tiistai 2. toukokuuta 2023

Public Art in Rural Areas



Within these writing thoughts of mine, I aim at a quick overall look at the Public Art topic with more specific attention towards its applications and implications in the process of undertaking and having/possessing a Public Artwork in rural areas. This text is a personal reflection on this matter and perhaps a premise for further theoretical and practical investigations on this specific field of study. My interest in the field has grown naturally starting from working with mural painting projects in the urban areas, and cities where I used to live and continued further when moving to live in the countryside of Malax, commonly associated as a peripheral area of the main city of Vasa, although it has a distinct administrative municipality and so on. It was at this point that I encountered the question of creating art in the rural context. Making art for the community living in these territories, these areas, where the traffic of people, resources and attention seems limited. The necessity of reaching and speaking to a wider and dispersed audience led me to think and explore more public art as a whole category rather than focusing on a specific discipline or practice of doing art in this specific context.

Having included this introduction, I will continue toward the main content by first giving a brief description of what is the conventional definition of Public Art. What is generally understood to include this category of arts? According to general opinion, Public Art is art in any media whose form, function, and meaning are created for the general public, mainly through a public process. Public art is visually and physically accessible to the public; it is installed in public spaces in both outdoor and indoor settings. Public art seeks to embody public or universal concepts rather than commercial, partisan, or personal concepts or interests. Notably, public art is also the direct or indirect product of a public process of creation, procurement, and/or maintenance. Apart from this conventional definition of this category of art, there are other contemporary theories that question the notion of what should be considered or not Public Art. An example of this counterpart is the case of street art whose unconventional character, the way it is manifested, its private political point of view, and its private implementation acts, make this independent form of art not fully recognized as a Public Art genre. Nevertheless, I consider the latest a respectful branch of Public Art with all its colorful characteristics and controversies. The proof is given by many cases in our contemporary age when Street Art works have been not only accepted but loved, influential, and with a lot more community-shared values than the ones approved by art Institutions or other public authorities. This is to say that when studying or looking at this category of art making, there shouldn't be considered defining boundaries between these two counterparts which I see as extremities of the same constructed category. Public art as a whole genre is evolving and increasing its influence out of permanent monumental forms toward a wider and inclusive approach, both in content and form, challenging all sorts of concepts related to the public such as the medium, the presentation, the space, the content and so on.

When thinking about the general definitions of public art, we come to the point where one wants to know the implications that are brought by public art during and after its final implementation. Well, we can start by saying that public art is implied to be generally accepted as a public good and in the service of the community and its well-being, for instance. Though it is a public artwork, selected by an expert committee or else wise, its community consent is crucial and relevant to the artwork's lifetime, role, or importance. From this aspect comes also its inclusive features that can be seen as a consequence of this direct/immediate relationship between the artwork and the public. The praxis for the realization of a standard public art project is known and all new forms seem to look for a balanced and democratic approach throughout all the phases of funding, selection, and guidelines that further can shape the taste, meanings, expression, and content of the final artwork.

Now again, I would like to bring back our focus to a more particular aspect of this text and talk about the application of public art in rural geographic areas. Although this sentence seems to be a contradiction, as we generally are used to associating public art with urban areas, I am stimulated to discuss it further. The questions that emerge are:

Can it be done in Rural Areas and at what cost? How is it useful to rural audiences and communities? What is its role?

´Burning man festival´, Black rock desert, Nevada, USA, Artist Bryan Tedrick-“Lord Snort”-photography by Duncan Rawlinson


Before trying to answer these questions, we need to first understand why public art was developed within the Urban areas! Is it because of the centrality concept that we traditionally inherited? It is obvious that the concentration of the population, businesses, and crossroads brings an increase in the interest to develop and invest in Public Art both intentionally and naturally, knowing its role in shaping our urban landscapes and its relevance of direct/constant communication with the community.

On the other hand, public art in rural areas would need more intentional initiatives to create the premises for the sustainable fruition of Public Art by the rural communities and serve as an attraction for future inhabitants or visitors. Of course, the funding and its methods of implementation may vary too, and they need to be reformulated diversely to fit into the frames and needs of the new context.

Such initiatives require more conscience from the institutions at a local, regional, or national level. The role of Public Art in rural areas is to be considered even more important than in urban areas, as it is an added value on top of the natural surrounding landscape, human-made landmarks, and subjects that may shape the community’s identity.

The increasing interest from the general public and its limitless applications are bringing this form of art into serious consideration for sponsors, foundations, and artists too. 

