Welcome to the opening of my exhibition IN-VISIBLE, together with Pablo Griss, at Luisa Catucci Gallery in Berlin, on 26. April 2024.

There will be an extended opening from 17:00 till 22:00 because of Berlin gallery weekend.
Luisa Catucci Gallery, 
Brunnenstrasse 170, Berlin

Within the vacuum of space, energy takes the form of electromagnetic waves characterized by oscillating electric and magnetic fields. Sound remains silent, unable to propagate without a medium, preserving an unbroken cosmic silence. Conversely, in our reality, sound acts as a vibrant thread weaving through the tapestry of existence, resonating within the harmonies and discordances of everyday life. The amalgamation of these energies, coupled with reflective and other effects, not only shapes our environment and reality but also influences perceptual experiences in both visual and auditory domains.

Finnish artist Antti Pussinen and Venezuelan artist Pablo Griss share a fascination with the interplay of these physical phenomena and revolve their artistic practices around this intrigue. In their exploration, both artists unravel the profound connection between external forces shaping reality and the subtle reverberations imprinted within the intricate tapestry of existence. They share an urge to interweave art, science, and philosophy, stimulating the viewer with masterpieces working as reminders of the cosmic interconnectivity embracing all existence.
The acceptance of the cosmic total interconnectivity holds profound philosophical implications, challenging traditional notions of individuality and separation. Embracing the interconnected nature of the cosmos prompts a reevaluation of human perspectives, emphasizing inherent interconnectedness not only with the universe but also with one another.

On the other hand, the aesthetic outcomes of Antti Pussinen’s and Pablo Griss’s artistic expressions are markedly divergent. The common ground between the two artists appears to be their shared fascination with imperceptible elements, coupled with a mutual impetus to transmute these invisible nuances into the visible spectrum—aptly encapsulated by the exhibition’s title, IN-VISIBLE. The decision to curate an exhibition dialogue featuring these two particular artists is further motivated by the visual counterpoint that distinguishes their respective works.

 

In contrast with the rigorousness of the constructions and execution of the paintings of the Venezuelan artist, the Finnish artist Antti Pussinen presents compositions that look like visual imprints of cosmic chaos. 

As a conceptual and generative artist, Pussinen is captivated by both technology and the profound sense of insignificance and vulnerability when confronted with natural forces.  In the realm of his artistic inquiry, the artist’s endeavours are directed toward the exploration of the manifestation of forms and surfaces that inhabit an intermediary space, simultaneously evoking organic and artificial characteristics. Central to this investigation is the utilization of imagery derived from wave patterns, wherein the inherent complexities of wave dynamics are harnessed to elicit aesthetic expressions.

Generative art, as embraced by Pussinen, involves the use of technological autonomous systems to create artwork features that would traditionally be determined by the artist. 

The IN-VISIBLE exhibition will present the latest production by the Finnish artist based on Lissajou curves of both specific and undefined sounds. In the realms of mathematics and physics, Lissajous curves are notable for their graphical depiction of oscillatory and wave phenomena, providing a nuanced exploration of the interrelationship between the frequencies and amplitudes of two disparate waves.
Using recorded voices, or electronic sound waves generated by the artist self on synthesizers, Pussinen launches them through a self-modified colour cathode ray tube, to impress the photograms of those sounds on black and white Fomapan photographic PE paper and plates. 

The resultant imagery undergoes further refinement through the optical modulation facilitated by a tilted lens, inducing nuanced variations in image sharpness. Notably, the discernible “raster” present in these compositions serves as a visual artifact arising from the inherent structure of the utilized CRT tube’s colour-separation grid. After the exposure process, each artwork undergoes meticulous hand development within expansive chemical baths, thereby bestowing upon it a nuanced tonal spectrum characterized by the interplay of stark black and white gradients.


 

Crucially, these artistic endeavours stand as singular and unrepeatable entities, owing to the intricacies inherent within the methodological framework. Indeed, any attempt to replicate an image through identical sonic modulation would invariably yield divergent outcomes, underscoring the immutable uniqueness intrinsic to each art piece.

Having exclusively explored the grayscale spectrum of black and white photographic paper for an extended period, Pussinen sought to introduce another layer of depth and associative possibilities to his work. In an initial endeavour to incorporate colour, he experimented with employing the colour process in his photograms. However, dissatisfied with the outcomes and unable to envision a compelling evolution of his work, he decided to remain within the era characterized by CRTs and black-and-white photography as the pinnacle of technological advancement. Instead, he opted to utilize protein-based photo-retouching colors, historically employed for hand-colouring black-and-white photographs post-development, to achieve his desired aesthetic. 

