Art and Museum Centre Sinkka, which opened in 2012, is home to the Kerava Museum and the Kerava Art Museum. Sinkka showcases works from the designers of the Keravan Puusepäntehdas cabinetmakers factory and the lamp and light-fixture factory Orno interlaced with contemporary art and the latest trends in visual arts. In addition to the exhibitions and events Sinkka’s guests can enjoy the Museum Shop and Café or book private events from small-scale meetings to large functions.
Discover Sinkka, just 20 minutes from Helsinki
Kerava is located about 30 kilometers from Helsinki city center. You can access Kerava by local trains R, Z, K, N and D (from Helsinki), by R (from Tampere), by Z (from Lahti). Sinkka is about 600 meters from the Kerava Train station.
All rooms open to public are accessible with assistance for persons with disabilities. There is a free car park behind the building. The café and museum shop follow the same opening hours as the museum.
Exceptions to opening hours:
March 30th closed
April 16-27 closed
May 1st closed
May 10th 11am–5pm
June 22-24 closed
Aug 20th – Sept 4th closed
Dec 6th closed
Dec 22-25th closed
Adults: €6, Students, seniors: €4, Children under 18: free
We accept the Finnish Museum Card, Museokortti.
Please note that admission is free on the first Sunday of the month.
Bookings for guided tours and rooms for functions
You can book an english speaking guide for you or for your group.
Guided tours: On weekdays during opening hours €45, on weekdays outside opening hours €75, weekends during opening hours €90.
Sinkka is also available for private functions such as meetings and parties.
For more information and bookings please contact + 358 (0)40 3184300 / sinkka(a)Kerava.fi
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ALICE IN WONDERLAND
Emma Ainala | Ilona Cutts | Merja Haapala | Mia Hamari | Kerttu Horila | Saara Salmi |
Kim Simonsson| Tommi Toija
Contemporary art jumps down the rabbit hole
Kerava Art Museum’s autumn exhibition has borrowed its title from the children’s literary classic by Lewis Carroll. Its topsy-turvy world has retained its power from one decade to the next. It has birthed numerous versions through theatrical productions, radio plays and films. Surrealists that fled down the rabbit hole include: André Breton, René Magritte and Max Ernst. Salvador Dalì created his own illustrations for the book, as did Tove Jansson, the creator of the Moomins, decades later.
The artworks on show at the Art and Museum Centre Sinkka are not based on the book by Lewis Carroll, although it is referred to in some of the artworks. The artists look at the world like Alice; with a child-like curiosity and an amazed countenance. Taking the lead are small boys with big heads, girls growing into womanhood, mysteriously transformed forest creatures, survivors covered in moss, as well as princesses who decide their own fate.
Alice in Wonderland transports the viewer from the safe and familiar space of reality to the other side of perception. To a place, which we know exists, but which is sometimes hard to grasp. Fundamental questions of humanity are intertwined in this childhood dream world. They refer to physicality and the formation of a sense of self, the shared fate of humanity and nature, as well as limited time and the power of fantasy.
Kim Simonsson, Tommi Toija, the Rauma based Kerttu Horila and Tampere based Merja Haapala create ceramic sculptures that are both fragile and also hard on the surface. Mia Hamari combines ceramic elements with teeth, seal flippers and elk hooves. Her female figures made of birch bark and creatures sculpted from wood are hybrid entities that fall between the opposites. Hamari describes her work, “This is a family from my other reality, a world where humans and animals are part of the same universe. A world where a cat is a person. A person is made of wood, bone and wings. The wings take us to the past and the future, time gets stuck in the teeth of time and in the whiskers of a cat.”
As in fairy tales and fantasy literature, this exhibition brings forth archetypal images, which help us to understand ourselves and the society we live in. The paintings of Ilona Cutts, currently residing in Atlanta, and Emma Ainala are revelatory visions of the familiar, but still an odd scene through the looking glass, where the viewer has been able to peek. Themes of maturing into womanhood sieved through the lens of popular culture can be seen in Ainala’s work. Bubbling, beneath the enchanted surfaces of Cutt’s work is a query about the fate of the white rhinoceros and the boundaries of our perception.
