The green transition requires new materials and technologies

Mies valkoisessa laboratoriotakissa seisoo laboratoriossa putkien takana.

Fil. Dr. Antti Karttunen. Photo: Petri Summanen

Text: Elina Venesmäki

Could lost heat be recovered more efficiently? This is the subject of research for Ph.D. Antti Karttunen and Ph.D. Maarit Karppinen and their teams at Aalto University.

The Finnish Cultural Foundation decided to grant EUR 1,25 million euros in funding on the theme of “new materials and technologies for the green transition”. Karttunen and Karppinen’s teams were among the grantees.

“We are researching how to turn heat loss into electrical energy,” Karttunen says.

Say someone burns wood in a fireplace to save on heating energy, for example; could they collect the extra heat and turn it into electricity to charge their phone?

Our researchers are looking into this. Server rooms, for instance, generate huge amounts of heat, but usually it is fanned out. In Finland it is used for heating in winter, but at other times and in other parts of the world it is mostly just lost.

That doesn’t have to be the case. The scientists are focusing on a technique called atomic layer deposition (ALD), which creates thin films. These are used to turn heat into electricity.

Karttunen demonstrates a device smaller than a mobile phone, that is already capable of doing so.

The technology is already 50 years old, but it has two problems: first, it is not very efficient; second, it involves rare metals, which means it cannot be universally applied.

These are the issues Karppinen and Karttunen are looking to solve in order to make the technology widely reproducible.

“We want to use a material that appears commonly in the earth’s crust, such as iron,” Karttunen says. The metals currently used in the devices are also toxic, so they are searching for a safer material.

Heat loss is everywhere

An electric car’s batteries produce heat loss, as do industry, computer rooms and even the human body. Could a film created through ALD be added to a sports shirt and the heat generated during a gym session be used to charge a mobile phone?

“Collecting heat from a gym shirt is a small step, of course. But electric car batteries and data centres generate huge amounts of heat that is wasted in most parts of the world.”

These issues mentioned earlier must be solved before anything major is created. So where could one find a commonly available, safe material, and how does one make the device as efficient as possible?

The research team has access to an ALD machine around one metre in width, height and depth. A test piece can be placed inside, and it will be coated in a film that collects heat and turns it into electricity.

“Green steel production is currently a hot topic. Soon steel manufacturers will be able to use hydrogen, which will cut carbon dioxide emissions. This is fine, but it will still generate huge amounts of heat loss,” Karttunen says.

Novel solar cells

Kaksi miestä seisoo isossa huoneessa. Taustalla Jyväskylän yliopiston juliste.

Professors Gerrit Groenhof and Jussi Toppari. Photo: Jiri Halttunen

Professors Jussi Toppari and Gerrit Groenhof and their research teams at the University of Jyväskylä are also working to further the green transition. They received the same funding to create more efficient and ecological solar cells.

Currently there are two types of photovoltaic cells: organic and inorganic (semiconductor-based).

The efficiency of organic solar cells is only just over 10 per cent. Semiconductor-based solar cells are mostly seen on ordinary roofs because they are much more efficient and durable than organic ones, but even their efficiency is not great. Typical silicon solar cells capture and process around 30 per cent of the energy radiated by the sun.

Toppari and Groenhof want to take this further: they want to collect energy from a large area onto one or a handful of molecules, from where it goes into storage.

“We are already able to make molecules transfer the energy they receive from light really efficiently from a large area onto one molecule. The bottleneck is how to move it on from there,” Toppari explains.

Target: more power

The subjects of study here are on a very small scale, measured in nanometres (one billionth of a metre).

There are many molecules that can collect photons, i.e. absorb light. Having absorbed a photon, the molecule becomes energized. It can transfer this energy on to another molecule, for example, or emit an electron, which creates an electrical current. This is the operating principle of some organic solar cells.

“We are taking this further in that the photons are not absorbed directly into the molecules but become coupled with metallic nanostructures. This turns the light into a surface plasmon, which becomes coupled much more strongly and with several molecules at a time.”

The surface plasmon and the molecules form a single space among which the energy spreads. This permits high-speed energy transfer between the molecules. The scientists intend to utilise this property in a new type of cell.

They have already demonstrated that light can couple with several molecules. This three-year grant period will focus on how the energy can be passed forward once it is collected.

“This period gives us time to build a prototype and prove that it works.”

Ancient DNA samples can equip us for the future

Mies valkoisessa takissa laboratoriossa.