The resulting pieces evoke the appearance of outer space portals leading to alternate dimensions, characterized by an aesthetic that converges at the intersection of Bauhausesque reminiscences and Japanese minimalism influences. This synthesis underscores the idea that sound and energy transcend any constraints of time, space, or culture, resonating across boundaries with boundless freedom.

Another energy that does not accept boundaries and is undoubtedly universal, is the one of Love. In his effort to emphasize the universality of love, Antti Pussinen underscores that love transcends borders, politics, religions, and races. As a testament to this idea, he has prepared a “Wall of Love” for this exhibition, showcasing photograms of the syllables of the word “LOVE” spoken in 9 European languages. Pussinen’s ultimate aspiration is to compile love phonograms from all languages worldwide by the year’s end. The initial triptych featuring the syllables of “Rakkaus” (love in Finnish) is currently on display at the Finnish Institute in Berlin as part of an exhibition curated by Mika Minetti, showcasing works by the Six Finnish Artists of the Year 2024, including Pussinen himself.

VISITING ART/ISTS 2024

ICH FINDE DICH IN ALLEN DIESEN DINGEN
Finnland-Institut, Berlin, Germany

Welcome to the opening
on Thursday, 8.2.2024, 6–9 pm

Featured artists: Jussi Goman, Jussi Jääskeläinen, Laura Kärki, Antti Pussinen, Jarkko Räsänen and Elsa Salonen
Curated by Mika Minetti

Exhibition duration: 8.2.–14.11.2024

Finnland-Institut, Friedrichstraße 153 a, 10117 Berlin, Germany

“2 May” is an installation of preserved ritual objects from the past day of celebration, disobedience and postponed revolutions. The historically charged date of political and social resistance with its symbols, now a visual and philosophical sign to be used for social media posts – or is it a ritual staged anew every year, like the re-enactment of historical events to enable everyone to participate in the mythical tradition of paving stones and smoke torches?

“2.Mai” examines “oral history” of the “war stories” of the resistance as well as its symbolism. It refers to objects that are part of May Day, both in Germany and Finland. Currently, there is an urgent need to question the unjust and gentrifying development in urban and social space. The installation questions the methods of the past in terms of their relevance.

The artwork in the gallery space evolves and changes during the exhibition as parts of it are hung to dry and preserved.

The installation “2.Mai” by Antti Pussinen forms the 2nd part of exhibition series “am anderen Ort “.

Antti Pussinen lives and works in Berlin-Kreuzberg. His works have been exhibited at Kiasma, the Tampere Art Museum, Jyväskylä, Kuopio, Hyvinkää and Kouvola Gallery, Helsinki, Freies Museum Berlin, Luisa Catucci Gallery, Berlin, and the Centre for Architecture in New York. In recent years, he has realised the spatial installations “Ries” and “the n:th wave”, among others, for Walden Art Exhibitions.

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“2. Mai” ist eine Installation aus erhaltenen rituellen Objekten des vergangenen Tages der Feier, des Ungehorsams und aufgeschobener Revolutionen. Das historisch aufgeladene Datum des politischen und sozialen Widerstands mit seinen Symbolen, jetzt visuelles und philosophisches Zeichen zum Gebrauch für social-media Posts – oder ist es ein alljährlich aufs Neue inszeniertes Ritual, wie das „re-enactement“, die Wiederaufführung historischer Ereignisse, um es allen zu ermöglichen, an der mythischen Tradition der Pflastersteine und Rauchfackeln teilzuhaben?

“2.Mai” untersucht die „oral history“, die mündliche Überlieferung der “Kriegs-Geschichten” des Widerstandes sowie seine Symbolik. Es nimmt Bezug auf Objekte, die, sowohl in Deutschland als auch in Finnland, Teil des 1. Mai sind. Aktuell ist es dringend notwendig, die ungerechte und gentrifizierende Entwicklung im städtischen und sozialen Raum in Frage zu stellen. Die Installation befragt die Methoden der Vergangenheit im Hinblick auf ihre Relevanz.

Das Kunstwerk im Galerieraum entwickelt und verändert sich während der Ausstellung, da Teile davon zum Trocknen aufgehängt und konserviert werden.

Die Installation “2.Mai” von Antti Pussinen bildet den 2.Teil  Ausstellungsreihe “am anderen Ort “.

