Näyttelyt ›› Virtuaaligalleria – Eläköön pellava! Long Live Linen!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Turkki 2005







Marimeko Oy - kankaat ja Jonet Oy - vaatteet

Pellavahuivit Irina Uskali

Raija Jokinen

Raija Jokinen

Raija Jokinen



 

VIRTUAALIGALLERIA

”Yasasin Keten! Finlandiya Dokuma Sanati” Turkissa 2005
”Eläköön pellava!” Suomalaisen tekstiilitaiteen näyttely

Izmir, Turkki. Museo Izmir Resim Heykel Müzesi 15.4.–30.4.2005.
Istanbul, Turkki.
Marmaran yliopiston taideosasto 5.5.–25.5.2005.

Tyyne-Kerttu Virkki Säätiö esitti Turkissa, Izmirin taidemuseossa ja Marmaran yliopistossa Istanbulissa suomalaisen tekstiilitaiteen näyttelyn Eläköön pellava! Näyttely esitteli pellavan käyttöä tämän päivän tekstiilitaiteilijoitten tuotannossa – niin uniikeissa taideteoksissa kuin piensarjatuotannossa. Näyttelyn oli koonnut ja sen komissaarina toimi museonjohtaja (eläkkeellä) Jarno Peltonen Virkki käsityömuseon avustamana. Näyttelyyn oli valittu teoksia lähes 20 johtavalta tekstiilitaiteilijalta ja valmistajalta. Muutamat historialliset esimerkit olivat Virkki käsityömuseon kokoelmista. Näyttely antoi laajan kuvan tämän päivän tekstiilitaiteesta sekä lisääntyvästä pellavan käytöstä ja suosiosta.

Näyttelyä varten opetusministeriö oli myöntänyt määrärahan. Toteutus Turkissa tapahtui Suomen suurlähetystön välittämänä yhteistyössä Turkin kulttuuriministeriön (T.C. Kültür Bakanligi) kanssa. Näyttely oli esillä Izmirissä Modernin taiteen museossa. Suurlähetystön toimesta painatettiin tätä varten esite, juliste ja kutsukortit. Näyttelyn avasi lähetystöneuvos Leena Maunula Suomen suurlähetystöstä. Tilaisuudessa puhui myös Suomen kunniakonsuli Ergun Ozakate. Istanbulissa näyttely oli esillä Marmaran yliopiston Tekstiilitaiteen osaston näyttelygalleriassa. Avajaisissa puhuivat rehtori Tunc Ere, dekaani Hüsamettin Kocan sekä suurlähettiläs Maria Serenius. Näyttelyn esitteli lehdistölle ja kutsuvieraille Jarno Peltonen, joka myös piti yliopistossa luennon Suomen tekstiilitaiteesta.

Näyttely herätti monipuolista kiinnostusta niin tekstiiliopetuksen, taiteilijoitten kuin suuren yleisön parissa. Näyttely esiteltiin mediassa laajalti. Izmirissä paikallinen televisio kertoi tunnin verran näyttelystä, mm. komissaaria Jarno Peltosta haastatellen. Istanbulissa johtava muotoiluun erikoistunut aikakausilehti Mimarlik julkaisi näyttelyn pohjalta laajan artikkelin. Näyttelyn teemaa pidettiin ajankohtaisena nimenomaan vanhan materiaalin elvyttämisen ja uudelleen käyttöönoton johdosta. Samoin pellavan uudet käyttömuodot ja innovatiiviset sovellukset herättivät kiinnostusta.

Izmirissä näyttely kiinnosti myös siksi, että museo valmistautui vastaanottamaan vähää myöhemmin suurta kansainvälistä tekstiilitaiteen kongressia näyttelyineen. Näyttelylle toivottiin myös jatkomahdollisuuksia Turkissa. Näyttely on osaltaan herättänyt kiinnostuksen tämän päivän tekstiilitaiteen innovatiivisuuteen ja luonut mahdollisuuksia yhteistyön kehittämiseen tekstiilitaiteen, opetuksen ja tutkimuksen sektoreilla.

Näyttelyn vieraskirjan kommentit ja sen saama laajempi huomio kannustivat jatkamaan. "Long Live Linen" nykytekstiilitaiteen näyttely järjestettiin Sofian taideakatemiassa Bulgariassa 7.3.20.4.2007, näyttely kunnioitti Tyyne-Kerttu Virkin syntymän 100-vuotistapahtumaa. Näyttelyä tuki opetusministeriö.

Linen Art of Finland

Flax is one of the oldest cultivated plants in the world and before the industrial revolution it was the most important fibre plant in Europe. Originally in Finland, flax grew wild on the shore meadows in the southeast and the oldest surviving remnants of cloth are from over a thousand years ago.

The history of linen has had its ups and downs. In the 18th century it was the most important fabric in the world and its production was integral to a nation’s prosperity. In the 19th century the production of linen was symbolic of rural enterprise and the role of cottage industry in rising living standards.

The textile industry continued to thrive and diversify after Finland gained its independence in 1917, with linen holding its own alongside cotton. The centre of the linen industry was the Tampella factory in Tampere. Its highly successful modern designs were the creations of Finland’s leading textile artists, particular during the Golden Age of Finnish design in the 1950s and 1960s. Dora Jung was one of the great names in modern linen damask.

The rise of artificial fibres in the second half of the 20th century almost totally eclipsed the use of linen and the closure of the Tampella factory in the late 1970s was thought to be its death knell. Flax is no longer cultivated in significant quantities.

