New Argumenta projects are related to sustainability

The approach for Argumenta is emphatically cross-disciplinary. Although the same problems are often studied in different disciplines, it may be difficult to find a common language for formulating solutions. The purpose of Argumenta grants is to apply interdisciplinary dialogue to producing new answers and conclusions for challenging issues in society, and to communicate these results to a broader audience than the academic community.

Professor Eeva Furman and the Sustainability Panel Community team from the Finnish Environment Institute (SYKE) received EUR 110,000 for their Six Paths to Sustainability project.

There are many worrying trends in the world: inequality is growing, biodiversity is shrinking, climate change is advancing and waste is accumulating. A conscious and quick paradigm shift is needed: a sustainability revolution.

For most people, even the term ‘sustainability revolution’ is unfamiliar and off-putting. For people to understand it and be prepared to act accordingly, new methods and ways of talking about it are needed, Furman says. The Six Paths to Sustainability project brings together researchers from various disciplines with ordinary people to verbalise the sustainability revolution.

Next year, the topic will be discussed in libraries and museums all around Finland, with people working together to create pictorial, verbal and aural stories. These will help in shaping a shared understanding of what constitutes sustainable food and energy, how urbanisation and the economy can become sustainable, and what new opportunities there are for well-being.

A revolutionary turn onto a sustainable path is still possible. We trust that everyone in Finland wants to be involved in building a safe future for us all, Furman explains.

Panu Halme, PhD, and his team from the University of Jyväskylä received EUR 150,000 for their project Towards a Common Understanding on Changes in Sustainability of Forest Use.

There are many players taking part in efforts to determine the sustainability of forestry in public discussion. “Forestry operators and their stakeholders have their own interests, based on which they tend to brand the forest industry as either highly sustainable or completely unsustainable. This causes debates on forestry sustainability to go around in circles. What the situation especially demands is a broader, science-based evaluation and definition of sustainability-related concepts, and improvements to how they can be measured,” says Halme.

The project brings together researchers and stakeholders with an interest in the sustainability of forest use, to discuss what the elements of sustainability are in Finnish forestry. The objective is to identify the elements of sustainability that the various players consider important when measuring and evaluating sustainability. The project will analyse the principles of measuring these various elements, as well as the related challenges; develop indicators for assessing progress in these elements; and generate methods for visualising the conflicts in these elements, as well as their impacts.

Assistant Professor Panu Savolainen and his team at Aalto University received EUR 145,000 for their project Sustainable Construction, Techno-Economic Perspectives and the Value of Architectural Heritage.

Kuva Helsingin keskustasta, Clarion-hotellin katolta. Kuva: Annakaisa Tavast

Photo: Annakaisa Tavast

The life cycle of the built environment has a significant impact on the fulfilment of targets related to a sustainable, carbon-neutral society. Finland’s building stock is being renewed at an increasing pace, however, and even in city centres younger and younger buildings are being torn down. The topic is regularly brought up in the media.

The factors affecting the life cycle of buildings are financial, technical, functional and heritage-related, as well as ones of urbanisation, location and ownership patterns. Parallel to these are questions of the society’s values and opinions, politics and economic control. Due to the differences between these fields and methods, each argument is very different. So far, especially in the public domain, discussions have mostly consisted of recognising the problem and bringing it up sporadically, Savolainen explains.

Currently the demolition of modern buildings is not debated enough between various experts, nor is the debate sufficiently deep or solution-centric. Publicly, discussions are led by a reliance on authorities and heightened emotions. Future opinion leaders – children and young people – are not included in understandable and easily accessible ways, Savolainen says. The purpose of the project is to deepen and increase public debate on the fate of modern buildings, and on the various points of view involved. The aim is to build dialogue between academic disciplines and with the public, and to make this dialogue more understandable for the society and for political decision-makers.

Further information:

Juhana Lassila, Director of Cultural Affairs, Finnish Cultural Foundation, juhana.lassila@skr.fi, +358 9 6128 1230
Professor Eeva Furman, Finnish Environment Institute (SYKE), eeva.furman@ymparisto@fi, +358 29 5251123
Dr Panu Halme, University of Jyväskylä,
panu.halme@jyu.fi, +358 40 8054945
Assistant Professor Panu Savolainen, Aalto University
, panu.savolainen@aalto.fi, +358 50 475 6727

Monika Czyżyk, 2020, China

When Monika Czyżyk built a rocket: on bamboo, synchronicity, and subconscious memories

An interview by Athanasía Aarniosuo

As soon as Monika arrived in Beijing she met Hu Wenna, an urban planner who works with revitalisation of villages at China Academy of Urban Planning and Design – CAUPD. She invited Monika to visit Anhui province in order to experience life in traditional Chinese villages. Monika was welcomed by social worker Wang Zheng, who introduced her to local people in Shangcun and Wanjian villages. It was a busy time with many revitalisation projects taking place. Monika witnessed coffee workshops and was welcomed to document them. Filming was a means of communication between Monika and the local people, with the camera acting as a very natural, kind communication tool.

As CAUPD was interested in the presence of artists in the village, Monika proposed a process of building an outdoor bamboo rocket sculpture together with the local community, which initiated a process of performances, workshops, sharing knowledge and learning from one another.

Installation view Bamboocene Memories of Synchronicity 2020. Photo: Laura Mainiemi

Installation view Bamboocene Memories of Synchronicity 2020. Photo: Laura Mainiemi

While working with bamboo, Monika discovered that bamboo plants flower at the same time all over the world if they are derived from the same mother plant, regardless of geographical location or climate. It was a magical thought, Monika found, that showed her how amazing the bamboo plant really is. The unique flowering impressed her so much that this moment of synchronicity is also featured in the documentary film about rocket-building.

The resulting documentary film, I Want to Build a Rocket, has been displayed together with various mixed-media sculptures such as bamboo root masks which hang on a metal globe made by Monika’s father, clusters of wood that were used to build the rockets (with the help of the Finnish Astronautical Society), red Finnish thermoses that were referenced during filming, sculptures of dragonflies, green mesh, and led lights.