Antti Pussinen lebt und arbeitet in Berlin-Kreuzberg. Seine Werke wurden u.a. in Kiasma, dem Kunstmuseum von Tampere, Jyväskylä, Kuopio, Hyvinkää und Kouvola Galerie, Helsinki, Freies Museum Berlin, der Galerie Luisa Catucci, Berlin, sowie im Zentrum für Architektur in New York ausgestellt. Für Walden Kunstausstellungen realisierte er in den letzten Jahren u.a. die Rauminstallationen “Ries“ und “the n:th wave“.

“Yes, we are doing it! Thanks to most recent green technology, permitting blockchains to be more eco-friendly, LCG finally joins the futuristic art scene of NFT, to the delight of our most technological collectors. For our very first space travel through this Metaverse, we are presenting, with the support of renowned platform FX(HASH), limited editions of generative NFTs by Finnish artists Antti Pussinen and Joonas Toivonen. Since tech-conceptual artists, Antti Pussinen and Joonas Toivonen, are both working since the late 90s in the sphere of multidisciplinary visual, sound, and coding, at the magical crossroad where science and technology meet art, we will also present a selection of their generative and computative works, pre NFT era, for the delight of our more traditional collectors instead 

By developing processes out of the ordinary to catch shapes and forms normally considered impossible to be seen – like sound – these artists go beyond the traditional way of the creative work, approaching it more like Chaos scientists-mathematicians than visual artists. In fact, Chaos is an important component in the generative process of these two artists, and has undoubtedly a strong impact on the aesthetic side, due to the deterministic random effect embedded in the code, that will differently generate artwork elements, composition, colors and details at each execution of the script. This generates unique variations within the same piece. 
As the title of the show says: Improbable Iterations.

Despite the Chaos factor, the NFT artworks by Pussinen and Toivonen, show not only to be a natural development of their twenty-year artistic research, but also to be deeply rooted in the classic history of art, with inevitable references to the work of Vera Molnar, pioneer of algorithm-abstraction, computer and generative-art, and with atmospheres, patterns, and nuances of Suprematism and Cubism taste for Pussinen, and of puntilism-impressionist taste in the defragmented reality of Toivonen. .

The society’s obsession with worshiping/fearing technology, makes generative art one of the hot-topics of the contemporary art scene.  Among the current interest in NFT and generative art from a technological and philosophical point of view, one will most likely end up in a discussion about finance, investments, consumption, cryptocurrencies, risks, controversy and liquidity of the NFT market. This kind of talk, reinforced by a general caution dictated by the instability and complexity of the cryptocurrencies, often awakens a fear of a Ponzi-Schemes taste, reinforced by the volatility of the tech-scene permanently running after The Next Thing.
This generates a fundamental doubt: can NFT be considered legitimate pieces of art? Does it make sense to start or have a collection of Non-Fungible Tokens? In our opinion, absolutely. As long as the final result responds to the same parameters for an oil painting, a drawing, or a sculpture to be considered a piece of art. Obviously, it is valid also the opposite statement: as not every oil painting, drawing, or sculpture is a valid and legitimate piece of art, so is for NFT. 

It is an old debate, when technology permits the production of images that weren’t possible to be realized previously, if the new products are allowed to climb the Mount Olympus of the art world. Isn’t after all the NFT art scene a new ecosystem creating new interactions between artists, art lovers, collectors, curators, like it has previously been with photography and video-art? Once again, in our opinion, absolutely. 
This new scene radically changed the approach to collecting art. Prices are mainly staying in the affordable range, and there is no need for big space and big walls to display a whole collection, a monitor will do. No need for storage space, except the cloud. 
The downside, whenever we face art that doesn’t take much time to be produced, is that we fall into overproduction. This, accompanied by people’s egotistical/voyeuristic/exhibitionist behavior generated by social medias, accompanied by the hope for “easy” coins and possibly fame, leads people to publish every single thing without making any selection. Result: there are tonnes of low quality images out in the net, saturating our eyes. Navigating these waters isn’t easy!

That is why we believe that selecting and curating NFT shows is a duty of a contemporary art gallery, interested in new media. Because the NFT scene itself changed so radically since its recent beginning, and today, parallelly to tonnes of pixel-art and tokens of debatable taste and aesthetic with no – or almost none – reference to the history of arts, there is a growing scene of gorgeous, stunning, meaningful pieces. We believe the work of Antti Pussinen and Joonas Toivonen to be part of this category of NFT works, and we are thrilled to start our adventures in the Metaverse with them.” Gallerist Luisa Catucci

Welcome to the opening of my first solo exhibition that uses generative NFT art edition as a starting point for an installation in a gallery setting. The official opening is on Friday 8.7.2022 at 19:00 in Walden Kunstaustellungen, Fulda Strasse 56, 12043 Berlin.

