" /> <img width="1440" height="1800" width_o="1440" height_o="1800" data-src="https://freight.cargo.site/t/original/i/97cd374d08c3aa6d20b400551a7389dde2bf8ad9ef9877ce15f2f8563a1c315e/E9766338-AF14-405B-B6C4-5C1685E1B12E.JPG" data-mid="227872539" border="0" src="https://freight.cargo.site/w/1000/i/97cd374d08c3aa6d20b400551a7389dde2bf8ad9ef9877ce15f2f8563a1c315e/E9766338-AF14-405B-B6C4-5C1685E1B12E.JPG" /> Mustarinda Magazine 2024 “Correspondence” &nbsp; Japanese Silk, Cotton, wood, thread, 9 x 13 cm.&nbsp; Published in: Mustarinda Magazine 2024, Editorial team: Neal Cahoon, Miina Kaartinen, mirko nikolić, and Anu Pasanen Graphic design: Thank you to Mustarinda residency, September 2023 and especilally to &nbsp; Images by Anastasia Artemeva <img width="1148" height="1665" width_o="1148" height_o="1665" data-src="https://freight.cargo.site/t/original/i/3328818d847a552eae7c32ebff9bd4f08cc8338204f622b7644fa9bf49534f74/IMG_9493.jpg" data-mid="227872563" border="0" src="https://freight.cargo.site/w/1000/i/3328818d847a552eae7c32ebff9bd4f08cc8338204f622b7644fa9bf49534f74/IMG_9493.jpg" /> https://anastasia-artemeva.com/Natural-Disaster-Preparation Fri, 07 Mar 2025 03:47:56 +0000 https://anastasia-artemeva.com https://anastasia-artemeva.com/Natural-Disaster-Preparation Natural Disaster PreparationTokyo, Japanwith Steve Maher, 2023Artemeva and Maher take us to Japan where they created their collaborative project developed in 2023 while Anastasia was undertaking residency with Arts Initiative Tokyo, supported by the Finnish Cultural Foundation. Together with Steve Maher, they document human anticipation of natural and man-made catastrophe. Anastasia Artemeva and Steve Maher work collaboratively to present an artistic reflection of disaster preparation as it is culturally formatted in the metropolis of Tokyo city, where commodities for averting apocalyptic futures are as banally presented as any other consumer domestic products.&nbsp; <img width="670" height="603" width_o="670" height_o="603" data-src="https://freight.cargo.site/t/original/i/f4111f80b858f985ec630943b9c1c65ad2c6f3116da6289d0707ac780e267adc/Screenshot-2024-11-06-232212_670.png" data-mid="228544115" border="0" src="https://freight.cargo.site/w/670/i/f4111f80b858f985ec630943b9c1c65ad2c6f3116da6289d0707ac780e267adc/Screenshot-2024-11-06-232212_670.png" /> <img width="1536" height="2048" width_o="1536" height_o="2048" data-src="https://freight.cargo.site/t/original/i/a70db5e6f63c28f4eb18c23c6fd1a8bd40900e300c7327308b375b21edb5dbc3/PHOTO-2025-03-20-15-45-21.jpg" data-mid="228545034" border="0" src="https://freight.cargo.site/w/1000/i/a70db5e6f63c28f4eb18c23c6fd1a8bd40900e300c7327308b375b21edb5dbc3/PHOTO-2025-03-20-15-45-21.jpg" /><img width="1200" height="1600" width_o="1200" height_o="1600" data-src="https://freight.cargo.site/t/original/i/d6e4f28dcac45b1701cf0ad4b564315df68d4124846fd8caa160a27c78513aa2/9f4cad58-cf8f-45d1-81ff-0c0506efb6ad.JPG" data-mid="228544891" border="0" src="https://freight.cargo.site/w/1000/i/d6e4f28dcac45b1701cf0ad4b564315df68d4124846fd8caa160a27c78513aa2/9f4cad58-cf8f-45d1-81ff-0c0506efb6ad.JPG" /><img width="641" height="788" width_o="641" height_o="788" data-src="https://freight.cargo.site/t/original/i/fc0fd2b8cec4ab40839f5c5a11c87294d102817d1ee5ee7df63fa9b79f9883e3/Screenshot-2024-11-06-232229_641.png" data-mid="228544116" border="0" src="https://freight.cargo.site/w/641/i/fc0fd2b8cec4ab40839f5c5a11c87294d102817d1ee5ee7df63fa9b79f9883e3/Screenshot-2024-11-06-232229_641.png" /> <img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/ef5655cc0d5dfbd26de00aac41e6fb31bda8949ff66fbb55ffda0619435f2cb6/IMG_2140.jpg" data-mid="228545041" border="0" src="https://freight.cargo.site/w/1000/i/ef5655cc0d5dfbd26de00aac41e6fb31bda8949ff66fbb55ffda0619435f2cb6/IMG_2140.jpg" /><img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/ae650f3a7ef696c322cb87b92e26e30b6b2d4488f9f303b2d193bb9c44d506d9/IMG_4724.jpeg" data-mid="227818870" border="0" src="https://freight.cargo.site/w/1000/i/ae650f3a7ef696c322cb87b92e26e30b6b2d4488f9f303b2d193bb9c44d506d9/IMG_4724.jpeg" /><img