It also appears that in the family of Saara Salmi, known for her New Victorian photographs, an old sketchbook from the 1800’s depicting long-eared creatures from Wonderland was preserved. Or that is at least what the artist tells. This sketchbook made its way to Finland with the help of a relative who worked as a kitchen assistant to the Dodgson family in Oxford. What makes this discovery interesting, is that that surname belonged to a certain mathematician, better known as Lewis Carroll.
This exhibition has been compiled by Curator Veikko Halmetoja and the Director of the Kerava Art Museum Arja Elovirta.
Over the course of this exhibition, a communal artwork will be created in the Museum project space. The artwork is created together with clients of the Kerava Job Centre and is directed and innovated by the artist Eliisa Sorvali.
Pioneers of Naîve art
LOVE FOR COLOURFUL LIFE
This year marks the 30th anniversary of one of the main events for Naïve art in Finland, the Naїvists at Iittala summer exhibition. To celebrate, The Kerava Art Museum is highlighting some of the naïvist pioneers and seasoned artists, who let their hearts lead their brushes without a care for perspective or the opinions of others.
Naïvist art in Finland broke into the mainstream quite late on. The exhibition Images of the Nation (Kansan Kuvia) at Ateneum Art Museum in 1973, introduced Naïve art to the wider audience. The exhibition showcased work from the previous years Naïvist Art Triennial in Bratislava. This exhibition included the artists Håkan Brunberg, Alice Kaira and Pirkko Lepistö.
Andreas Alariesto’s exhibition at the Kunsthalle Helsinki in 1976 was also a significant milestone in the history of Finnish Naïvist art. In addition to Alariesto, artworks by second generation of naïvist artists Enni Idin from Padasjoki and Martti Innanen are exhibited on the lower level of the museum. Unlike many contemporary nativists their colour palettes are earthy, but the characters and stories within them are that much more colourful.
Naïvist art is not a clearcut style or movement, and not all of the artists who have taken part in Naïve art exhibitions are self-taught. For example Nikolai Lehto, Pirkko Lepistö and Alice Kaira have all attended art schools. Many, however, have begun painting or found their style at a mature age. This exhibition has been compiled from the collections of several museums and some of the largest private Naïve art collections in Finland. Resembling its collectors, this exhibition is an fascinating glimpse into the near history of Naïve art in Finland.
The exhibition has been realised in collaboration with The Suomen Gallup Foundation.
Echoes from the Past | Tokyo | Berlin | Kerava
Yusuke Asai | Christine Candolin | Tatiana Echeverri Fernandez | Oliver Godow | Paavo Halonen | Mathilde ter Heijne | Hideki Iinuma | Jussi TwoSeven | Tomoko Konoike | Shiriagari Kotobuki | Yuji Ohta | Kustaa Saksi | Ayumi Tanaka | Marjatta Tapiola | Jorinde Voigt
Echoes from the Past celebrates the tenth anniversary of the Kalevala Society’s project, The Artists’ Kalevala. Over the years, artists from different cultures have taken a closer look at the Finnish national epic Kalevala and commented on it.
The foundation for this exhibition comes from two shows debuted in 2017. Do you remember? compiled by Dr. Christine Nippe was displayed at the Finnish Institute in Berlin, and Universal Nature, curated by the Japanese Kenji Kubota was seen at the Sezon Art Gallery in Tokyo.
Artists based in Berlin approach the themes of cultural memory and identity in their own personal ways, taking critical distance to the national discourse. The Japanese examine the relationship between humans and nature, but most of all human nature; which stories and beliefs are we made of?
Returning from the first Artists’ Kalevala exhibition is the work Ilmarinen by Marjatta Tapiola, portraying Ilmarinen in grief over the loss of his wife. The Finnish artists reprise and reaffirm the themes of nature and memory – letting them resonate at the frequency of our present day.
The exhibition is organized in cooperation with the Kalevala Society, the Finnish Institute in Japan and the Finnish Institute in Germany and it is part of the European Year of Cultural Heritage 2018 program. The exhibition also marks the beginning of the 20 Year Anniversary Celebrations of the Finnish Institute in Japan, the co-producer of the exhibition in Tokyo.
Image: Hideki Iinuma, Ilmatar, 2017
Born on loam soil, Kerava at the time of Finland’s independence in 1917 was a small community on the side of the railroad, a countryside building its first factories, shops, villas and other settlements.