Link to the NFT edition:
https://www.fxhash.xyz/generative/slug/ries

Ries is 500 sheets of paper.
Ries is a cut-up text artwork.
Ries is a work of art generated by an algorithm based on random numbers.
Ries is a digital artwork installed in 5 forms in the exhibition space.
Ries is an NFT artwork.

The rise of NFT artworks is a trend that is dividing opinion in the art world. Prices for NFT artworks have soared to absurd heights over the past year, and the NFT space is rife with scams. At the same time, NFTs have opened up new audiences and collectors for art and enabled artists to sell their art digitally. For digital generative artworks, NFT allows for an interesting interaction: the artist creates a system of rules and instructions for creating an artwork, and the act of buying the artwork actually creates it.

The exhibited edition of 500 iterations of the generative artwork “Ries” is generated by a computer script and algorithm. Markov’s Chain-Monte Carlo algorithm generates a repetitive, chopped-up text that is then variously laid into a visual artwork through a procedural process controlled by random numbers. The initial number for the random number generation is the transaction proof number of the sale of the artwork as an NFT. Since these proof or hash numbers are different by design, it is ensured that each of the 500 iterations are different to one another.

The artwork is designed to be printed with a black and white laser printer. These prints can then be assembled into a collage or exhibited individually.
“Ries” NFT will be released on the FxHash platform, which works with the Tezos cryptocurrency network. FxHash is an artist-run and managed platform that is growing rapidly. Cryptocurrencies and NFTs are synonymous with pollution and energy waste, but the Tezos network is one of the cleanest options*.

*The total annual carbon footprint of the Tezos blockchain is equivalent to the average energy footprint of 17 global citizens.

N:th Wave installation will be shown in the historic industrial area of Finlaysson.
more info: https://www.projio.fi/

In the year 2020/2021 we are following a long awaited natural disaster in
slow motion, but its scope has surprised everyone. Social life grows
ever smaller and hanging around at home is reflected in the
overconsumption of the news. How many new covid cases?

The invisible risk to catch the disease is made visible by colours
glowing bright in the ultraviolet light as door handles, handrails and
buttons all seem lethal. In the post-Christmas time window display of
the pandemic era, each new day brings new infection spread maps, and
by evening one ponders if tomorrow will be any different. By it you
can stop and be amazed by your own minusculity and try to understand
that in order to help more you need to do less. 

The Flock Series of cathode ray photograms is shown in Reflektor exhibition in Vantaa, Finland

In the series i used sound waves to generate visual imitation of flocking birds, insects, and fish.

more information from website: https://reflektor.fi/

N:th Wave installation “Finnisage” 20.3. 2021

My N:th wave installation has been turning in the window of Walden Kunstaustellungen gallery in Berlin Neukölln since 15.1. 2021. Because of strict contact restrictions early this year in Berlin, there was no opening reception at that time. Now the rules allow for a small finnisage, if you register that you are coming to info@galerie-walden.de per email. I am present the whole time from 16.00 to 20.00. 

The artworks was supposed to be shown also in 2021 LUX Helsinki exhibition in february, but that got cancelled as expected. I had hoped that the time i take the installation down, we would be looking to a more optimistic spring, but i was wrong. Lets see if N.th wave will shown again during waves 5, 6 and 7. I hope not. 

N:th Wave

In the year 2020 we are following a long awaited natural disaster in slow motion but its scope has surprised everyone. Social life grows ever smaller and hanging around at home is reflected in the overconsumption of the news. How many new covid cases?

The invisible risk to catch the disease is made visible by colours glowing bright in the ultraviolet light as door handles, rails and buttons all seem lethal. In the Christmas time window displays of the pandemic era each new day brings new infection spread maps. By it you can stop and be amazed by your own minusculity and try to understand that in order to help more you need to do less. The Walden Kunstaustellungen exhibition has specifically been designed to be pandemic compatible, that is, viewable only from outside.

Antti Pussisen näyttely nähdään Galleria Sculptorin Studio-tilassa 7.–30.8.2020. 
+358 (0)10 248 1580 | www.sculptors.fi | Eteläranta 12, 00130 Helsinki, Finland

From 2020 on, my art ist represented in Berlin by gallerist Luisa Catucci.

www.luisacatucci.com

Im taking part in the group exhibition Function.Anomy, running from 29.3.2019 – 17.5.2019. The opening of the exhibition is held 28.3.

My works in the exhibition are resonance and sound photograms of waiting tone when calling to the registration office at the Rathaus.

After 4 months of downtime my web portfolio is starting fill again.