Currently, Monika is showing the work in an exhibition curated by Kathryn Zazenski for Stroboskop Art Space in Warsaw, Poland, until the end of November. The work is a variation of an exhibition she put on at Myymälä2 gallery in Helsinki. In Poland, Monika is showing one additional work: a banner featuring a composition of a print of two condiments, Majonez Kielecki from her hometown in Poland and a well-recognized condiment from China. The banner combines memories with local products, while the composition has been arranged to represent the Polish flag. Patterns of behaviour come from subconscious memories, for people just like bamboo plants. The banner contextualises and introduces the objects – in this case the condiment jars – while touching on another similarity between Poland and China: in both countries the communist and post-communist times are visible, with different eras and different styles being present in the architecture of the cities.

Monika very much enjoyed putting on an exhibition in Poland and felt very inspired. She feels the artistic community is very strong, with artists all helping each other, arranging things on their own, and communicating. Working in Poland for some time is something Monika feels could be on the cards in the future.

Memories of Synchronicity (Polish Flag), 2020, banner print, 432 x 220 x 0,5 cm. Stroboskop Art Space. Photo_Bartosz Zalewski.

Memories of Synchronicity (Polish Flag), 2020, banner print, 432 x 220 x 0,5 cm. Stroboskop Art Space. Photo: Bartosz Zalewski.

In the nearby future, Monika would like to continue working on the film, making a condensed screening version of it. She is also going to continue working on a finalized version of a collaborative catalogue, the prototype for which was exhibited alongside her film and sculptural works in Myymälä2 gallery in September 2020. In addition, she will return to an ongoing project from 2016, in which she addresses issues of body, gender, and learning, through Barbie-dolls and videos of her female friends telling stories about their lives. She is also planning a new documentary film situated in various allotment gardens in Poland and Finland.

But first, she will take a much-needed break.

(The interview continues after the image.)

Monika Czyżyk, Geographies of a lonely Pole (I want to build a rocket), 2020, 4K UHD video, 82 min 48 s, color, stereo sound, 55” screen, auto pole mounting, bamboo poles with carved drawings by Torsten Zenas Burns mounted on steel hoop rack, 286 x 60 x 70 cm. Myymälä2 gallery. Photo: Laura Mainiemi.

Monika Czyżyk, Geographies of a lonely Pole, 2020, bamboo poles with carved drawings by Torsten Zenas. Photo: Laura Mainiemi

AA: You have recently been traveling around the world, getting to know the area and the local people, and documenting stories. Is your work fiction, travelogue, or documentary?

MC: I often mix documentary interviews with staged scenes. A kind of participatory docu-fiction is often created blurring the research and adding new elements the meaning of which is not entirely clear until the final montage. I think this genre relates to my understanding of the world and creation of art works in general.

Every project I have participated in or activated is very different and based on a specific context and collaboration. There is a notion of a documentary filmmaker in my practice, I react to my surroundings, situations and people I am in contact with. I am always capturing moving image files with a digital camera. I mostly work in local contexts, creating collaborative situations with others to develop community-based performances, stories and acts with co-created fictional elements that combine the shared documented experiences of the participants.

Over the years I have participated in different global residency programs. Usually I enter the new space with some initial thoughts and ideas, often looking for collaborators or participants involved in a local workshop, screening, or other similar situation. I have been lucky to meet really fantastic people during these encounters. Once the energy and motivations are right, I dedicate my time to focus on work in a very specific place and community and often these projects are developed over many years. That’s how I began to work on projects with Footprints of David, a performance group based in the Bariga area of Lagos, Nigeria and with local residents located in Anhui province, China.

AA: What interests you most in experiencing a new culture, and what have you gained the most from past travels?

MC: I sense the romantic image of a traveler in this question.

I am actually not sure how to answer this question. What interests me is the unknown, the unpredictable, thecoincidental, the intuitive, the hospitable, the risk, the trust, the sharable, the memorable, the smiles, the smells. There are so many different styles of travel.

I think I have been always questioning my identity and my belonging to a certain place. The necessity of the escape is my inner drive. All experiences are shaping who we are. I have gained knowledge, experiences, memories, friends, proof that the Earth is not flat.

Being born in 1989 and raised in Poland during some very politically transformative years I think my father implemented the ideas of adventure and exploration in me. I have a genuine interest in meeting people with different backgrounds than myself.

AA: Some of your films and installations evoke images of science fiction and awe. What inspires you?

MC: I would actually say that my main interests are in the realm of docu-fiction and experimental video art. I have been truly inspired by Leslie Thornton’s media works, especially her ongoing  Peggy and Fred series, and artist and filmmaker Melanie Bonajo. I also have had the opportunity of seeing in person several films and installations by the outstanding Michel Auder. As far as inspiring and thought provoking conversations goes, I have had the fortune of conversing with the visual artist and theorist Thomas Zummer. Other important filmmakers that continue to inspire me over the years are the films of Agnes Varda and Jean Luc Godard. Another area of inspiration for me exists in global techno culture and dancing.

AA: There’s a sense of optimism and beauty to a lot of your sci-fi work. How do you see the future?

MC: Science fiction for me is a tool to engage the present. Speculative themes are explored in many of the video pieces and often shown through ambiguous performance rituals or through animations that explore new states of being. I enjoy working with technical collaborators coming up with both virtual and physical places, costumes and scenes that may or may not exist in some new reality. I am cautiouslly optimistic about the future transforming through culture. Although observing recent global events, I would need to find some special powers to keep that optimism going.

Still from the documentary film I Want to Build a Rocket, 2020.

Still from the documentary film I Want to Build a Rocket, 2020.

 AA: You are interested in events that occur simultaneously. Do you have any personal theory about how these coincidences occur?

MC: I guess I would like to believe in some kind of connectivity between humans, time and places we have lived in. It’s a desire to be in multiple places simultaneously.  Adesire of sharing a level of understanding that goes  beyond national, historical, cultural and spiritual contexts and differences. I would like to think that synchronicity and serendipity are embedded in a cosmic blueprint. Being lost in any artistic project is one way to enter. Stay open! Don’t always have a plan! Open perfect.

AA: You touch upon the subject of “the unique bamboo flowering which happens at the same time all over the world irrespective of their geographical location and climate as long as they were derived from the same mother plant”. Did you purposefully want to address issues of cultural identity and belonging?