Geneticist Petri Auvinen running a project examining two types of samples that take them on a journey far back through time. Photo: Petri Summanen

Teksti: Emma Nikander

Ancient DNA can reveal a lot about the history of people and the environment. At the same time, it can provide answers to some of today’s most pressing questions, such as biodiversity loss, climate change and pandemics.

The boring of sediment samples from the soil provides data from a very long time period: so long that it could not be accessed in any other way. For example, the deepest sediments of our 10,000-year-old Baltic Sea contain records of the sea’s whole history. Samples can be used to study the sea’s ancient and current organisms and to obtain information on the state of the environment during various periods.

Geneticist Petri Auvinen and his team are running a project examining two types of samples that take them on a journey far back through time. In addition to sediment samples from the Baltic Sea, they are boring a second series of samples from a bog in Tammela, whose deepest parts can provide data on a similarly long period.

If DNA can be isolated from these samples, scientists can examine it for evidence of the historic microbes, flora and fauna of the region. The samples may also show what the soil was like and what happened to it when the climate changed.

This may help us to understand our current climate change, Auvinen explains: “It is easier to predict the future when you know what has happened in the past. Marine sediments and marshlands have been recording conditions for thousands of years without asking any questions. In this case, we can use history to reach into the future.”

What did the people buried at Levänluhta die of?

Studies of ancient DNA can also provide valuable information on people’s lives. A project conducted by Professor Antti Sajantila and his team is examining ancient DNA from remains recovered from two different kinds of burial sites from different periods. These are the tar pit grave in Ruukki, south of Oulu (northern Finland), and the waterlogged burial site of Levänluhta in Isokyrö (South Ostrobothnia) and the nearby Käldamäki burial site.

Ihmisiä istumassa rappusilla

Professor Antti Sajantila with his working group. Photo: Petri Summanen

Besides the people who died, the team is interested in the viruses and bacteria they carried. By studying the human and pathogen DNA in the remains, the team is seeking to find out who the deceased were, what population group they belonged to and anything about their state of health or cause of death. They also want to know when the people lived and what they ate. Were they related? That can also be revealed using molecular research.

The Levänluhta burial site has been known since the 1670s, and it has been investigated using different methods for over a century. Diverse theories as to how the bodies ended up there have been suggested over the years, explains Professor Antti Sajantila of the University of Helsinki.

“The Ruukki area seems to be a burial site from a specific time period, whereas Levänluhta appears to contain remains spanning several centuries of the Iron Age.  And not just human remains but also animal ones. Perhaps our research will show whether they died of an epidemic or of malnutrition, for example.”

The multidisciplinary research team includes experts in molecular genetics, forensic pathology, molecular virology and isotopes, as well as archaeologists. “Information produced by a single discipline would be significantly less valuable without the other fields to support it,” Sajantila says.

Data on the movements of hops and apples

Kaksi naista pöydän ääressä. Takana vihreä kaappi.

Biologist Sanna Huttunen (left) ja archaeologist Mia Lempiäinen-Avci. Photo: Robert Seger

Information on ancient peoples and their ways is not only obtained by studying human DNA. Samples found at two archaeological sites – Stone Age Humppila and Medieval Turku Cathedral School in Finland – may generate data for example on the strains of hops and wild apple used in Finland. They are being studied by biologist Sanna Huttunen and her team at the University of Turku.

“We are trying to find out, among other things, what strains were used in various parts of Finland, are they related to today’s heritage or wild varieties, and how they spread,” Huttunen explains.

This information will then be compared with historical and modern data possessed by scientists at the Natural Resources Institute of Finland, Finland’s museums of natural history and individual researchers, among others, who are partnering with the project.

In Humppila (southern Finland), Stone Age strata have become buried in layers at the bottom of a paludified (filled-out) lake. The flora and fauna preserved in the peat can now be identified more accurately than before, using DNA barcoding. After that the team can examine whether they show evidence of settlement from 4,000 years ago. DNA methods can also be used to identify flora and animal remains that have previously not been recognised. This can show whether some of them were farmed grains, for example.

“That would be one of the earliest signs of agriculture in Finland,” explains the team’s archaeologist Mia Lempiäinen-Avci from the University of Turku.

Hops were very widely grown in the Middle Ages – almost by every household. Genetic data can show us how people spread various strains of the plant. Here, too, the past can help us equip for the future: if a specific strain of hops appears to have survived through the ages, it may have potential to cope well in the uncertain times ahead.

The samples are already in existence, so there is no need for new digs. Therefore the project will focus on examining them with microscopes and in labs, Huttunen explains. Every member of the multidisciplinary research team has their own areas of responsibility and expertise.