width="2629" height="3680" width_o="2629" height_o="3680" data-src="https://freight.cargo.site/t/original/i/a150eec2f42f00018ff9782337ac579cb5fab8b7be51ba1354455d74c49e0dd2/IMG_3745.jpeg" data-mid="227818866" border="0" src="https://freight.cargo.site/w/1000/i/a150eec2f42f00018ff9782337ac579cb5fab8b7be51ba1354455d74c49e0dd2/IMG_3745.jpeg" /> Images by author, Lauri Niskanen, Annika Niskanen, Nora Prits. Please read more about the residency:&nbsp; https://skr.fi/en/news/four-artists-awarded-grants-to-foreign-residencies/ &nbsp;https://www.a-i-t.net/en/blog/p16905/ Don't avoid me at the vast, mean, ethereal space Eoin O’Dowd, Anastasia Artemeva &amp; Steve Maher Galleria Loisti 16.-29.10.24 exhibition is realised together with Eoin O’Dowd https://www.eoin-odowd.com/ and features his recent works. Eoin O'Dowd's ongoing work invites viewers to examine the complex relationship between labor capital relations and the multifaceted impacts—physical, psychological, and spiritual—that arise from this dynamic. It addresses the exploitation of both physical and intellectual labor while questioning the absence of communal and spiritual value in our increasingly consumer-driven and alienating society. Using reclaimed factory materials, field recordings and devotional symbolism -&nbsp; their work highlights the spiritual damage caused by working conditions and the exploitation of workers' bodies and souls, reflecting a deepening wound on our collective psyche. Each artist challenges societal expectations and conventions, often focusing on seemingly ordinary or mundane activities to reveal underlying power dynamics or hidden injustices. Thank you&nbsp; https://skr.fi/en/ , https://www.a-i-t.net/en/, Eoin O’Dowd https://www.eoin-odowd.com/ https://anastasia-artemeva.com/Asemakaava Sun, 12 Jan 2025 13:22:36 +0000 https://anastasia-artemeva.com https://anastasia-artemeva.com/Asemakaava Asemkaava2023 Seinäjoki Railway Station, FinlandAugust 2023 Participatory public artwork / community embroidery Invited by artists Alan Bulfin and Pii Anttila as part of Generous Autonomy. Seinäjoki is a regional city in South Ostrobothnia, western Finland, around 360 km north of Helsinki. The city developed around an important railway junction, making the station a significant part of both its history and everyday life. Asemakaava took place at a moment when the station area was undergoing major redevelopment and the existing railway station was due to be demolished. I wanted to create a temporary space where people could stop, spend time together and leave a physical trace of their relationship with a place that was about to disappear. During one weekend, I invited passengers, local residents, railway users and passers-by to collectively embroider a map of Seinäjoki railway station and its surroundings. The project operated as an open, drop-in artwork. No previous experience was required. Someone could contribute a few stitches while waiting for a train, stay for a longer conversation, or come specifically to participate. Embroidery introduced a deliberately slow and tactile process into a space normally defined by movement, schedules, arrivals and departures. As people worked, conversations emerged about travelling, memories of the station, the city and its transformation. Each participant added a small individual gesture. Together, these gestures gradually formed a collective record of the station — not an accurate geographical map, but a map shaped by memory, encounters, time and human presence. Asemakaava continued my interest in temporary and transitional spaces, participation and the ways people make places their own. The railway station became, briefly, not only somewhere to pass through but somewhere to stop, make and be together. Support: Finnish Cultural Foundation <img width="7773" height="5185" width_o="7773" height_o="5185" data-src="https://freight.cargo.site/t/original/i/ff347b32f45cb7ce3d0db8335a904d6412a71406e9726750023a8309749ba501/_DSC3472.jpg" data-mid="251835350" border="0" src="https://freight.cargo.site/w/1000/i/ff347b32f45cb7ce3d0db8335a904d6412a71406e9726750023a8309749ba501/_DSC3472.jpg" /> <img