MC: I definitely question issues related to identity and belonging. As our subjectivity is built up on certain grounds, we have the necessity to question, destroy, reinvent and destabilise, now more than ever. In my film, while recording scenes of Chinese revitalization I was sensitive to the saying ‘przepis na zachod’ (recipe for Westernization) taking root. I was also thinking about this in the context of my family and Poland in the 1980’s.

AA: You collaborate often with Torsten Zenas Burns. How did your paths and intentions cross?

MC: In 2015, we met at UnionDocs in Brooklyn, NY. while I was participating in a video screening. Over the next few months we started our ongoing series of video and performance works called Monstersweet in New York City, Helsinki and at a residency program called Signal Culture. We actually just finished the latest version which was recently shown in MUU gallery in September. It’s very exciting to collaborate with Torsten. We naturally combine our skills and research interests. Torsten’s usage of performance art and playfulness with analog transformations of the moving image goes in pair and enriches my documentarian and archival moving image working process. As a result, we often produce media works in a genre of docu-fiction with influences from global speculative fictions. Currently we are collaborating on electronic publishing projects related to my residency experience in China.

AA: Can you offer us a glimpse into what’s coming next?

MC: Like everybody on the planet, I am hoping a vaccine is developed and travel opportunities can resume. I am really looking forward one day to returning to China’s Anhui province and visiting all the amazing participants and collaborators that helped make my new film. They have not seen it yet and I would like to screen it for them. I also had a connection with a Chinese art publishing group based in Beijing, in the same building as the IFP residency program I went to. I am really excited to collaborate with them creating new exhibition, film  and graphic novel catalogues for distribution in art international book fairs in the coming years.

Monika Czyżyk and Torsten Zenas Burns, Geographies of a lonely Pole (Cluster), 2020, 24 bamboo poles mounted on steel hoop rack, screws, zip ties, threads, Photo: Bartosz Zalewski.

Monika Czyżyk and Torsten Zenas Burns, Geographies of a lonely Pole, 2020, 24 bamboo poles. Photo: Batosz Zalewski

Could bilberry wine be the next big thing coming out of the Finnish forest?

Text: Laura Iisalo

Shuxun Liu esittää väitöskirjansa ”Fermentation with Non-Saccharomyces Yeasts as a Novel Bio-technology for Berry Wine Production” julkisesti tarkastettavaksi Turun yliopistossa perjantaina 13.11.2020.

Shuxun Liu defends his doctoral thesis on Friday the 13th of November in 2020. Photo: University of Turku

Bilberries are great. They have many proven health benefits, they taste good, and there is an abundance of them in the Nordic forests. Yet for some reason only five to eight percent of the berries are being harvested each year, while the rest is left to rot.

– It is a huge economic loss. If we could create new bilberry products that people enjoy, then maybe that could inspire companies to better utilise this natural resource, says Shuxun Liu, a doctoral candidate who is studying Food Chemistry and Food Development at the University of Turku.

Liu has a particular interest in turning berries into wine. He first looked into the subject during his master’s degree in his native China. Although consumption of traditional grape wines has risen there in recent years, a majority of Chinese are not too keen on the dry taste and wine has never been considered a necessity either historically or culturally.

Instead Chinese people prefer Baijiu, a liquor made of fermented sorghum that can have up to 60% alcohol by volume but according to Liu, old drinking patterns are changing. In recent years, especially younger people have become more health-conscious and they tend to go for drinks that have a lower alcohol content.

To meet these new demands, local wine makers have started to produce berry wines and the trend is growing fast. It was no surprise that when Liu started his master’s degree in Beijing, his supervisors asked him to look into the science of berry wine fermentation.

– It was not me who chose berry wine production, it was berry wine production that chose me, he jokingly says.

At first Liu used conventional Saccharomyces yeast to see how that changed the chemical compound of local mulberries, goji berries and bog bilberries. During his second year Liu decided to experiment by using only the indigenous yeast that is naturally found in the skin of the berries.

In five years’ time, if everything goes smoothly, there might be a new high quality wine made of Finnish bilberries available to purchase.

– I discovered that spontaneous fermentation is very different to the Saccharomyces yeast and that it affected the berry wine significantly. I was like, wow; I knew I needed to investigate it further, he says.

From laboratory to consumers

In 2016 Liu arrived at Turku University to start a new project researching bilberry wine production – only this time his focus was on nonconventional yeasts and their impact on the quality of the wine.

During his four years of doctoral studies Liu experimented with more than ten different yeasts and discovered that each non-saccharomyces yeast has a unique character, and that two of them were performing better than expected.

By using these alternative yeasts he was able to ferment bilberry wines that had a lower alcohol content, less acidity, longer-lasting colour, and a more vivid aroma profile than wines that were fermented using conventional yeasts.

Liu’s next mission is to upscale his production from laboratory to industrial level by collaborating with suitable companies. In five years’ time, if everything goes smoothly, there might be a new high quality wine made of Finnish bilberries available to purchase.

–  The work is not done yet, but I hope so, because I do think that food science serves the public. The goal is to produce good products, Liu says.

You can read Liu’s thesis Fermentation with Non-Saccharomyces Yeasts as a Novel Biotechnology for Berry Wine Production here.

In 2020 M.Sc. Shuxun Liu received a 9000 euros grant for his doctoral thesis, Fermentation with Non-Saccharomyces Yeasts as a Novel Biotechnology for Berry Wine Production.

Funding announcement for research within arts and social sciences into large future societal challenges

The purpose of the research programme is to fund humanities and social science research in areas that pose major challenges for people in the Nordics, both socially and culturally during the 21st century. Changes in the ways of communication, new mechanisms in opinion formation brought on by digitalisation, economic, social and technological development, migration, conflicts between ethnic groups, polarisation between cities and countryside, effects of climate change and epidemics are some examples of such challenges.

These challenges are often global in nature and can lead to different transnational, national and local solutions. There’s a great deal of current research about societal challenges on a more generic level, but the aim of this programme is to stimulate research into how these challenges can be understood and handled in the Nordics – societies that fundamentally have a lot in common but also clear differences.