“The starting point for the research was that we have access to expertise and diverse data that can be seamlessly combined to achieve results that no one could produce by themselves.”

Demand for ancient DNA research

The 2022 Nobel Prize in Physiology or Medicine went to biologist Svante Pääbo, who ran research that revealed the Neanderthal genome and led to the discovery of a whole new human species. The prize had a significant impact on the status of ancient, environmental and sedimentary DNA research, mentions Sajantila, who himself worked in Pääbo’s laboratory at one point.

Until now, ancient DNA research has lagged behind in Finland, and our extensive bodies of data have been under-researched, according to Lempiäinen-Avci. “I am thankful that the Finnish Cultural Foundation supports this highly necessary topic.”

“This kind of research teaches us to value our history and our special characteristics. All sorts of things may be revealed once we begin to examine data that has previously received little attention,” Huttunen explains.

In 2023, the Finnish Cultural Foundation granted EUR 2 million in funding to research projects focusing on ancient, environmental and sedimentary DNA. The aim was to increase cooperation between research teams from various disciplines, thereby strengthening the field as a whole in Finland.

Susanna Pettersson becomes the Finnish Cultural Foundation’s CEO

Susanna Pettersson, PhD, has been the director general of Sweden’s Nationalmuseum since 2018. Before that she was the director of, e.g., Ateneum Art Museum/Finnish National Gallery, the Finnish Institute in London, the Alvar Aalto Foundation, and the Alvar Aalto Museum and has been in various posts at the Finnish National Gallery. She has a PhD in art history from the University of Helsinki, is an adjunct professor of museology at the University of Jyväskylä and has been on the board of trustees of many organizations in Finland and abroad.

“Susanna Pettersson’s strong expertise and wide-ranging experience in art and foundations and as a scholar provide excellent qualifications for leading one of Finland’s largest foundations and developing its activities and effectiveness”, says the chair of the Finnish Cultural Foundation’s board of trustees, Hanna Hiidenpalo.

“The Finnish Cultural Foundation is very active in supporting the sciences and arts and in enabling new ideas. The foundation’s role in building a pluralistic society is especially important in these times. I’m truly glad to be able to join the Finnish Cultural Foundation’s competent and committed team”, Pettersson says.

The Finnish Cultural Foundation’s current secretary general, Professor Antti Arjava, will continue in his post until 31.5.2023 and then retire.

The Finnish Cultural Foundation is one of Finland’s largest privately funded foundations. The assets of the Foundation are based on donations and bequests received over more than 80 years. The assets are divided between a Central Fund, regional funds, and nearly 900 donor funds. They amount to almost 2 billion euros.

The Finnish Cultural Foundation uses almost 60 million euros annually to promote Finland’s cultural life through grants and projects. It has about 30 full-time employees and is represented throughout Finland by its regional funds.

One million euros’ worth of plain-language books for children who struggle with reading

The Cultural Foundation is initiating a two-year project, which involves donating a book package to all schools in Finland that teach years 7 to 9 (lower secondary school). The package will contain 50–150 specially produced or recently published plain-language or easy-reading books. The project will be carried out by the Finnish Institute for Children’s Literature.

The target audience are lower secondary pupils who for one reason or another are as yet unable to read books in standard language but can aim to do so with practice. The causes behind reading difficulties may be lack of practice or motivation, diverse attention deficit disorders, dyslexia or having an immigrant background.

Teachers will be offered training and materials for using plain-language and easy-reading books. At the same time, the current selection of plain-language literature will expand with the commissioning of new books for the packages.

“The adolescents who benefit from plain-language books are interested in reading the same books as their peers, so they are looking for plain-language adaptations of popular works,” explains Kaisa Laaksonen, executive director of the Finnish Institute for Children’s Literature. There is demand for more horror, detective, fantasy, sci-fi and romance books, as well as for non-fiction, including biographies of athletes and other celebrities. At the start of the project, a survey will be conducted to find out in further detail what kinds of books might encourage the pupils to read more.

“Many of the plain-language books that are available for young people are too easy, while standard-language ones are too hard. We need a more diverse selection,” says Finnish language and literature teacher Elina Mäntylammi from Juhannuskylä School in Tampere. “There is a huge shortage of plain-language texts in schools. This book donation will make life easier for teachers, because it will allow us to offer reading material to suit various readers.”

Plain-language books can inspire the less confident readers

Literacy has declined among Finnish children and adolescents during the twenty-first century. As many as 14 per cent of those graduating from comprehensive school lack sufficient reading skills for coping with everyday situations.