Today, however, there is a growing enthusiasm for linen, and many young textile artists are enthusiastic about its possibilities. One could almost talk of a renaissance, especially considering the rising importance given to the material in teaching. Linen has earned a new respect following interest in natural fibres and environmentally friendly, renewable resources. Numerous projects are afoot to discover new ecological products that utilise the whole plant and not only its fibres. These include flax soap and crushes flaxseed.

Leading educational institutions are promoting development and research into serving presentday requirements. The exhibition contains a number of new products and product groups developed within the Louhi Project, a joint venture of the University of Art and Design and small and medium-sized firms. The importance of Finnish educationalists is exemplified by the role of the Wetterhoff School as coordinator for the EU-financed research project Linen on Net – The Common Roots of European Linen Patterns, carried out in 1998 in Finland, Italy, Slovenia and Sweden.

Exhibition Team

Jarno Peltonen, Tyyne-Kerttu Virkki -Foundation, museum director, exhibition director

The Virkki Craft Museum, Helsinki, the organizer of the exhibition, was established in 1978 to foster the craft traditions of Finland. In keeping with the life’s work of its owner, Tyyne-Kerttu Virkki, textiles, particularly linen, play an important part in the museum’s collections and work.

Exhibits

Marimekko Oy
www.marimekko.fi

In the 1960s Marimekko became a worldwide celebrated phenomenon, a way of life. Annika Reimala’s clothes and Maija Isola’s textile patterns embodied all the events and currents that made the decade: Op and Pop Art, flower power, student revolts and the conquest of space. The 1970s saw arrival of Japanese designers Fujiwo Ishimoto and Katsuji Wakisaka as well as product designers licensed to Japan and the USA. With the death of founder Armi Ratia in 1979, the future of the company suddenly seemed uncertain. It was only after that Kirsti Paakkanen took over as president in 1991 that Marimekko came back on its feet. With new designers, clothing lines and products, the company has gone from strength to strength.

Jonet Collection
Design Pekka Kytölä
Tel. +358 9 694 4123

The collection is based on linen which, combined with a new style design, has transformed this traditional material into a hyper-modern fabric for the new millennium. Linen, with its living surface, proved to be the most suitable basis for Jonet’s glowing colours. Piece dyeing allows for a uniquely broad palette.

Sauna and bathing textiles/Tablecloth collection
Jokipiin Pellava Oy
www.jokipiinpellava.fi

Linen is an essential element in the sauna and bathing culture of Finland. The company’s aims was to offer users something more vibrant and exciting than linen cloth. The characteristics of linen are at their best in sauna. Sauna textiles are traditionally produced from smooth linen and snug and absorbent linen terry.

With over 80 years experience in the business, the company specialises in the development and production of linen products. It is now Finland’s leading linen weaving mill and its products are in high demand in public places. Most of Jokipii’s products are made from home grown, organic flax and its range includes sauna and bathing textiles, kitchen and dining room fabrics, and gift products.

Tablecloth collection
Lapuan Kankurit Ky
www.lapuankankurit.fi

The task given to this group of four students was to design a collection of tablecloths for use in restaurants, parishes and other public places. The collection consists of whole and half-linen Jaquard weaves. The company has selected one model from each designer, thus producing a collection of four unique designs. The colour palette, which is the same for all four, was chosen in collaboration with the company.

Raija Jokinen
Maisa Kaarna
Helena Kaikkonen
Aino Kajaniemi
Tiina Karhu
Inka Kivalo
Jarno Peltonen
Heli Tuori-Luotonen

Irisjon
Jokipiin Pellava Oy
Jonet Collection

Lapuan Kankurit Ky
Marimekko Oy
The Virkki Craft Museum – Virkki käsityömuseo
Vuorelma
Wetterhoff

Linen on Net – The Common Roots of European Linen Patterns 1998–1999

The European Unions Raphael Programme supported the Project. The participants were Finland, Sweden, Italy and Slovenia and the coordinator was the Häme Polytechnic’s Wetterhoff School. The objective was to form a close network among the participants in order to research and compare hand woven linen tablecloth patterns between northern and southern Europe. Another objective was to publicise the participating nations’ textile collections and utilise contacts and results in the preparation of new textiles and teaching. A seminar and exhibition were organized as part of the project. The proceeds of the seminar were published as a book entitled Linen on Net (ISBN 88-86550-53-7) dealing with textile traditions in Finland, Italy, Slovenia and Sweden.

Artists’ ideas 

In my works I bear in my mind many memories from my childhood. Also nature is close. Silence and peace is present. Linen is an important fibre for me. Helena Kaikkonen

As a young student linen for me represented traditions and values which I absolutely wanted to brake. After years I became familiar with linen – through my works. Linen is two-fold fabric. It can be urban but it can be peasant. It can be woven but it can be printed. I have learnt to estimate its long history. Tiina Karhu

With my work I wanted to be a part of life. Through linen I am associated with nature and with the history of our country – and with its textile tradition. In my works I am interested in tones and structures – not so much in colours. Aino Kajaniemi

Linen means to me sophisticated shine and colours that are like blossoming flowers. Inka Kivalo

I weave my three-dimensional tapestries mainly with linen threads. In addition I might add silk threads etc. inside the warp to enliven the surface of the work. The visual basis for my work are notes that you write down when you find something you must remember. My notes can also have points of contact with the history of Finnish textile art and design. Heli Tuori-Luotonen  

 

Bulgaria 2007