width="7099" height="4735" width_o="7099" height_o="4735" data-src="https://freight.cargo.site/t/original/i/83854ad3d296a5a3a0da5cd73b1340bc39b582969e7fbd7eda8e8eb706709e25/_DSC3263.jpg" data-mid="251835349" border="0" src="https://freight.cargo.site/w/1000/i/83854ad3d296a5a3a0da5cd73b1340bc39b582969e7fbd7eda8e8eb706709e25/_DSC3263.jpg" /> <img width="996" height="996" width_o="996" height_o="996" data-src="https://freight.cargo.site/t/original/i/c8c99aad07df016c0b7224faede6588085688360400366fb2bdbade57a4fc2eb/IMG_4073.jpeg" data-mid="251835361" border="0" src="https://freight.cargo.site/w/996/i/c8c99aad07df016c0b7224faede6588085688360400366fb2bdbade57a4fc2eb/IMG_4073.jpeg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/07b197596255eb01627425eed6cb4a86d61d97d6574b19fdaaa6e9657ecc4b61/IMG_4081.jpeg" data-mid="251835364" border="0" src="https://freight.cargo.site/w/1000/i/07b197596255eb01627425eed6cb4a86d61d97d6574b19fdaaa6e9657ecc4b61/IMG_4081.jpeg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/9268dbd2598d4dba6aa2bd8d4eabad3e7d52a01189f378fe3a0f4c0bc2b69290/IMG_4084.jpeg" data-mid="251835367" border="0" src="https://freight.cargo.site/w/1000/i/9268dbd2598d4dba6aa2bd8d4eabad3e7d52a01189f378fe3a0f4c0bc2b69290/IMG_4084.jpeg" /><img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/b651d389d4934bbea8f7385539af41fff06ae7c92c28f134d117ccd04bf9a514/IMG_4076.jpeg" data-mid="251835362" border="0" src="https://freight.cargo.site/w/1000/i/b651d389d4934bbea8f7385539af41fff06ae7c92c28f134d117ccd04bf9a514/IMG_4076.jpeg" /> https://anastasia-artemeva.com/Workshop-The-book-of-hands Mon, 02 Sep 2024 06:15:14 +0000 https://anastasia-artemeva.com https://anastasia-artemeva.com/Workshop-The-book-of-hands The Book of Hands <img src="https://lh7-rt.googleusercontent.com/docsz/AD_4nXdzZPfmznJzFpYv8gh8FRBBYxFiRyV07IhyGWKlglza4MhXQc9fcNKXR_GqzLXSva8BOmKSHg-aajNoPqfUS_z87F0ofG7I1vHQ_LfkzRDVmYUoczzduMPKcgU4PjFdJQGkckK7hUfZWy_w3WTnUU8e4MlN?key=Dy65aEv5bIqFDqIT4_rC3A" width="602" height="451" style="width: 382.82px; height: 286.797px;" data-scale="66"> Käsikirja is a multidisciplinary event aimed at children from 4 years old onwards and their adults. The project focuses on exploring the significance of hands in various contexts and through different art disciplines. Participants will engage in activities such as drawing, dancing, crafting, and creating stories to explore the multifaceted role of hands in artistic expression, communication and every day life. Together we’ll also reflect about how we interact with each other, how we can care for and support each other with our hands. As part of the project we produced a workbook - and interactive zine, which can be used during the session or independently at home. The publication is in four languages&nbsp; - Finnish, English, Ukrainian and Russian. <img width="960" height="1280" width_o="960" height_o="1280" data-src="https://freight.cargo.site/t/original/i/93b3ed3493c6247f01b15473284f39ad5121490d8a1c0f580aeee3208745f298/photo_2024-09-18-07.34.14.jpeg" data-mid="227315469" border="0" data-scale="67" src="https://freight.cargo.site/w/960/i/93b3ed3493c6247f01b15473284f39ad5121490d8a1c0f580aeee3208745f298/photo_2024-09-18-07.34.14.jpeg" /> The events is organized with the support of The City of Espoo, the City of Vantaa, Helsinki City and the Arts promotion center Finland. Languages: English, Finnish, Russian, Ukrainian Working group: Anna Anisimova, children’s writer; Anastasia Artemeva, visual and socially-engaged artist; Tetiana Makhova, visual artist; Vera Lapitskaya, dance artist Anastasia Artemeva (b.1989) is a visual and socially-engaged artist based in Helsinki. BA in Sculpture &amp; Combined Media, Limerick School of Art &amp; Design, Ireland (2012), MA Visual Culture &amp; Contemporary Art. She works with textile, text, installation and photography. She is a diversity agent and a certified Dialogue cards facilitator. &nbsp; Makhova Tetiana was born in 1987 in a small village in the Kherson region. Since childhood, she loved to draw and wanted to become an artist. She loves nature, fairy tales and mythology. This has always been reflected in her