Plain-language books are used in Finnish lower secondary schools to respond to various reading difficulties. Children suffering from dyslexia or attention deficit issues can read them instead of books in standard language, which may be too difficult, while those who speak Finnish as a second language can use them as learning materials. Those who lack a routine or motivation for reading can use plain-language books to awaken their interest and practise their technique. Plain-language adaptations make it possible for readers of all levels to carry out group work together. Through practice with plain-language books, some can move on to easy-reading books and, eventually, standard-language ones.

Although the need for plain-language books has grown in schools, school libraries tend to stock a very limited selection. “Buying plain-language books for schools is difficult and expensive. Thanks to our support, the selection of new plain-language books that lower secondary schoolers have access to will grow considerably”, says author Karo Hämäläinen, who sits on the Cultural Foundation’s Board of Trustees.

The Cultural Foundation has been working consistently to improve reading skills in Finland. The aim of its Reading Gifts for Children programme, initiated in 2019, is to encourage families with young children to read aloud. This is done by handing out book bags via maternity and paediatric clinics. The Reading Clans project, on the other hand, focused on improving school libraries and their selections between 2017 and 2019. Since 2017, the Cultural Foundation has supported reading in Finland with around EUR 5 million in funding.

Hanna Råst, 2022, Fabrikken

Text: Athanasía Aarniosuo
Photos provided by the artist

My call finds Hanna Råst at her flat, where she spends a lot of her time reading and researching. A lovely old atelier apartment, it is not a space she wants to get messy. For that she has a studio space in Roihuvuori, in a building where over thirty artists work. She enjoys working, if not always with other artists, definitely near them. Which is why she enjoys spending time at artists’ residencies, too. She enjoys the space and the time they provide to experience new environments and think without being forced to produce. In her practice, Hanna works in a variety of media, using archival material – often photographs – in order to investigate topics of memory, remembering, and past trauma. Having time to reminisce and remember is crucial.

Hanna remembers her time in Copenhagen’s Fonden FABRIKKEN for Kunst og Design residency fondly. The three-month period (between April and June 2022) was long enough for her to do a lot of intensive research, read and think, experiment with new techniques, as well as take in the city and its people and galleries. Fabrikken offered Hanna the opportunity to put on an exhibition at the end of the residency period, but she felt she needed to focus on her work, without the pressure of a final outcome. She enjoyed the relaxed atmosphere, having long conversations with the other artists with whom she shared ideas and opinions. Curators’ visits were also organised by Fabrikken.

All in all, Hanna found the residency period relaxing, fruitful, and necessary, and the residency itself very well organised. The only thing she wishes had been a little more convenient is the distance between her accommodation and her studio. At 8 km apart, and with no conveniently located public transportation stops nearby, swapping between the two spaces meant 16 km of daily cycling, often carrying heavy loads, no less.

From light mobiles to heavy sculptures

Expose me not, 2022. Bronze. Approx. 5x3x2,5cm.

Expose me not, 2022. Bronze. Approx. 5x3x2,5cm.

Originally, Hanna intended to spend her time at Fabrikken working on a mobile sculpture consisting of metal frames and some old photographs from Hanna’s personal archives. However, transporting all the materials to Copenhagen only to have them shipped back soon after seemed a little too complicated. When she expressed her worries and wishes to the staff at Fabrikken, they were eager to suggest she worked at Vestsjællands Arbejdende Kunstværksteder (VAK) instead, creating bronze casts. Working with bronze casting was something Hanna had loved when she was still in art school but hadn’t had the space for since 2016, so she jumped at the idea.

The workshop, Hanna tells me, was an open, friendly place, where everyone worked next to each other, sharing ideas and processes. Hanna felt warmly welcomed, and she was able to complete, with the kind assistance and supervision of the workshop master, two small sculptures and a few experimentations during her time working there. As bronze is such a heavy material, Hanna thought the heaviness of the objects created should reflect heavy themes as well, which is why both sculptures, albeit small, are heavy with memories and thoughts.

With using photography as a starting point, the sculptures deal with the weight of one’s past. The weight of a memory is a mental, spiritual weight; giving that weight material form is what Hanna set out to do at VAK.

For the first of the two sculptures, Hanna used a pile of old family photographs. The shape of the pile, when cast in bronze, doesn’t give away any of the memories present in the photographs themselves. In a way, in erasing the content of the photographs, Hanna creates a space for the viewer to reflect on their own past and on their own memories. What moments are kept in photographs? Which moments does each one of us value worth keeping, moving with us from flat to flat, in albums, or in shoeboxes, kept with us through the years?

