Juha-Heikki Tihinen, PhD, Art Historian
Also published in Saara Hacklin and Kati Kivinen (eds.), Hullu rakkaus / Galen kärlek / Mad Love. The Seppo Fränti Collection at Kiasma. A Museum of Contemporary Art Publication 170/2020. Helsinki: PARVS, 2020. Transl. Eva Malkki
‘Suddenly he felt so happy that he had to be alone. He strolled off towards the woodshed. And when nobody could see him any longer he broke into a run. He ran through the melting snow, with the sun warming his back. He ran simply because he was happy, with nothing at all to think about.’
Art collections and the act of collecting often bear a significant emotional content, for with the collection the collector builds their own little cosmos, through which they can express intense feelings. In 2016, the art collector Seppo Fränti described the emotions he felt in his home when surrounded in every direction by art: ‘It is wonderful; I am like the Moomintroll, imbibing a Moomin-like atmosphere. I love to be surrounded by all this. Sometimes I might shriek a bit like Little My if I feel like it.’ This quote can best be understood by looking at pictures of Fränti’s home when it had been taken over by art and one could only move along narrow corridors between artworks. The collector’s home was literally covered in art, which took up every surface. The apartment was somewhat reminiscent of the Merzbau, a sculptural structure by German artist Kurt Schwitters (1887–1948) that filled five of the eight rooms in the artist’s home in Hannover and grew organically as Schwitters picked up objects and materials around the city to add to the installation. Seppo Fränti’s collection started off as pictures hung on walls but later grew organically to fill the whole space.
Fränti’s collection is fascinating because it presents a compilation of the art he has chosen according to his preferences and that he experienced as being significant. The collection donated to Kiasma comprises some 650 works, the earliest of which Fränti acquired at the end of the 1970s and beginning of the 1980s. The collection is not intended as an all-encompassing historical portrayal of the art of the period; instead, it is an experiential interpretation of some of the phenomena in contemporary art. The central aspects of the Fränti Collection are a fascination with contemporary art and the collector’s personal relationship with almost all of the artists. The Seppo Fränti Collection is not homogeneous; in fact, it is startlingly heterogeneous and it is not always easy for an outsider to follow the collector’s logic.
 Jansson, Tove, 1988. Taikatalvi. Translated into Finnish by Laila Järvinen. Helsinki: WSOY, 132. Excerpt in English from Moominland Midwinter, transl. Thomas Warburton.
 Tihinen, Juha-Heikki, 2016. Häpeämättömästi taiteen puolesta – Seppo Fräntin kokoelma. Helsinki: The Lapinlahden Lähde Project & Mental Health Finland, 20.
 The collection’s growth rate has been startling, as at the time of the first exhibition in Lapinlahden Lähde in 2016, the collection as a whole comprised around 500 works.
 Tihinen, Häpeämättömästi taiteen puolesta, 11.
Featured image: The interior of Seppo Fränti’s apartment, 23 February 2018
Photo: Finnish National Gallery / Pirje Mykkänen
Read more — Download ‘Moomin-like Joy and the Seppo Fränti Art Collection’, by Juha-Heikki Tihinen, as a PDF