creative process. Higher education: - Kherson State University, bachelor's degree: Fine Arts, 2011 &amp; Specialist degree: Fine Arts, Decorative Arts, Artistic Culture, 2012. For ten years after graduation, Makhova worked as a freelance artist, took part in exhibitions and festivals. Married. Mother of three children. During the military invasion in Ukraine on February 24, 2022, she found herself in deep within the occupied territory of Kherson region. After fleeing with her family to Finland, she began the restoration of her creative activity. <img width="2486" height="3318" width_o="2486" height_o="3318" data-src="https://freight.cargo.site/t/original/i/434636e879fdb1957a762f8a7b3637f7c59fe189267958c083238353bea5e971/pessi.jpg" data-mid="227315562" border="0" data-scale="67" src="https://freight.cargo.site/w/1000/i/434636e879fdb1957a762f8a7b3637f7c59fe189267958c083238353bea5e971/pessi.jpg" /> Since 2009, Vera Lapitskaya has worked both as an independent dance artist and in collaboration with various artists in Finland and internationally. She has implemented more than twenty dance projects aimed at different target groups. In her works Lapitskaya often combines dance and text, and creates works on the border between dance and theatre. In her artistic work she has been reimagining traditional art forms by pushing the borders and going beyond the surface of narrative meanings.Through the years she has been exploring a multi-layered proximity of human body to space, time, sounds, objects and environment. In her latest works Lapitskaya approached the following themes, among others: human loneliness and togetherness, identity, participation, difference, sameness, tolerance. Anna Anisimova is a author of more than 13 books for children. She was born in 1983 in the small village Kropotkin in Eastern Siberia and spent her childhood there, among little mountains called «goltsy» and cedar elfin, in a very cold place where people mine gold—her book Kedrovyi Slonik (Cedar Little Elephant) tells about this place. Anna studied at Novosibirsk State University that is located in a Siberian scientific center called Akademgorodok. She is a journalist by diploma specialty. But while studying at the university Anna worked on the creation of newspapers for children and also she worked in the children's camps and created stories with children. Therefore when she started working as a journalist and editor she realized that writing for children is the thing that she like to do the most. So last ten years Anna works as a freelance-writer.<img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/45729e5a7773661e59cdb3763a4ebd60928e4607bab0e9a8be6c19d045ce0858/photo_2024-09-18-07.36.38.jpeg" data-mid="227315521" border="0" data-scale="80" src="https://freight.cargo.site/w/1000/i/45729e5a7773661e59cdb3763a4ebd60928e4607bab0e9a8be6c19d045ce0858/photo_2024-09-18-07.36.38.jpeg" />Käsikirja on monitaiteellinen tapahtuma, joka on suunnattu lapsille ja perheille. Projektin tavoitteena on pohtia, kuinka tärkeitä kädet ovat erilaisissa tilanteissa ja taiteen muodoissa. Yhdessä osallistujien kanssa luomme tarinoita, teemme käsitöitä, piirrämme ja tanssimme tutkiaksemme käsien monipuolista roolia taiteellisessa ilmaisussa, kommunikaatiossa ja arkipäivän elämässä. Pohdimme myös, miten vuorovaikutamme toistemme kanssa ja miten voimme hoitaa ja tukea toisiamme käsillämme. Tapahtuma järjestetään Espoon kaupungin sekä Taiteen edistämiskeskuksen tuella. Kielet: englanti, suomi, venäjä ja ukraina Työryhmä: Anna Anisimova, lastenkirjailija; Anastasia Artemeva, visuaalinen ja yhteisötaiteilija; Tetiana Makhova, kuvataiteilija; Vera Lapitskaya, tanssitaiteilija https://anastasia-artemeva.com/Workshop-Diversity Sun, 23 Jul 2023 02:35:19 +0000 https://anastasia-artemeva.com https://anastasia-artemeva.com/Workshop-Diversity Diversity work&nbsp; Diversity Agents are a network of arts and culture professionals who have multicultural backgrounds, strategic diversity skills as well as knowledge and experience of the work ethic in Finland. In addition, they have extensive creative and problem-solving skills and the