The sculpture is very small – the actual size of a pile of photographs – but very heavy, approximately 7 kgs. The weight is important and emphasised the weight of the memories themselves. When those memories are destroyed, or erased, we are left with blank spaces, with holes where the memories should be. What happened in the past? Why can we not remember?

The second sculpture reflects upon these same topics, investigating matters of erased memories and hidden parts of the past. A roll of a film acts as a metaphor for lost memories, a container of memories we can no longer access.

The first one of these sculptures, called Muiston paino / Weight of Memory (2022), is currently on display as a part of the group exhibition “In Continuous Dialogue: Tracing Memories” curated by Noora Lehtovuori. The small sculpture exhibited at gallery Oksasenkatu 11 is deceptively heavy, and Hanna encourages visitors to lift it up and feel its weight. The exhibition can be visited until the 29th of January 2023.  The exhibition is the first of two, with the second one coming up in November 2023. For the second part, Hanna intends to create a new work, dealing with similar themes of remembering, forgetting, and weight.

Remembering and forgetting

Hanna has always been curious about how memory works, possibly because her own memories of the past are often vague. Using her background in photography as a starting point, she likes to investigate the role of a photograph in remembering – and forgetting. Most of us have photographs from our childhood, of events that we cannot actually remember, the photograph acting as the only proof that something did really happen. Some of us also have false memories; we think we remember something happening, only to realise that what we actually remember has been reconstructed from a scene we have seen in a photograph.

Sometimes the memories we do not have are actually more meaningful than the ones we do. Hanna is interested especially in the gaps in our memory; the things we find too painful to actively remember have a way of making themselves present in their absence. They leave gaps, holes in our memory that are so big and so obvious that we cannot ignore them. Our minds have interesting ways of dealing with these gaps, the remnants of painful memories. Sometimes we try to fill them in, creating new versions of the past within our minds. Those fake memories are shifting, however, as the way we look at our past changes as we live and grow.

Hanna intentionally looks into the gaps and the absences that tend to cover up painful memories. Her gaze does have sympathy and kindness, too – not only sorrow.

Archeological sites

Vertigo, 2021. Mobile. Approx. 1,5 x 1,5 x 3,5 meters.

Vertigo, 2021. Mobile. Approx. 1,5 x 1,5 x 3,5 meters.

This introspective research into one’s own past and memory finds another way to manifest itself in the form of Hanna’s other current and ongoing project, one that she started researching while at FABRIKKEN. While the bronze sculptures deal with forgotten personal memories, this other project – that Hanna refers to as her “archeological project”or a “project of ruins” – deals with collective memory and looks into the land that Hanna’s family has owned for generations. The land has been lived in since the 17th century and Hanna herself remembers it from her own childhood.
With signs of population and ruins scattered around the now overgrown area, the project has encouraged Hanna to acquaint herself with archaeological research methods and techniques. Although Hanna has already spent some time researching the area and reading about it, the final form of the work is still unknown. At first, Hanna thought the research would result in a site-specific piece, situated in the area itself, but now it seems that the area will only present itself in the work as a premise.

The questions the project raises are many and varied. Does investigating the past also help re-evaluate the future? Who has the right to a land? Does designating the area for some people automatically mean that it excludes others? These are questions that Hanna is hoping to, if not answer, at least assess.

Current processes and future plans

Hanna’s time at FABRIKKEN instigated many processes, the results of which are seeing the light of day currently and in the future.

A public art project commissioned by Helsinki City and Helsinki Art Museum HAM was being finalised during the time our discussion took place and is now fully installed at a primary school in the Pohjois-Haaga neighbourhood in Helsinki. The 33-metre-long installation titled Chronology comments on the many layers of history. A book of poetry is planned to be published this spring. Published by the Yö ry association, the book is a first for both the association and Hanna. Hanna is also looking to travel to Rome’s Villa Lante this year, supported by Wihuri Foundation. There, just like in Copenhagen, Hanna may find herself researching a space that is simultaneously strange and familiar, a memory of a place that doesn’t quite match reality.

Finnish Cultural Foundation’s residency programme is maintained and developed in collaboration with HIAP – Helsinki International Artist Programme.

Applications opening for Regional Funds: EUR 13 million available

In the January round, the Regional Funds give out grants to support arts and academia in their own regions. This time the round includes 16 funds, because the Uusimaa Fund only gives out grants every other year (January 2024 being the next time).

The Regional Funds award grants to applicants who live or were born in the region, as well as to academic or artistic work and diverse cultural projects taking place in the region.

Special-purpose grants common to all the Regional Funds include projects related to each region’s heritage, Art for Everyone grants and Spearhead Project grants. The additional EUR 1 million for cardiovascular research is open for applications from every region. Each region may also have its own special-purpose grants.