Humanities and social sciences have an important role in increasing the understanding and handling of the many challenges we face, by examining how people interact with their environment. In addition to increased knowledge, the researchers can provide critical and constructive analyses of societal development that can help to guide our attempts to master these challenges. To solve the challenges of the 21st century we need deeper insights about the historical, cultural, social and political processes that have lead us to where we are today.

The objective for the research conducted within the programme is to benefit society by producing accessible knowledge that can inform citizens and decision-makers when they look for ways to face the challenges.

The projects must touch on big societal challenges of the future and the circumstances in the Nordics, preferably so that at least two Nordic countries are included in the research. This Nordic focus, however, does not exclude a global perspective, which on the contrary, is often necessary. The funders of the programme want to stimulate and create possibilities for new research collaboration across disciplinary and national boundaries.

Research project applications can be interdisciplinary, but multidisciplinary projects are encouraged. Research projects can be a maximum of four years in length. The maximum amount of funding that can be sought is 1 million euros. Five to ten projects can be financed.

A research project leader must represent a field of humanities or social sciences and have an affiliation to a university, a college or a research institute in Finland or Sweden. The project participants do not need to have this connection.   

Societal challenges are often so complex in nature that collaboration with other fields of science may be necessary. The researchers in the project can therefore represent other fields than humanities and social sciences, but the research questions must be tied to these.

Application process

The application process has two steps. In the first stage, researchers are invited to submit pre-proposals outlining the research projects. In the second stage, shortlisted projects are invited to submit a full application.

The application period for the Letter of Intent is from 1 January to 15 February 2021. The Letter of Intent must be submitted in English through The Society of Swedish Literature in Finland’s application system. Guidelines for applicants will be available on the homepage of The Society of Swedish Literature in Finland (länk till SLS engelskspråkiga sida: https://www.sls.fi/en) from the end of November 2020.

More information about the research programme is provided by:

Contact person for questions about the application:

Christer Kuvaja, The Society of Swedish Literature in Finland (christer.kuvaja@sls.fi)

Classical music belongs to everyone

Text and photos: Laura Iisalo

Musiikkipedagogi Teemu Laasanen. Kuva: Laura Iisalo

Classical music is sometimes considered abstract and even elitist. This kind of pigeonholing makes Teemu Laasanen upset, and it is also the reason behind his decision to become an advocate for it.

Laasanen has been a piano teacher at the Mikkeli Music Institute since 2003, and the Festival Manager at the Mikkeli Music Festival since 2018. Even though he took his first piano lessons at the age of six, it wasn’t until he was in his twenties and studying mathematics when classical music won him over.

– Classical music requires focusing and quieting down, and it has been left aside in a society that prefers instant gratification. For me it opened up an abundant world and made me decide to study music after all. There has been no turning back, Laasanen tells.

The joy of music is  what he wants to spread to others. In 2014 and 2015 Laasanen organised a school tour funded by the Cultural Institute’s South Savo Regional Fund, where he played the piano and told a story he had written around Tchaikovsky’s Children’s Album.

– People often say that music cannot be explained but for me music is a sum of many art forms. Music transmits emotions and the storytelling side comes naturally to me, says Laasanen.

When the tour was over, Laasanen decided to record his story. He asked actor Risto Kopperi from the Mikkeli Theatre to be the reader, and together they created a readable and listenable music story illustrated by Marija Dergaeva. The team was awarded a grant worth 10 000 euros from the South Savo Regional Fund, and the book was published in August 2017.

The first edition sold out fast, and Laasanen already had plans for a new book based on Edvard Griegs’s lyrical compositions. He asked his writer-music educator wife Noora Nikka to take the project on.

Classical music has proven health benefits

Laasanen’s long-term plan is to build an international series of music fairytales, and to create new ways to make classical music available to the general public. In January 2019 Laasanen, Nikka, and Kopperi founded MusicFairyTales company together, and launched their latest innovation titled Interactive Satuseinä Fairytale Wall in October 2020, combining music, technology, and storytelling.

Interaktiivista seinää koskettamalla lapset voivat omin käsin ohjata klassiseen musiikkiin pohjautuvia satuja esimerkiksi maalaamalla tai soittamalla seinälle heijastettua fantasiaharppua.

By touching the wall children can take part in the classical music fairytales.

By touching the wall children can take part in the classical music fairytales through playful ways that include painting and playing a fantasy harp. The concept is created together with OiOi, a local company specialising in interactive solutions, and according to Laasonen it is suitable for music therapy and early childhood education. It could also be used in playrooms in places like hospitals, airports, or shopping centres.

So far three music fairytales have been published. The latest one is called Mary the Heart Singer, which is based on music by Sibelius and Madetoja, and created specifically for the fairytale wall. Nikka, who wrote the story, is currently working on the next story that revolves around creations by French composers Debussy and Ravel, and is funded by a six-month working grant from the Cultural Institute.

– Our main target group is children but we have had positive feedback from adults and especially from elderly people. One of our plans is in fact to create music fairytale products for nursing homes too, Laasanen tells.

In five years, if everything goes according to the plan, there will be fairytale walls in tens of locations in Finland and abroad. For Laasanen the project is more than just a business opportunity though. For him it is a way to make classical music available to many across the globe.

– Classical music has many proven health benefits; it can improve concentration and it can help dealing with all kinds of emotions. This is my way to support sustainability and perseverance through music, he concludes.

Teemu Laasanen received a 10 000 euros grant from South Savo fund in 2017 for his readable and listenable music story.

Building Finnish national identity with dreams and danger

Text and photos: Laura Iisalo

When Finland gained independence in 1917, border security became a mutual concern. During the years of 1922-1924 the Finnish parliament defined an area consisting of 44 borderland municipalities along the Eastern border from Southern Karelia up to Northern Lapland, to be developed to the same level as the rest of the country by means of educational borderland activity.

Arkistomateriaalia Verna Kotirannan tutkimustyöhön

The work was carried out by various fellowships that doctoral student in Finnish history, Verna Kotiranta, looks into in her doctoral thesis, for which she received funding from the Central Fund in 2018, and from the South Karelia Regional Fund in 2020.

Helsinki-based Kotiranta has travelled the country studying the records at The National Archives of Finland, and rummaged through piles of private correspondence, speeches, newspaper articles, and literature.

