Marja Kanervo, Pallet I-III, 2013, installation, Museum of Contemporary Art Kiasma. Photo: Finnish National Gallery / Pirje Mykkänen.

Article: Destabilised Gaze Positions and Reminders of Mortality

Marja Sakari, PhD, Chief Curator, Museum of Contemporary Art Kiasma

 

First published in Marja Kanervo. Esiinkatoavaa = (Dis)appearing. Edited by Patrik Nyberg, Jari-Pekka Vanhala & Maija Kasvinen. Museum of Contemporary Art publication 138. Helsinki: Finnish National Gallery / Museum of Contemporary Art Kiasma 2013

 

In his seminal work The Poetics of Space, Gaston Bachelard discusses the poetic image, which he posits as something radically different from metaphor, a petrified image to which we have become habituated. A poetic image is something unprecedented, and thereby creating something unprecedented. [1] Marja Kanervo modifies spaces in much the same way as a poet conjures up images and spaces with words. By removing structural components so that displaced elements form written words (MORE/LESS, 2013), or by adding artefacts that redefine their surroundings, she transforms the physical site which the viewer occupies into a dream-like ‘imaginary space’ that is charged with an emotional intensity that is difficult to express in words. The pieces featured in her retrospective at Kiasma in 2013 – a textual panorama, a deconstructed Wendy house, hair-reinforced concrete panels, concrete beds with human hair stuffing, and shirts adorned with buttons of human teeth neatly folded in display cases – acquire their meaning through their emphatic materiality. We viewers are forced to ask ourselves: what are my personal reactions to these seemingly familiar yet strangely warped and disjointed dream-like states?

[1] Tarja Roinila, 2003. ’Gaston Bachelard, tilan ja poetiikan filosofi’, in Bachelard, Gaston, La Poétique de l’espace, 1957. Helsinki: Nemo, 12–14.

Featured image: Marja Kanervo, Pallet I–III, 2013, installation, Museum of Contemporary Art Kiasma. Photo: Finnish National Gallery / Pirje Mykkänen.

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