Support for research on cardiovascular diseases

In the January round, all Regional Funds are accepting applications for the joint additional EUR 1 million for research on cardiovascular disease. This additional funding is directed at various fields within medicine, but applications may include components related to specialist areas within cardiovascular research or closely related disciplines.

Besides research, applications may relate to funding for starting up research groups or completing projects, for example. Applicants can be individuals, teams or research consortia, and the funding can be spread over more than one year. Typically the “additional million” grants have totalled EUR 100,000–250,000 per project, but even bigger projects than that are welcome to apply. Applications are evaluated on medical grounds and on the basis of their national or international significance, without any need for a regional perspective.

Art for Everyone grants for long-term projects

The purpose of the Art for Everyone grant is to reach people who have difficulties accessing art. Potential sites for these projects include diverse institutions and assisted living residences.

The minimum sum for the Art for Everyone grants to be distributed from the January Round is EUR 10,000. The objective is that the funded projects will span a longer period, to maximise their impact. They may apply either to several audiences or to long-term work with one audience.

Special-purpose regional grants

Major grant for developing a more sustainable future

The South Karelia Regional Fund is providing funding totalling a maximum of EUR 100,000 for projects that combine art, science and technology and are linked to ecology, the circular economy or social resilience. 

Major grant for research on the energy sector

The South Savo Regional Fund is providing funding totalling a maximum of EUR 100,000 for research on the energy sector. The research subject may be the sustainable use of renewable natural resources, energy storage or other solutions related to security of supply, for example.

Speak Finnish Boldly!

The South Ostrobothnia Regional Fund has a Speak Finnish Boldly! grant in addition to its usual funding for artistic or academic work. The grant sum is EUR 3,000 and the applicant must undertake to improve their Finnish language skills during the grant period.

Planning Grant

Applications may be made to the Pirkanmaa Regional Fund for planning and developing a Spearhead or Major Project for the 2024 application round. The grant sum is EUR 2,500 and its purpose is to facilitate the planning and development of large-scale and extraordinarily demanding projects.

Further information

For more information on the Regional Funds’ grants, please refer to each Regional Fund’s subpage and to the regional information videos on the Cultural Foundation’s YouTube channel

There will be a joint grant information event for all the Regional Funds on Tuesday 31 January between 2pm and 4pm. More details will be available on the January Round’s web page close to the date.

Grants for foreign residencies awarded to eight artists

The Cultural Foundation’s residency programme currently includes eight destinations in seven countries, but due to Covid-related exceptional circumstances, not all the residencies were available for application.

The Triangle residence in New York has been receiving artists via the Finnish Cultural Foundation since 2019. In 2023, it will host Sari Palosaari, whose residency was delayed from 2020, and this autumn’s successful applicant, Sauli Sirviö.

Vaaleahiuksinen nainen harmaassa hupparissa, selfie-kuva

Artist Liinu Grönlund.

“During the residency, I will be focusing on field work, recording the deterioration of infrastructure and the ghosts arising from lost locations and spaces. I gather discarded materials from the edges of the city and turn them into sculptures, which will be documented for a future publication,” Sirviö says.

Artist Liinu Grönlund will be going to Denmark, to the Fabrikken residency, to find some peace and quiet in which to ponder her work and activities.

Tummahiuksinen, silmälasipäinen nainen hymyilee kameralle

Literary Translator Anna-Leea Häkli. Photo: Anna Lannemo

“During the residency period I plan to look at photographic materials I have previously amassed together with natural scientists, as well as taking more nature photographs in Denmark, while developing a new essayistic work. I may collaborate with local researchers. I am particularly interested in visiting the Vaddensee tidal shore,” Grönlund states, excitedly.

Fabrikken will also be visited by visual artist Jonna Kina, while comic artist Ivande Jansone and photographer Saara Tuominen will have stays at NART in Narva, Estonia. Visual artist Felicia Honkasalo will undertake a residency at SeMA Nanji in Seoul, South Korea, and filmmaker and photographer Marko Vuorinen in Tokyo Arts and Space residency in Japan.

This time, the longest distance for a residency will be travelled by literary translator Anna-Leea Häkli, who will go to Argentina to translate a novel set in Buenos Aires, due for publication in spring 2024.

“During my residency period I plan to read as much Argentinian contemporary literature as I can, and I also hope to meet local authors. I am interested in the colourful history of Buenos Aires as well as in the local spoken language, which features prominently in the book I am translating.”