– I have put my research together like a puzzle, which is time-consuming but rewarding, like detective work always is, she tells.

Finnish ideal was patriotic and modest

According to Kotiranta, fellowship-based borderland activities were intended to improve economic conditions, and to offer counselling and education in rural areas. Previous research has shown that the national identity of the newly independent Finland was built on sharp political views that painted threatening images of Russia and Eastern Barbarism.

The ideal Finn was considered patriotic, modest, firmly Christian, and abstinent. Unkempt appearance, vulgar habits, and ignorance were considered signs of Eastern influence. The polarized perspective was not atypical, since eugenics was a popular concept in Europe at that time.

The ideal Finn was considered patriotic, modest, firmly Christian, and abstinent.

– These activities were nevertheless moderate compared to fascism and extremist movement. After the Finnish Civil War the borderland areas were seen as a threat to safety. The main objective was to counter communism by means of Christian nationalism, like much of the fellowship activity at that time. The attitudes became less steep by the late 1930’s when the inhabitants met the expectations that were set for them, says Kotiranta.

Networks had central role in borderland activity

When conducting her research, Kotiranta noticed that different types of networks and connections to such parties had a central role in borderland activities. Those included army officers, the Finnish nationalist activist association Academic Karelia Society, and at later stage churchmen with a background in Patriotic People’s Movement. The operators represented diverse domains but were united by their mutual goal, which was to ensure border security.

– It has been interesting to notice how such a small circle of people was outlining the rules and defining the ideals of Finnishness. These were people who came from just a few noble families that were connected through marriages, Kotiranta says.

She is planning to finalize her thesis within the next two years, and after that she is keen to bring her findings to a wider audience by popularizing science. Her investigations are ongoing, and therefore Kotiranta is not yet ready for final conclusions.

– I have unexamined material left, so right now I’m just contemplating. I am open to information that goes against my bias, and I’m confident that something like that comes up, she says.

Doctoral student Verna Kotiranta received a 26 000 euro grant in 2020 from South Karelia Fund to examine nationalist borderland activity after the Civil War.

Getting Out of the “Southern Media Bubble”

Text: Antti Kivimäki

Many traditionalist protest parties have accumulated significant support in recent years’ elections in Europe, particularly in more remote areas. aThis has come as a surprise to the big media houses, and their news pieces often wonder at who these parties’ supports actually are.

Toimittaja Anna Saraste

Voters from remote districts are often referred to dismissively and end up misunderstood, says Anna Saraste, who works as a freelance journalist and a German assistant to the Finnish Broadcasting Corporation YLE.

She believes that this is because today’s mainstream media usually employ journalists with advanced academic degrees, most of whom already reside in larger cities.

When Berlin-based or foreign journalists descend upon small Eastern German towns that are known for their xenophobia, they will find a local Neo-Nazi to interview. That is not particularly helpful in bridging the rural-urban gap, Saraste says.

Yleisradion Brysselin kirjeenvaihtaja Petri Raivio

Together with YLE’s long-term correspondent in Brussels, Petri Raivio, Saraste became aware of this chasm in understanding when populist parties riding on the agenda of closing the borders started repeatedly having success in many European countries’ elections. The journalists decided to write a documentary book that would give a voice without judgement to people in remote areas.

In the process of writing the book, Saraste has visited Eastern Germany and Eastern Poland. Raivio has been to Central Finland and will travel to remote areas in a fourth country as soon as the coronavirus pandemic allows it.

Initially, the book’s themes arose from rural opposition to internationalisation, but over time the connecting thread became increasingly tied to fossil fuels. Fossil fuels are extracted and energy is produced in remote areas, while opposition to the fossil fuel economy comes mostly from trendy metropolitan centres.

In East Germany under the Iron Curtain, the dirty miner walking home after his shift was society’s greatest hero. Now he feels like the greatest villain, as the government cuts off mining subsidies and eco-activists come down from Berlin to attend demonstrations demanding the speedy shutdown of mines, Saraste says.

She strives to describe the realities of remote areas without unnecessary polarisation, for example by using the perspective of an unschooled miner who is a keen user of library services. He understands that coal must be given up as an energy source, but is at the same time aware of the social distress of mining districts.

Quite coincidentally, he was the first person I went to interview in the mining town of Weißwasser. Now we have been in touch a lot, and discuss all sorts of issues, for example Hannah Arendt’s political philosophy. He is more well-read than many of my urban friends, Saraste says.

Fossil fuels are extracted and energy is produced in remote areas, while opposition to the fossil fuel economy comes mostly from trendy metropolitan centres.

Raivio was on a similar mission amid Central Finland’s marshy landscapes in Karstula, first meeting a local peat producer and then a local landowner who had turned their peat bog into a conservation area.

The peat producer explained in great detail how the permit process works these days, and how much tighter the controls are now on humus entering waterways.

People used to be encouraged to enter the peat business, but quite soon the perspective shifted to peat production being something to close down altogether. Many find it hard to come up with anything else to do, however, and if this source of livelihood is cancelled, it will contributed to further depopulation of rural areas, Raivio explains.

He noticed that behind all their politeness, the people of Karstula shunned him at first as a representative of “the southern media”. When he explained the documentary nature of his book, they became more open.

Peat producers are highly suspicious of the media, particularly the large media houses of the capital. They feel that representations of their business have previously been highly biased, Raivio says.  

Petri Raivio (Master of Social Sciences) and journalist Anna Saraste received EUR 11,500 in a grant from the Paavo Koskinen Fund on 27 February 2020 for writing an investigative book on the mental landscapes of people living in remote districts in Europe.

In a Single Europe

Text: Antti Kivimäki
Photos: EFC

There are more than 200,000 foundations in Europe, and a new one is established on average every four hours.

Foundations struggle with very similar things all over the world, so it is constructive to discuss these issues with international colleagues, explains Antti Arjava, Secretary General of the Finnish Cultural Foundation.

Usually we find that others have reached the same conclusions as us, and that in itself is a meaningful and reassuring realisation.

The EFC has been facilitating these kinds of contacts and looking after foundations’ interests for three decades already. It has around 200 foundations as members, including ten from Finland but only two from Sweden. Arjava sees a certain contradiction in the fact that the EFC claims to represent European foundations before the European Commission, but as its members it only has just over one in one thousand foundations from the region.