Kerava Museum’s exhibition transports the viewer along the Old Highway past old settlements and the borough founded in 1924. The historic milieu also expands into Kerava city space to be read on mobile devices.
For the Love of Freedom
5/8/2017 – 29/10/2017
A museum exhibition focusing solely on Graffiti Art has never before been organised in Finland – at least the graffiti writers feel overshadowed by Street Art and other forms of visual arts. Graffiti Art differs from Street Art in both tradition, attitude as well as through its aesthetic aims.
Letters are at the heart of graffiti, usually the writer’s or crew’s tag. Writers usually use marker pens or spray paint, which requires more skill and experience, as their materials. In Street Art the medium and materials change to suit the concept of the artwork. The letter-based images that spread out into the world from Philadelphia, New York and other major U.S. cities, has grown from the marking of territory to large-scale pieces, but still, their creators call themselves writers.
The exhibition For the Love of Freedom presents work from the international superstar MadC and about twenty front-runners of Finnish Graffiti Art. Visitors can also view a photographic journey into the history of Finnish graffiti. Stylistically the artworks move from the ‘old school’ influences, that arrived in Finland with hip hop, to abstract colour surfaces and glass sculptures which lean towards the post graffiti movement.
5.8. MadC | Claudia Walde: The Concept of Style (in English)
13.9. Jouni Väänänen: Condemned buildings as the playing field for art and culture
27.9. Jani Tolin: The history of graffiti from the 1970’s to the present
4.10. Anssi Arte: Forms of Rocking – the established typefaces of graffiti
The lectures are arranged in collaboration with the Kerava Youth College.
Green Land – Blooming City 1/4.–2/7.2017
Jan-Erik Andersson | Axel Antas | Michiko Erkola | Ernst Haeckel | Ilkka Halso | Merja Heino | Hanna Husberg | Kati Immonen | Aino Kajaniemi | Jouna Karsi | Ritva Kovalainen | Kristiina Nyrhinen | Eggert Pétursson | Raimo Saarinen | Pia Sirén | Sanni Seppo | Jennifer Steinkamp | Salla Tykkä | Marjukka Vainio | Suvi Ylinen
For our forefathers living on the savannah greenery meant food, water and protection. Our cells “remember” this, even if we now live in cities. All of us need birdsong, flowering trees and life-bearing greenness. On the anniversary of our Finnish independence the Kerava Art Museum, through this exhibition, celebrates the good energy created by nature.
The exhibition includes plant installations, photographs, 3D-animation, moss walls and air purifying green design elements. In addition to top names in Finnish art, the exhibition includes part of, the Los Angelean artist, Jennifer Steinkamp’s dazzling Botanic-installation, which was seen spreading through the New York cityscape last spring. As the clock neared midnight in May 2016, all of the digital screens, in Times Square New York, were transformed into a pulsating sea of flowers.
Steinkamp’s work refers to a classification and human centric way of thinking present in the 1700’s, where nature was seen as a pantry for humans and a stimulant producer for the people. The developer of the plant and animal classification system Carl von Linné (1707─78) and his student, Pehr Kalm (1716─79) also known as the father of Finnish horticulture believed, that plants were intermediaries of divine providence. Plants grew in places where they could best benefit the health and well-being of people.
The interest in botany went hand in hand with the ”conquest of new continents”. Burgeoning kalmias and other plant species brought back to Finland from Pehr Kalm’s explorations, can be seen in Jan-Erik Andersson’s plant installation. In Salla Tykkä’s video artwork, beauty and colonisation become entwined. In the video a giant waterlily, which European explorer’s found in South America at the beginning of the 1800’s, blooms. The nightly spectacle of the blossoming, in the confines of a greenhouse, was first experienced in 1849. Its scientific name, Victoria amazonica, was given to the lily in honour of Queen Victoria.
Today, nature conservation is not justified by the well-being of humans, but with the well-being of nature. The German Ernst Haeckel (1834–1919), widely regarded as the man who launched ecology and the creator of an exceptional series of lithographs depicting the art of nature, believed that humans with their culture and belief systems were an integral and indistinguishable part of nature, not its master, nor its servant. When sketching an image of the radiozoa, Haeckel considered the movement of his hand to be a kin to the movement of the protozoa.