The artists for the residency programme are selected through a two-stage evaluation process, in which the residency makes the final choice based on a shortlist curated by the Cultural Foundation. The programme is being developed in collaboration with HIAP (the Helsinki International Artist Programme).

 

The working grant for the Cultural Foundation’s residencies is EUR 7,000 per three-month period. Additionally, the grantee receives EUR 500–1,000 in travel aid. The Cultural Foundation encourages its residency artists to choose the most climate-friendly forms of travel.

 

One million euros to support Romani language and culture

The Finnish Cultural Foundation has decided to support the revitalisation of Finnish Kalo (a Romani language) and Romani art and culture with as much as EUR 1 million in funding, to be spread over the years 2023–2030. The initiative is linked to a programme by the Finnish National Board of Education to revitalise Finnish Kalo, which consists of 11 proposed steps. These steps include ensuring sufficient numbers of Kalo-speaking teachers and tutors, and developing learning materials in the language.

Most of the EUR 1 million funding will be handed out in the form of grants between 2023 and 2030. The grants will be directed at actions such as having literature translated into Finnish Kalo, improving the working conditions of artists from the Roma community, producing learning materials in the language and developing supporting materials for the revitalisation process.

EUR 75,000 will go directly to the National Board of Education’s language revitalisation programme, for instance for planning and creating Kalo-language social media, arranging master-apprentice meetings in the language and paying for regional network coordinators. The Cultural Foundation is also exploring the production of a package of children’s books and materials in Finnish Kalo to be distributed via the Reading Gifts for Children project, if that project receives further funding from the government.

The number of Finnish Kalo speakers has drastically fallen and the language is now endangered. It is estimated that only one third of the Finnish Roma community (which totals 10,000–12,000 people) speak Finnish Kalo, and the number of fluent speakers is even lower.

The Cultural Foundation’s Board of Trustees has dictated that the foundation must pay particular attention to Finland’s endangered minority cultures, such as the Sami and the Roma, in its activities.

“We have actively been supporting the Sami languages and cultures for a long time. We have also awarded grants that benefit Romani culture on a yearly basis, but this funding is of an even more robust and long-term nature,” explains Secretary General Antti Arjava.

Leena Reittu Turns Logging into Art

Nainen tekee puista veistossa lumisessa metsässä.

Leena Reittu and the sculpture “Look, come closer”.

Nature Centre Ukko in Koli, eastern Finland, has small wooden sculptures on display, and more can be seen in photographs on the walls. Despite being shown in North Karelia, the works have their roots in the forests of the Helsinki district of Pirkkola. A few years ago, lively debate was sparked by plans for a multipurpose hall to be built in Pirkkola Park. Many locals objected to the plan, which involved felling old-growth forest.

As part of her Master’s studies in art, Leena Reittu took an activism course that included an exploration of the feelings evoked by the felled forest in Pirkkola. Digging tree stumps out of the snow there gave her the idea for a performance, in which all the stumps in the clearing would be revealed to let the bark see the light of day for a final time, as it were. Since then, forest clearings have formed a part of her art. 

Reittu’s work will be exhibited at Nature Centre Ukko until 28 December 2022. Reittu works in the region herself and is active in a local cultural association, which among other things runs an artists’ residence in the village.

The photographs and works in the exhibition illustrate Reittu’s work process. She picks up logging waste from clearings, turns it into a sculpture and returns it to the clearing, where it will live on. The shapes of the sculptures are inspired by the microscopic curves on lichen.

The sculptures in the clearings are unmarked and there are no signposts leading to them. Still, Reittu does intend them to be viewed. “I enjoy the element of surprise – that you might randomly walk or hike to a place and find an odd-shaped lump there.”

Nature itself can contribute surprises. “At some point, someone had tried to move one of my pieces and it had got wet, and started to grow a rot fungus, which was really cool. So thanks, vandal!” Reittu laughs.

Puinen veistos lattialla

Wood has been an important material for Reittu since her studies. Having graduated from Saimaa University of Applied Sciences in 2015, she bought a tree trunk and turned it into a series of works. So far, the same trunk has yielded four series – each with slightly smaller works than its predecessor.

“This kind of recycling feels like my thing,” Reittu says. “I want wood to have another purpose; it is a living material, after all. I have read a lot about trees and found out about their life cycles. It has led me to feel greater empathy for them. At least I try not to add to all the messes we have created in the world with my work.”

Reittu mentions the vehemency of movements to defend even small forest plots in the Helsinki metropolitan area. This contrasts with the situation in North Karelia, even though certain places of personal importance to people might arouse debate. “The scale of logging in this region is tragic. There are very few opportunities for influencing decisions,” Reittu says.