On the other hand, most of the biggest foundations are members, and the foundations’ ideas as to how they should be treated by the EU are mostly aligned, Arjava says.

In its dealings with the Commission, the EFC advocates, among other things, for the concept of the “European foundation”. This would mean a model foundation that would be acceptable for all the EU countries, and which could therefore operate without problems within the whole Union.

The tightening of anti-terrorism and money laundering legislation has caused foundations additional hurdles. They have to be able to prove to banks that their money does not originate from and is not channelled to criminal activity. Particularly payments coming out of the United States are under close scrutiny.

From our point of view, this is a bureaucratic hassle. I have never heard of a case of foundations being used in Europe for money laundering or supporting terrorism. Of course, if there were no regulation, someone might decide to try, Arjava says.

The EFC also advocates for foundations being exempt from value-added tax.

The EFC’s annual general assembly and conference AGA is a great way to network and learn about the host country’s foundations’ projects and funding targets. The 2019 AGA was in Paris, while 2020’s meeting, scheduled for Vienna, has been postponed until June 2021 (the meeting’s compulsory content was handled remotely).

The EFC’s annual general assembly and conference AGA is a great way to network and learn about the host country’s foundations.

Representatives of the Cultural Foundation often travel to Brussels and to the EFC’s general assembly and conference, which takes place annually in different parts of Europe. This networking event lasting a few days helps members stay abreast of activities at other foundations around Europe and other parts of the world. It also helps likeminded foundations find each other.

Additionally, professionals from member organisations can network, engage in joint projects and learn from each other within the EFC’s task forces and subcommittees.

Each foundation has its own areas of emphasis, target groups and operating culture, but at the end of the day our communication methods and channels are fairly similar. It is nice to meet colleagues who have to solve similar issues in their work, says Annakaisa Tavast, Head of Communications at the Cultural Foundation, who sits on the EFC’s communications network with another twenty or so members.

The network’s semiannual communications meetings offer new perspectives, as well as good ideas and best practices.

When a Norwegian foundation presented a feedback survey they use in their application system, I immediately realised we have to adopt a similar one, Tavast says.

The EFC was established in 1989. In spite of its name, it does not exclusively accept European foundations as members. Especially at the start, American foundations were an important part of the membership.

At that time, Eastern Europe was coming out from under the iron curtain, and there was a pan-European euphoria related to international collaboration between foundations.

American foundations were interested in helping Eastern Europe get back on its feet after the Cold War, in the same spirit in which the United States used its Marshall Plan to raise Western Europe from the smoking ruins of the Second World War to keep the Soviet Union’s influence from growing excessively.

The Europe of today is significantly wealthier than when the Berlin Wall fell. From the perspective of American foundations, Europe is capable of looking after itself now, so their attention has shifted to Africa and Asia. The line that Trump uses with regard to defence policy, that why should the US pay for European defence while Europe accuses America of militarism, also applies to the world of foundations. Europe can now afford to fund its own organisations, Arjava says.

Diverse peer groups form an essential part of the EFC’s operations. The Communications network converses online and usually meets twice a year. In 2017 the group was invited to Copenhagen by Nordea-fonden.

Peer groups form an essential part of the EFC’s operations. In 2017, the Comms group’s meeting was hosted by Nordea Fonden.

The EFC’s membership fee depends on the size of the member organisation. The Cultural Foundation pays EUR 7,000 per year for membership, plus another EUR 15,000 in voluntary contributions to the EFC. Many foundations pay even higher voluntary contributions.

Arjava has sat on EFC’s Management Committee since 2016. He has strongly advocated for the policy that new member foundations should have some sort of link to Europe – ownership in Europe, an office here or operations linked to the continent, as even the organisation’s rules state.

Even though many of the current American members no longer fulfil these criteria, they did when they joined.

The EFC has, however, been joined by foundations that have never had links to Europe. There have also been discussions around foundations that have no stable sources of income.

In the EFC’s rules, a foundation is defined as an organisation that has its own financial resources, which it considers how to deploy.

If the organisation has to consider how to obtain those resources, it is not a foundation by these rules, even if it is legally defined as one, Arjava explains.

According to Arjava, the more non-European foundations the EFC includes, the more its operations will have to focus on global questions.

Of course globalization is a significant issue for the largest European foundations. However, most foundations in Europe have by-laws that set much narrower limits for their operations, for example promoting the development of a city, region or country. For instance, the Finnish Cultural Foundation’s mission is to support culture in Finland, Arjava says.

If more and more members with a global outlook join the EFC, then national and regional foundations will be less interested in joining, because the emphasis of discussions will be too far beyond their scope.

A separate source of tension in the field of European foundations arises from the fact that, depending on how it is calculated, the EFC is not the largest organisation representing foundations.

In many countries, foundations belong to national associations, such as the Association of Finnish Foundations, which has more than 200 members in Finland.

DAFNE (Donors and Foundations Networks in Europe) is a network of these national associations. It has thirty members, through which it indirectly represents more than ten thousand European foundations.

DAFNE’s office is in Brussels, in the same building as the EFC’s, and DAFNE considers that it, rather than its counterpart, should be the body that represents foundations before the Commission.

On the other hand, DAFNE was only established in 2006, based on an idea launched at EFC meetings. DAFNE has a much flatter organisation: only four employees compared to five times that at the EFC, which works directly with foundations and has a much larger work programme for its members and associated budget.

Arjava feels that it would be senseless for foundations to be represented by two competing organisations before the Commission.

Brussels is too small for that. Additionally, in factual matters, the interests and perspectives of foundations are the same, regardless of who represents them.

For years, there has been talk – both behind the scenes and openly – of a possible merger between the EFC and DAFNE, and Arjava is a strong proponent.

There was opposition to the merger for a long time, but now it might happen as soon as next year. Of course it is always difficult and time-consuming to discuss what the voting rights of each foundation and financing member should be, Arjava explains.

Foundations Help Everywhere

Text: Antti Kivimäki
Photos: EFC

The foundations sector is centuries old, but it has only grown significantly in recent decades.