Artwork by Valentina Gelain and Bekim Hasaj, for MuralRural festival/ Malakta, Malax, Finland, 2021. Photography by Sebastian Sundlin.


After discussing the role and the potential of public art in rural areas I would like to open up and briefly analyze the concepts of ´central-peripheral´ and their implications in undertaking or applying such a project in rural or peripheral urban areas.

The concept of centralization is deeply ingrained in our human history and the way our society works. It is the concentration of control of major activities and organizations under a single authority, a single entity. This applies to municipalities, cities, regions, and so on at a global level. Without further discussing its political connotations, this same concept is visibly reflected by the art organizations and government-private funds towards all forms and applications of art. This fact has brought an overpopulation of cities and metropolitan areas and created a not sustainable social environment in many contexts. I brought up the question of central-peripheral concepts as a comparison for the arts field with a particular focus on public art, street art, and the challenge to create a counterpart or to dissolve/annul this duality. A decentralization reform/reshaping at an institutional level can bring enormous benefits to the rural community and their artists.

It will manifest in art activities, artists' lives, financing, decision-making processes, etc. For this reason, Public Art in rural areas has become a more relevant and attractive proposal at the present times as it serves as an act of decentralization in its own field and beyond.



Author: Bekim Hasaj, Bergö 23.04.2023

Bekim Hasaj (1990, Bajram Curri) is currently based in Ostrobothnia, Finland.

He studied painting at Brera Academy of Fine Arts in Milan, Italy and had several exhibitions in Finland as well as abroad. He is also very active in the visual art scene of Ostrobothnia participating in local art festivals and working on mural art projects with artist Valentina Gelain. 

Seeking an approach towards transdisciplinarity, being open and ready to experiment outside the primary field of study, his practice remains strongly connected to the research on color, sign, and painting in addition to other ‘tools’ and mediums outside of it. He is interested in psychology, philosophy, and social and anthropological themes, developing and studying them in a form of self-analysis and self-perception. Hasaj likes to reflect in terms of co-existence, visible and not, known or unknown, which he sees as a parable of the own process of art making.

Website: https://www.blackboxgenesis.com/ 

torstai 23. helmikuuta 2023

Vapaaehtoistyötä sotaveteraanimuseossa / Frivilligarbete i krigsveteranmuseet

Harrastusten vaatima aika vaatii joskus kohtuuttomalta tuntuvan määrän aikaa ja saattaa olla raskastakin. Pätee omaan pitkäaikaiseen, tämän hetken pääharrastukseenikin, sotaveteraanien ja vapaaehtoisen maanpuolustuksen perinnetyöhön. Tämä konkretisoituu erityisesti Vaasan Sotaveteraanimuseon vastuuhenkilön työssä.

Mutta osaa tuo olla palkitsevaakin (enkä nyt tarkoita työn silloin tällöin tuottamia prenikoita). Museossa on nyt mukava kävijäryhmien buumi. Eilen ja tänään kohdalle osui todellisia laaturyhmiä. Oli ilo olla niitä opastamassa ja kertomassa vierailijoille museon esineistä ja niiden taustalla olevasta maamme itsenäistymis- ja sotahistoriasta.

Eilen vierailijoina oli kaksi ryhmää Vaasan Kansallisista Senioreista, siis ikätovereita ja vastaavan elämänkokemuksen omaavia, yhteensä 45 henkilöä. Kiinnostusta riitti ja useissa kohdin tuli myös kommentteja omakohtaisista asiaan liittyvistä kokemuksista esiin. Tein esittelykierroksen toisen ryhmän kanssa ja kollega toisen. Tapasin kollegan vielä illalla ja yhdessä totesimme päivän olleen tavanomaista antoisamman.

Vaasan Lyseon lukiossa on historian opettaja, joka on kytkenyt opetusohjelmaansa vierailun museossamme. Se tapahtuu tarkoin harkittuna aikana. Tänään vieraillut 18 opiskelijan ryhmä on toista vuotta lukiossa ja heidän Suomen 1900-luvun historiaa käsitellyt kurssinsa päättyi vierailuun museossa. Hieno aktiivinen ja kiinnostuksensa avoimesti ilmaissut ryhmä ja opettaja mukana kytkemässä museon antia kurssilla esiin tulleisiin asioihin. Ainakaan tällaisesta nuorisosta ei tarvitse olla huolissaan.

Palautteena sain opettajalta (Janne Dahlsten) muutaman kuvan. Laitan niistä kaksi esille.

