We had a three week residency with our project Mechanit 2.0 and we’re getting step by step closer to premiere.
Mechanit is a performance-installation where lighting fixtures and sound instruments are the performers. The work searches for beauty and warmth from aesthetics of cold metal pieces and the mechanical movements of machines. The aim is to spark conversation on the relationships of humans and natural networks, materials, machines and technology.
The audience is invited inside a vast structure covering 100m2 of space and reaching to the height of five meters we call synthetic forest. This is the habitat of dozens of small mechanical creatures who communicate through movement, sounds and light. As the performance is perceived from within the structure and the mechanical creatures are moving all around you, the experience is very immersive and immediate. We are also present in the space, although not in the centre of attention as performers, but as the caretakers of the forest.
We invite you to experience this unique and intimate experience. During one hour the creatures of the forest will take you on a meditative journey through places you’ve never been before. It’s not only something sensed by watching and listening, but a multi sensory event.
Temporary light art installation for an event. A two minute programmed loop.
I used lines of light to highlight the geometric architecture of the building.
Vuosaari 21 performed a participatory performance Remember Me as a part of Vuosaari Light Celebration. I designed a meeting point for artists and audience using warm light bulbs in a circular form. The performance happened along a path witch was highlighted with large glowing balls scattered along it.
Finally after 9,5 years I found the time to graduate.
Helsinki Think Company organised their annual pitching competition and we had a party afterwards. This time a smaller venue provided more intimate atmosphere compared to last year. To emphasise the feeling of intimacy, I designed a quarter-ball shaped a matrix of warm lights which closed audience and performers inside it. To add an other layer to the space, also the space behind the structure was lit which emphasised the feeling that the audience and performers are sharing the same space. Towards the night fog got thicker making the feeling of privacy possible for the party people on the dance floor. Conventionally in club events this is achieved through darkness, but with thick fog also very blight lighting was possible.
4uni aftermovie
44party aftermovie
Lighting Design: Teo Lanerva
Production: Parcero Live
This performance deals with perception from two perspectives: perception as an experienced phenomenon and the performative side of perception. The working group is tracing how to use perception as a leading question in forming a compositional work.
The lighting was in a constant slow state of change through out the performance always changing its direction and color. This resulted in a hypnotising combination with the delicate movement and seemed to manipulate the perception of time.
Choreography: Tero Hytönen
Light Design: Teo Lanerva
Sound Design: Stephen Webb
Cello: Otto Nuoranne
Set Design: Bea Tornberg
Performers: Suvi Kelloniemi, Elisa Lejeune, Verna Nordlund
Photo: Petteri Savikorpi
We worked two weeks on the new project Kulovalkea by Sirkum Polaris and Nuua in a residency at CIRCa, France. The performance will premiere on May 2020 in Denmark.
Photo: Petr Kiška
We performed Nahkanaama in Ostrava, Czech Republic. You don’t get a beer delivered to FOH during the applauses every day.
Photo: Katri Naukkarinen
This contemporary solo performance explores the construction of meaning and the experience of meaningfulness. It considers critically the need to locate the meaning of existence somewhere outside the body, in gods and ideals, while, on the other hand, exploring the role of art as something that imitates the extrasensory.
For this performance I wanted to bring a large visual element to the stage. One that would make the performer look small and have also a reference to religions and church spaces which have many aspects in common with theatre space. In both spaces the audience sits in the darker side of the space while most of the light is concentrated in the space in front of them. One key difference is the ceiling. In western churches the height of the space is often emphasised with for example a large window above the altar where as in contemporary stage the ceiling is merely a place to hide technical equipment necessary for the performance and often the audience is encouraged to ignore it’s existence. These thoughts formed into a slightly angled large rectangle which casts diffused white light on the stage.
Working Group:
Concept, choreography and performance: Soili Huhtakallio
Dramaturgy: Soili Huhtakallio & Emil Uuttu
Light design: Teo Lanerva
Objects and costume design: Siru Kosonen
Sound design: Roy Boswell
Music: Mikko Sarvanne
Production: Zodiak - Center for New Dance
Photo: Juuso Westerlund
FLASH FLASH is a portrait of the American artist Andy Warhol – a lonely man surrounded by the masses. Warhol’s various existences – always scandalous – as a painter, filmmaker, media personality, and a thinker, crystallise many of the cultural and societal changes that characterise the most recent iteration of the Western cultural paradigm. Also insinuating their way into the picture are the United States and the Western way of life, along with their engine – consumerism. What in Warhol’s time was flamboyant fiction has become our reality.
Flash Flash is an incandescent requiem that encompasses – just as Warhol’s art does – serenity and passion, religious art and pornography, trash and diamonds. The opera depicts The Modern Man who flirts with destruction and death, and is incessantly desirous of big effects and ease, of voyeurism and cheap melodrama, of buying and selling – all presented in a gilded frame: the world of opera, or opera as the world.
The opera’s at once seductively melodious, yet also occasionally wholly pop-inflected pulse takes its beat from the rhythms and intonations of speech. Nuorvala utilises an unusual microtonal tuning system, known as just intonation to imbue the music with a fascinating sense of the unreal.
Composer Juhani Nuorvala
Libretto Juha Siltanen
Conductor Sauli Saarinen / Nils Schweckendiek
Director Erik Söderblom
Set design Reeta Tuoresmäki
Lighting & video design Teo Lanerva
Costume design Iida Ukkola
Sound design Kalev Tiits, Marko Myöhänen
Performers David Hackston (tenor), Sampo Haapaniemi (bass), Varvara Merras-Häyrynen (mezzo), Martti Anttila (baritone), Tuuli Lindeberg (soprano), Ari Kauppila (tap dancer)
NYKY Ensemble
Sibelius Academy Centre for Music and Technology
Executive Producer Ceyda Berk-Söderblom
at LUX Helsinki 2019
In this installation, light engages in a discussion with gravity using water as an interpreter. When reflected through swinging water, light – which is normally beyond the reach of gravity – bends, yet always returns to its starting point as if it had mass. This discussion between the elements creates a motion that is both familiar and strange at the same time. 5min10sec loop.