The first large foundations were set up in the United States. In Europe, the majority of foundations were established after the Second World War, and in most European countries more than half of them are less than 30 years old. Europe has now overtaken the US in terms of total foundation assets.

In different countries, foundations have very different starting points.

Denmark may be the country with the most foundations per capita, as well as the biggest total foundation assets in proportion to GDP. The biggest corporations in Denmark are owned by foundations – such as the Carlsberg Foundation, the A.P. Møller Foundation (Almenfonden) or Nordea-fonden – and these donate funds for the public good.

In Germany, foundations often also have an industrial basis. When after the Second World War the government wanted to privatise Volkswagen, which had been nationalised by the Nazis, it was done by establishing VolkswagenStiftung, the Volkswagen Foundation, which today shares nothing but its name with the automotive giant. Similarly, the Robert Bosch conglomerate has a foundation as its majority owner.

In Italy, a large proportion of foundations are former savings banks, because legislation passed in the 1990s forced these to become foundations.

In Portugal, the enormous Gulbenkian Foundation wields significant influence. The Turkish-Armenian oil magnate Calouste Gulbenkian owned five per cent of the then known Middle Eastern oil assets when he died. He bequeathed a large proportion of his wealth to a foundation that owns an art museum and funds an orchestra, among other things.

In Greece, a wealthy shipowner’s foundation, the Stavros Niarchos Foundation, not only builds hospitals but also relocated the National Library of Greece to share facilities with the Greek National Opera in an impressive new cultural centre in Athens.

In Southern Europe, as in the United States, foundations in general play a much bigger role in funding civic society and supporting marginalised groups. Comparatively, in Northern Europe, they have a narrower focus, funding the sciences and arts while leaving it to the government to hand out social assistance.

The foundations that give out grants with a social basis have experienced an exponential growth in their website views and contacts since the start of the pandemic, says Annakaisa Tavast, Head of Communications at the Finnish Cultural Foundation.

Foundations in some countries have had to reduce their spending due to this millennium’s financial crises, leaving some NGOs and civic organisations facing hardship. This would be hard to imagine in Finland, says Cultural Foundation’s Secretary General Antti Arjava.

Southern foundations may promote political views or take part in NGOs’ lobbying activities. An example mentioned by Tavast is the influencing campaign started by the Bodossaki Foundation in Greece at the start of the refugee crisis in 2015.

The campaign included a video in which a cardboard box, spinning at the feet of multitudes in a busy street, goes unnoticed by most without a second glance, symbolised a refugee in need of assistance. It tried to encourage people to help in the humanitarian crisis, Tavast says.

In Finland, foundations primarily fund academic disciplines and culture, although these can be loosely defined. They do not necessarily aim for social change, but remain, according to their by-laws and due to the diversity of their donors, neutral, often emphatically so. Naturally, there are exceptions.

France is not a big country for foundations, because the focus there is on public rather than private funds, in the spirit of the French Revolution of 1789. The Fondation de France, which is comparable to the Finnish Cultural Foundation, has a semi-public character. Similarly, in Austria, the foundations sector is fairly underdeveloped.

The legislation that regulates foundations varies from one European country to the next. The definitions of “foundation” differ, as do the requirements set for them, but generally the largest foundations operate for the public good and in similar ways.

In the United States, a higher level of activity is required of foundations than in Europe: they must spend at least five per cent of their assets in an average year. There is no such requirement in Europe, and the average spend here is around four per cent per annum. The Cultural Foundation’s average is just under four per cent of assets each year.

In 2016, EFC organized its first China-Europe Philanthropic Leadership Platform programme. 20 participants from European and Chinese foundations met in Brussels.

In 2016, EFC organized its first China-Europe Philanthropic Leadership Platform programme.

Eastern and Eastern Central Europe have seen a big rise in the establishment of foundations since the decline of socialism, but their desire to fund things often exceeds their actual assets.

Russia also has its foundations. For example, the foundation bearing the name of Vladimir Potanin, the oligarch who made his fortune during the privatisation of banks after the fall of the Soviet Union, is involved in the European Foundation Centre’s (EFC) activities.

In Russia, operations cannot be autonomous of the government. Foundations have less flexibility than in the West, but it is possible for them to donate to culture and the sciences in Russia, too, says Antti Arjava.

Nor are foundations unheard of in China. In 2016, EFC organized its first China-Europe Philanthropic Leadership Platform programme funded by the German Stiftung Mercator, inviting ten Chinese and ten European participants to Brussels for ten days to enhance their strategic and change leadership skills. The programme now runs annually and the location alternates between Brussels and China, though this year, due to the pandemic, it takes place online.

The Finnish Cultural Foundation was represented by its Director of Cultural Affairs, Juhana Lassila. Some of the global trends identified by Lassila are the fact that foundations are increasingly aiming to bring about change and to solve global problems.

This is why they invest heavily in social and political influence. Achieving such overarching goals requires more and more partnerships, not just between foundations but also with other stakeholders, such as commerce and industry. These days impact is a buzzword, Lassila says.

The Cultural Foundation is actively involved in the international foundations field and its management, for example through the The Hague Club and the European Foundation Centre (EFC). There are also yearly meetings between Nordic foundations. In 2019, the meeting was hosted by Helsinki and had nearly 170 participants from the whole Nordic region.

The Cultural Foundation has not previously collaborated on initiatives with foreign foundations; now, it is involved in a joint research funding programme for the humanities and social sciences together with the Society of Swedish Literature in Finland, the Swedish Cultural Foundation in Finland, the Brita Maria Renlund Foundation, and the Bank of Sweden Tercentenary Foundation to provide grants for the investigation of the social challenges of the twenty-first century.

The Cultural Foundation’s Board decided that if good applications are received by the programme, the Cultural Foundation can contribute EUR 0.5–1 million to its grants.

The Cultural Foundation’s mission is national, but it is wise to seek operating models beyond our borders. The Nordic societies are similar enough in nature for this kind of programme to offer the necessary synergies, Lassila says.

Is there anything unique about the Finnish Cultural Foundation or Finland on a global scale?

The fact that the Cultural Foundation was started up by hundreds of thousands of ordinary Finns is a nearly unheard-of phenomenon around the world. In other respects, Antti Arjava says that foundations’ activities are similar all over.