Kuva 1 (foto: Janne Dahlsten) Museokierros alkaa Suomen Sodasta 1808-1809 ja Haminan rauhasta 1809. Esittelyssä Edelfeltin maalauksesta ”Porilaisten marssi” tuttu rumpu, joka on ollut Pohjanmaan Rykmentin Närpiön Komppanian käytössä mm. Suomen Sodassa. Esillä on myös ko. komppanian lipun näköiskopio, alkuperäinen on Tukholman Sotamuseossa. 
Kuva 1 (foto: Janne Dahlsten) 

Museokierros alkaa Suomen Sodasta 1808-1809 ja Haminan rauhasta 1809. Esittelyssä Edelfeltin maalauksesta ”Porilaisten marssi” tuttu rumpu, joka on ollut Pohjanmaan Rykmentin Närpiön Komppanian käytössä mm. Suomen Sodassa. Esillä on myös ko. komppanian lipun näköiskopio, alkuperäinen on Tukholman Sotamuseossa.

Kuva 2 (foto: Janne Dahlsten)

Tässä on esillä Suojeluskuntiin ja Lotta Svärd järjestöön liittyvää materiaalia. Takana oikella esitellään Talvisodan aikaisia ankaria Vaasan pommituksia. Esillä on mm. suutarina alas tullut suurikokoinen pommi.

Teksti: Ilkka Virtanen, emeritusprofessori.

Vaasan sotaveteraanimuseo: https://www.vaasansotaveteraanimuseo.fi/ 


Emellanåt känns det som att fritidsintressena kräver orimligt mycket tid och då kan det även kännas tungt. Så är även fallet med mitt eget fritidsintresse sedan en lång tid tillbaka, nämligen traditionsarbete för krigsveteranerna och det frivilliga försvaret, som är min huvudhobby för tillfället. Särskilt i arbetet som ansvarsperson för Vasa Krigsveteranmuseum blir det konkret.

Men nog är det allt givande också (och då syftar jag inte på de medaljer som arbetet emellanåt medför).

Museet har nu en trevlig boom av besökargrupper. I går och i dag fick jag träffa några verkliga kvalitetsgrupper. Det var en glädje att få guida besökarna och berätta för dem om museiföremålen och om den bakomliggande självständighets- och krigshistorien i vårt land.

I går kom två grupper från Vaasan Kansalliset Seniorit och besökte oss, dvs. jämngamla personer med motsvarande livserfarenhet, sammanlagt 45 stycken.  De var väldigt intresserade och vid ett flertal tillfällen gav de kommentarer om personliga erfarenheter som hängde samman med sakerna.  Jag guidade den ena gruppen och min kollega den andra. Jag träffade kollegan ännu samma kväll och vi kunde båda konstatera att dagen hade varit mer givande än vanligt.

Historieläraren vid Vaasan Lyseon lukio har kopplat ihop sitt undervisningsprogram med ett besök till vårt museum.  Det sker på en noggrant övervägd tidpunkt. I dag har en grupp på 18 elever som går andra året i gymnasiet besökt oss. Deras kurs om 1900-talets historia i Finland avslutades med ett museibesök. Det var en aktiv grupp, som öppet uttryckte sitt intresse och läraren var med och kopplade ihop museets utbud med saker som de hade gått igenom på kursen. Man behöver åtminstone inte vara orolig över sådana här ungdomar.

Läraren (Janne Dahlsten) delade med sig av några bilder som respons.  Jag bifogar två av dem. 

Bild 1 (fotograf: Janne Dahlsten)

Museirundan börjar med Finska kriget år 1808-1809 och Freden i Fredrikshamn 1809. Från Edelfelts målning ”Björneborgarnas marsch” presenteras den kända trumman, som har varit i användning av kompaniet i Närpes regemente i bl.a. Finska kriget. En kopia av ifrågavarande kompaniets flagga visas också, den ursprungliga flaggan finns på Armémuseet i Stockholm. 

Bild 2 (fotograf: Janne Dahlsten)

Här visas material som hör ihop med Skyddskårerna och Lotta Svärd-organisationen. Längre bak till höger visas kraftiga bombningar av Vasa under Vinterkriget. Bland annat visas en stor oexploderad flygbomb.

Text: Ilkka Virtanen, professor emeritus

Vasa Krigsveteranmuseum: https://www.vaasansotaveteraanimuseo.fi/


Public Art in Rural Areas

    Within these writing thoughts of mine, I aim at a quick overall look at the Public Art topic with more specific attention towards its ...