ability to communicate information in an engaging and constructive way. I completed&nbsp;Diversity Agent Course run by Culture for All, Globe Art Point and the Center for Cultural Policy Research Cupore in 2019.https://www.kulttuuriakaikille.fi/diversity_agentshttps://www.kulttuuriakaikille.fi/diversity_agents_anastasia_artemeva Parteners:Ministry of Education and Culture / Opetus- ja kulttuuriministeriö Prison Museum / VankilamuseoChildren Centre Pessi, City of Vantaa / Lastenkulttuurikeskus Pessi, Vantaan kaupunki Cultura Foundation / Cultura-säätiöArts Promotion Center Finland / Taiteen edistämiskeskus<img width="2268" height="3024" width_o="2268" height_o="3024" data-src="https://freight.cargo.site/t/original/i/4595a4af7d3a95198e61cd69e0f2fb4634b919d213e245f4f5cb5f3f0be647bd/Anastasia-Artemeva---Kuva4.jpg" data-mid="186524218" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/4595a4af7d3a95198e61cd69e0f2fb4634b919d213e245f4f5cb5f3f0be647bd/Anastasia-Artemeva---Kuva4.jpg" /> Arts promotion center Finalnd has published&nbsp; Dialogue cards. https://www.taike.fi/en/press-releases/dialogue-cards-available-promoting-cultural-diversity-and-sustainable-development The dialogue cards are designed to be used in three-hour workshops in which participants discuss how cultural diversity and sustainable development are reflected within their work community and field, as well as how their organisation could better take them into account in its operations.&nbsp;As diversity agent, I have participated in the development of the methodology of the workshops. Fragment of my textile piece Market square is printed in the card which facilitates&nbsp; the discussion on Poverty. It is an image of the market square in Helsinki where the ferry to Suomenlinna fortress island leaves from, created during residency in HIAP Suomenlinna. https://anastasia-artemeva.com/Residency-Mustarinda Thu, 19 Sep 2024 09:42:45 +0000 https://anastasia-artemeva.com https://anastasia-artemeva.com/Residency-Mustarinda Mustarinda residency September 2023 <img width="1701" height="2268" width_o="1701" height_o="2268" data-src="https://freight.cargo.site/t/original/i/14ea3a1e42663614818f90a308ad139e0332a6a787a6e3b87adfbf9329688164/IMG_6570.jpeg" data-mid="218317844" border="0" data-scale="35" src="https://freight.cargo.site/w/1000/i/14ea3a1e42663614818f90a308ad139e0332a6a787a6e3b87adfbf9329688164/IMG_6570.jpeg" /><img width="1701" height="2268" width_o="1701" height_o="2268" data-src="https://freight.cargo.site/t/original/i/8157e29cbad0be9108d41106c21f0267c4858765ab082c6e92f042ea3d6ccd30/IMG_6673.jpeg" data-mid="218317901" border="0" data-scale="85" src="https://freight.cargo.site/w/1000/i/8157e29cbad0be9108d41106c21f0267c4858765ab082c6e92f042ea3d6ccd30/IMG_6673.jpeg" /><img width="1843" height="1382" width_o="1843" height_o="1382" data-src="https://freight.cargo.site/t/original/i/9cacc7db52f0d978c72b8a28e27d3d342b33290347eeaaa2391018f9c8d2d333/IMG_6728.jpeg" data-mid="218317908" border="0" data-scale="74" src="https://freight.cargo.site/w/1000/i/9cacc7db52f0d978c72b8a28e27d3d342b33290347eeaaa2391018f9c8d2d333/IMG_6728.jpeg" /> We held a fabric sktechbook workshop as part of the Open Day.&nbsp;<img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/3197064fc201cda08db1803bdcaa8bbb39e10edfac95a3de04c77b293a3c8ce1/IMG_7538.jpeg" data-mid="218317809" border="0" src="https://freight.cargo.site/w/1000/i/3197064fc201cda08db1803bdcaa8bbb39e10edfac95a3de04c77b293a3c8ce1/IMG_7538.jpeg" /> A textile painting and poem Dululu was born as a result after the residency. <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/c1714e273260fb50f3c59385f66bed879c2426ec6f954ff810ba5a2959ec6dd4/IMG_2659.jpg" data-mid="227315441" border="0" src="https://freight.cargo.site/w/1000/i/c1714e273260fb50f3c59385f66bed879c2426ec6f954ff810ba5a2959ec6dd4/IMG_2659.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/b5e83c036197f697ca75bc359e799c3d1d3423af148a2720300c557ef2a5eec3/IMG_2658.jpg" data-mid="227315457" border="0" src="https://freight.cargo.site/w/1000/i/b5e83c036197f697ca75bc359e799c3d1d3423af148a2720300c557ef2a5eec3/IMG_2658.jpg" />