What is fairly unusual is the Finnish custom of handing out individual grants to artists and researchers. The larger foundations around the world seek impact by making large one-off grants, preferring to give higher lump sums to a whole university or a large research group.

Even though foundations are sitting on billions of euros in assets, they are not a major operator compared to national governments. If the funds of all the European foundations that support academic disciplines were put together, they could fund European academia annually for only a single week, and the rest would have to come from governments.

The strength of foundations lies in the fact that they can make decisions more freely and quickly than governments, Arjava says.

Investment Directors Meet at EFFIO

The chief investment officers of the large European foundations get together within the EFFIO.

The chief investment officers of the large European foundations get together within the EFFIO.

The chief investment officers of the large European foundations get together a couple of times a year within the EFC’s European Foundation Financial and Investment Officers Group (EFFIO) – once a year in the EFC offices in Brussels and once hosted by one of its members. This year’s meetings have been conducted remotely.

EFFIO has some thirty members, representing around ten countries and a total of approximately EUR 100 billion in assets.

The legal and tax frameworks vary between European countries. Still, the challenges of long-term investing are the same for all of us: how to maintain a sufficient amount of capital that enough of it will be available for our charitable purposes,” explains Ralf Sunell, Chief Investment Officer at the Finnish Cultural Foundation and long-term member of EFFIO.

These challenges are discussed in EFFIO using the Chatham House Rule: participants are free to use the information received, but neither the identity nor the affiliation of the speakers may be revealed. Trust and confidentiality are two of the basic pillars of EFFIO’s activities. This allows the investment directors to disclose to each other what asset classes (e.g. property, bonds, stocks) they invest their funds in so that they can maintain their foundations’ capital and ensure there is enough of it to share.

EFFIO’s members also respond to annual surveys on their investments and returns. Their responses are compiled into a report that is only for members, which allows them to compare their own performance to that of their peers.

It is not a competition, but comparisons are always useful. Each foundation has its own asset-related targets and different levels of risk tolerance, which is of course reflected in returns,” Sunell explains.

In their meetings, the peers also discuss responsible investment and sustainable asset distribution levels, and try to predict global political and economic challenges to come.

Currently our British colleagues are battling with Brexit and how the pound should be viewed as a home currency when investing.”

Because EFFIO’s members include some of Europe’s largest foundations, it is easy for them to obtain high-level speakers from the European Commission, parliaments, universities, asset management and other stakeholder groups.

EFFIO is also in contact with its American counterpart, FFOG (Foundation Financial Officers Group), with which it holds a joint meeting once every five years or so.

Is gene editing the answer to treating osteoarthritis in the future?

Text and photo: Laura Iisalo

Gonçalo Barreto työskentelee Helsingin Yliopistossa osana Kari Eklundin johtamaa reumasairauksien laboratoriotyöryhmää.

Osteoarthritis is the most common type of arthritis, a joint disease that affects up to 20 per cent of the population at some stage in their life. It has a lot of health-associated problems, and can often lead to early retirement.

The current treatments include non-steroidal anti-inflammatory drugs, repairing the damaged cartilage area with biomaterial refill, or replacing the affected joint with a prosthetic implant. All options are suboptimal and come with side effects such as risk of infection and even increased mortality, while the costs to the public health system are significant.

The common perspective has been that osteoarthritis affects old and obese people, and is caused by wear and tear of the joints. We now know that it is caused by many factors yet the disease is not widely understood and that’s why treatment options are limited, says Gonçalo Barreto, a postdoctoral researcher at Helsinki Rheumatic Diseases and Inflammation Research Group at the University of Helsinki.

Originally from Porto in Portugal, Barreto got interested in the subject during his master studies in biomedical engineering, and deepened his understanding by obtaining a PhD at the University of Helsinki by looking into how osteoarthritis evolves from immunological perspective.

We looked at the main factors that lead to inflammation in joints so that we could figure out specific biomarkers for the disease. That way it is easier to see what stage of disease the patient has, and how the disease is progressing, Barreto explains.

Osteoarthritis and cartilage damage go hand in hand

Taking his research further, Barreto is currently looking into gene editing in order to find out whether it could be applied to invent better treatment options for osteoarthritis in the future. The research project is partly funded by The Finnish Cultural Foundation.

We now know that certain genes and molecules are particularly important when trying to prevent the disease. We use a famous gene editing technique called CRISPR-Cas9, which allows us to read the DNA and change the gene to stop its activation, he tells.

Because osteoarthritis goes hand in hand with cartilage damage, it is vital to treat both.

Patients with osteoarthritis always have cartilage damage, and on the other hand, if cartilage damage is left untreated, patients will inevitably develop osteoarthritis later in life.

When the cartilage starts to break down, it releases fragments, which are known to lead to inflammation response. We try to block that within the cell by going to the particular molecule that we know that mediates the signalling of this receptor. By targeting just one master molecule we can shut down the main inflammatory factors responsible for cartilage degradation and osteoarthritis disease development, he explains.

Applying gene editing could reduce several risk factors

Gonçalo Barreto työskentelee Helsingin Yliopistossa osana Kari Eklundin johtamaa reumasairauksien laboratoriotyöryhmää. Kuvassa laboratoriovälineitä.

Applying gene editing could streamline the current two-step surgery that is often required in the conventional treatment method, which is performed by taking the cells from the patient, manipulating them in the laboratory, and then injecting them back in an additional surgery.

The proposed gene edited allogeneic chondrocytes are off-the-shelf ready, and so all we need to do is to inject them with a hydrogel when the cartilage damage is being fixed in the operating theatre. It is less risky in that way, Barreto says.

Right now Barreto and his team are working in laboratory conditions to demonstrate that the tissue in the cartilage can indeed be protected and repaired by blocking the inflammatory stimulus. If the method proves effective they will test in on animals and if successful, humans.

If our research is effective, it might open the perspectives of having similar approaches in genome editing to treat osteoarthritis, and even other arthritic conditions. We are still in early stages but so far the results have been promising.

Postdoctoral researcher Goncalo Barreto received a 30 000 euro grant in 2020 to study how gene editing could be applied to treat the common joint disease.