She sees her art as a form of activism. “I have to process my own frustration with deforestation in some way. There are no good ways of having an influence, but it gives me some satisfaction to be doing something, however small. If I am an artist, then why not use that as a channel for expressing my views.”

Leena Reittu received six-month grants for her artistic work from the North Karelia Regional Fund in 2019 and 2022.

Ten New Play Translations for Finnish Theatres

The World on Stage grant model, intended for theatres, first opened for applications in August 2022. The grants that have now been awarded will be used to have ten high-quality plays from our time translated from various languages into Finnish and performed on Finnish stages for a broad culture-loving audience. The total sum awarded in the grant’s first application round was just over EUR 250,000.

“The number of applications was good, considering that this was the first time that this grant was available. I am particularly pleased about the diversity of the applicants. The selection of source languages was also broad,” explains Regional Fund Officer Antti Niskanen from the Cultural Foundation, who was in charge of handling the applications.

The plays’ source languages include Arabic, Icelandic, Catalan, French and Russian. There is also a play partly written in Pidgin English. The recipients of the grant included work groups, freelance operators and some large theatres. The first performances facilitated by the grant will appear on Finnish stages during 2023.

Among the successful grant applications were several Nordic plays: the Swedish play Heterofil by Christina Ouzounidis, the Icelandic play Græna landið by Ólafur Haukur Símonarson and the Norwegian Tid for glede by Arne Lygre. Representatives of more distant languages included the Arabic-language play Orange by Basim Kahar.

The World on Stage grant was conceived based on the observation that fewer and fewer contemporary plays from non-Anglophone language regions are being produced in Finland. Recent dramatic works from continental Europe or elsewhere in the world are rare in Finnish theatres. The Cultural Foundation hopes that the volume of applications will grow in the future, and that they will primarily pertain to plays in languages other than English.

“This funding will contribute to enriching and diversifying the programming in Finnish theatres. We hope that the translations will also live to be repeatedly performed on Finnish stages,” Niskanen says.

The Cultural Foundation’s partner for the World on Stage project for 2022–2024 is Theatre Info Finland (TINFO), which has, among other things, curated a list of recent plays suitable for translating.

“I am glad to see how many theatres and dramatic ensembles managed to take part in the first application round, taking into account how much additional work the pandemic’s aftercare, including all the production postponements, has caused for theatres. We are particularly pleased about the diversity of plays from around the world that the applications pertain to,” says TINFO’s director Linnea Stara.

The aim of the World on Stage funding is to encourage Finnish theatres to have a total of thirty new, contemporary plays from around the world translated into Finnish, and then to perform them. The Cultural Foundation’s funding for the project will total around EUR 1.2 million. The next applications for World on Stage will be accepted in August 2023.

Funding for having plays translated into Finland’s second official language, Swedish, and performed on Finland’s Swedish-language stages is provided by the Swedish Cultural Foundation in Finland, with the next application round taking place in November 2022.

Recipients of the World on Stage grant

  • Helsinki Theatre Foundation: EUR 16,000 for translating the play Tid for glede by Arne Lygre from Norwegian into Finnish, and for covering other expenses related to the production.
  • Anu Hirsiaho (PhD Soc. Sc.) and Charles Ogu (MPhil): EUR 30,000 for the translation and production of the Nigerian play Embers by Soji Cole.
  • Jyväskylä City Theatre: EUR 10,000 for translating the play Petits crimes conjugaux by Eric-Emmanuel Schmitt from French into Finnish and producing the Finnish première.
  • Central Uusimaa Theatre: EUR 30,000 for translating and producing the Catalan play Tocar Mare by Marta Barceló.
  • Koko Theatre: EUR 30,000 for translating and producing the German play WÜST or The Marquise Of O…. – Faster, Pussycat! Kill! Kill! By Enis Maci.
  • Joel Lehtonen (BA Theatre Arts) and team: EUR 22,500 for translating and producing a play adaptation from the novel Secondhand Time: The Last of the Soviets by Svetlana Alexievich.
  • Black and White Theatre: EUR 30,000 for translating and producing the play The War Has Not Yet Started by the Russian playwright Mikhail Durnenkov.
  • Rauma City Theatre: EUR 30,000 for translating and producing the Icelandic play Græna landið by Ólafur Haukur Símonarson.
  • Finnish National Theatre: EUR 27,000 for translating and producing the Arabic-language play Orange by Basim Kahar.
  • Valtimonteatteri: EUR 30,000 for translating and producing the play Heterofil, written in Swedish by Christina Ouzounidis.