The exhibition is accompanied by the publishing of Maahenki’s book, Vihreä päänsärky (Green Headache), where the renowned selection of writers ponder the relationship between nature, humans and art, as well as introduce green art as a new concept. According to professor Yrjö Sepänmaa the use of live plants is one of the hallmarks of green art. The used material is alive or at least organic like plants, but he points out, that plants can also be imitated with artificial flowers, trees and grass.
According to Sepänmaa green walls, green roofs and more widely green areas can also be considered green art. Taking part in the Kerava Art Museum exhibition are moss walls created by the Hyvinkää based Vihersisustus Luwasan (Green Interior Design Luwasan). Also on show are intelligent green walls that purify the air and bring nature inside, created by the Jyväskylä based Naava Ltd. Artist Hanna Husberg also considers this theme in her artwork The world indoors (2015). The plants used in her installation purify interior air and remind us that ” We are all breathers – from our first breath to the last.”
Mimicking the theme of the exhibition and the book Vihreä päänsärky (Green Headache) is the Blooming City Green Seminar (Viherseminaari Kukkiva kaupunki), which is being organised in the Keuda Aimo hall in Kerava on the 15th of June, 12.30–18. What is the city in 2050? Hear the latest visions and take part in the conversation.
Image: Jennifer Steinkamp, Botanic 2, 2016, digital animation (still image)
Yarn Visions 26/11/2016 – 19/3/2017
Tanya Akhmetgalieva, Jenni Haili, Liisa Hietanen, Hyäryllistä-group, Rósa Sigrún Jónsdóttir, Elina Juopperi, Sanna Majander, Niina Mantsinen, Melek Mazici, Annukka Mikkola, OLEK & Michelle P. Dodson, Kaija Papu, Ulla Pohjola, Sonja Salomäki, Noora Schroderus, Suvi Solkio, Minna Soraluoma, Daina Taimina, Tuija Teiska, Timo Tähkänen, Sanni Weckman
The Yarn Visions exhibition focuses on knitted, crocheted, tufted and embroidered works of art. Contemporary artists generate new spirit into old handicraft traditions. One of the most famous artists in the exhibition is New York based Olek (Agata Oleksiak, b. 1978). Together with refugees, immigrants and local women she wrapped a whole house with pink crochets in the centre of Kerava. Since the beginning of August Our Pink House has reminded of the importance of home, hope and dreams.
Other international artists are Russian Tanya Akhmetgalieva (b. 1983), Icelandic Rósa Sigrún Jónsdóttir (b. 1962), and Latvian mathematician Daina Taimina (b. 1954) now holding a professorship at Cornell University. Taimina has crocheted hyperbolic forms to make geometric equations more understandable. The White cloud, carried out with the assistance of Latvian volunteers, is accompanied by beautiful pink forms crocheted by residents of Kerava.
Finnish artists also have a strong hold on yarn-based visual arts. Niina Mantsinen’s (b. 1986) graffiti rugs with bold, street art expression are accompanied by Kaija Papu’s (b. 1980) crocheted police car. Papu has searched material for her latest needlepoint works from the adult entertainment pages on the Internet under “romantic love”. Liisa Hietanen’s (b. 1981) impressive, near hyper-realistic “Villagers” blend in with the public. Her portrayal of everyday commodities is striking.
The Yarn Visions exhibition includes a strong participatory aspect. After the completion of Our Pink House the capable hands of the volunteers have crocheted for Daina Taimina and created a harvest installation of yarn. Textile design students from the Metropolia University of Applied Sciences invite the audience to supplement their Baltic Sea installation and to raise marine pollution awareness.
The exhibition is curated by Doctor of Arts Minna Haveri.
The Heikkilä Local History Museum
The museum demonstrates typical living conditions in the province from the mid- 19th centure up to the 1930s. The verdant Museum gardens are in strak contrast to the urban hustle and bustle of Kerava town centre and a reminder of the slow and self-sufficient lifestyle of the past centuries.
Heikkilä Local History Museum is open in the summer and for groups by appointment.
+ 358 40 318 2042 or ragni.reichardt(a)kerava.fi
Open in the summer 17.6.–8.8.2017
Sun 10am–3pm (closed 24th of June)
Heikkilä Local History Museum
Museopolku 1, 04200 Kerava