Tahiti 2019-07-18T09:13:43+03:00 Roni Grén Open Journal Systems <p><em>Tahiti</em> on Taidehistorian seuran julkaisema tieteellinen aikakausjulkaisu, joka ilmestyy 2–4 kertaa vuodessa. Lehteä julkaisee Taidehistorian Seura – Föreningen för Konsthistoria. <em>Tahiti</em>&nbsp;toimii avoimena tieteellisenä taidehistorian alan julkaisufoorumina.</p> Mobilitet: konstnärer, konstverk och ett begrepp i förändring 2019-07-18T09:13:43+03:00 Marie-Sofie Lundström <p>Pääkirjoitus</p> 2019-03-18T14:43:23+02:00 Copyright (c) 2019 A Metaphor for Identities in Transition through Urbanization and Globalization: Tofu and One Hundred Surnames 2019-07-18T09:13:12+03:00 Yang Jing <p>The Chinese artist Chen Qiulin has been taking displacement and the resulting unrest in people’s identity as her persistent theme since the early 1990s. Focusing on a series of her works made since 2004 dealing explicitly with tofu and Chinese surnames, this paper examines her exploration of identities in transition in the context of China’s mass urbanization and globalization. By showing the artist’s conceptual evolution, her preference for materials and mediums, and her exhibition strategy, this paper explores two issues. First, it illuminates how the artist has transformed “tofu” and “surname” into a metaphor for the dilemma of identity under the urbanization in China. Second, it discusses how the artist has integrated her trans-cultural experience with Chinese migrant communities in Australia, to reflect the continuity and fluidity of cultural identity under global migration. The <em>Tofu and One Hundred Surnames </em>series provides a useful case study for examining the complexity of identity transition in Chinese contemporary art, which was previously not fully recognized.</p> <p><span class="Apple-converted-space">&nbsp;</span></p> <p><em>Keywords: Chinese contemporary art, symbolic mobility, identity, memory, displacement, transition, diaspora, urbanization, global migration</em></p> 2019-03-18T14:46:09+02:00 Copyright (c) 2019 Yang Jing ”Douce Mélancolie” à la Scena per Angolo: The Sublime Melancholy of Hubert Robert – Detached from Roman Models 2019-07-18T09:12:40+03:00 Altti Kuusamo <p>In this paper I trace how melancholy and paintings of ruins link together in Hubert Robert’s (1733–1808) images and how we can also comprehend some other concepts close to melancholy in order to understand his images. As far as I know there has not been a great deal of serious discussion of what implications Denis Diderot’s characterization of Robert’s ruin paintings as <em>douce mélancolie</em> would have. In this sense the question is how we can see, sense or grasp a certain kind of melancholy on the level of painted scenes and dominant visual elements of Robert’s works.</p> <p>While the Renaissance excluded sadness from its view of melancholy, the 18<sup>th</sup> century left cosmology out of its arsenal of melancholy. When melancholy was no longer subject to cosmic-religious control, there appeared new sentiments or correlatives to “shape” melancholy, like a new idea of (bourgeois) sensibility.</p> <p>Robert painted hundreds of paintings and drawings depicting huge colonnaded galleries with broken vaults.<span class="Apple-converted-space">&nbsp; </span>A large number of these images differ significantly from their ancient historical references. In Robert’s painted oeuvre caprice is a key word. The main type of caprice is the elongation of the gallery-hall in a lateral perspective. Repetition is connected to the principle of the sublime via megalomania. Repetition is one symptom of melancholy, a kind of obsessive return to the same themes and motifs, the substitutes for unforgotten love objects. A strange connection emerges between sensibility, <em>capriccio</em> and the sublime in his works.</p> <p>The colossal ruins have been represented in a way which places scenery inside the gallery, so that it forms a kind of interior landscape. Skies are only glimpsed through apertures in the vault. It is hard to find signs of transcendence in Robert’s ruin paintings in spite of the sensation of the immense, almost inhuman, length of colonnades. People depicted in the scenes are commonplace in character. The cosmic <em>infinity </em>which was so important for earlier views of melancholy is changed into the feeling of lackluster glory. The greatness of Rome has been described as an anonymous greatness of fancy which even blurs the sense of historical time.</p> 2019-03-18T14:47:30+02:00 Copyright (c) 2019 Altti Kuusamo Bland turister och araber: Juho Rissanen på hälsoresa i Biskra 1931 2019-07-18T09:12:09+03:00 Marie-Sofie Lundström <p>In 1931, the Finnish painter Juho Rissanen (1873-1950) travelled to the tourist city Biskra in Algeria, then spending there the winter season, a most agreeable time in North Africa. It is situated on the verge of the Saharan desert, and ever since Algeria had become a French colony in the early nineteenth century, the city hosted hordes of tourists. (Algeria became independent as late as in 1962.) Biskra was known for its sulphate baths, which were supposed to improve health. But as several travellers and painters have observed, it was also the perfect spot where to hire a camel and a driver for a journey into an unwelcoming desert. Algerian Sahara had in fact been the target of many earlier nineteenth century Orientalists, and the country’s status as a French colony made its sights relatively accessible to foreigners. Rissanen was one of those following in the footsteps of earlier itinerants. The authenticity of the city as the visitors saw it is, however, a complex question. The travellers usually lived at the same hotel near the baths and stayed mostly in the company of each other. The locals in their turn – a travel account of the time explains – were always ready to pose wherever a Kodak camera would turn up, and as a result, costume studies were produced and camels painted. All foreigners regarded camel excursion as the climax of the stay.</p> <p>In Finland, Rissanen is best known for his late nineteenth- and early twentieth century portraits of Finnish rural types, let be that he later turned to other motifs and techniques. Even today, the latter part of his production is much lesser known than the celebrated highlights. Chronic anxiety about health constantly led the painter to warmer climates; he spent his final years in Florida after having sauntered around the Mediterranean, e.g. Southern France, in the interwar years.<span class="Apple-converted-space">&nbsp;</span></p> <p>The aim of my article is threefold: firstly, to investigate Rissanen’s motifs for travelling to Biskra; secondly, to show that Rissanen’s encounter with the city was purely touristic, in line with its reputation as a travel destination in colonial France; and thirdly, to present its outcome as an example of late Orientalist painting. To sum up, I consider the reception of Rissanen’s later art production, in order to situate his Biskra-pictures within a larger context.<span class="Apple-converted-space">&nbsp;</span></p> <p>Unfortunately, I have, so far, only been able to locate a handful of watercolours now belonging to Kuopio Art Museum. The Kuopio collection also contains Rissanen’s letters to his friend, the physician Emil Suihko, as well as to the art historian Onni Okkonen, among others. In his correspondence, Rissanen lingers on Biskra. The works I have found depict craftsmen sitting in the streets and women wearing colourful, local dresses. Needless to say, even Rissanen proved his love of the desert by drawing camels. It is another matter that these ubiquitous animals of course could be spotted in the streets, too. Interestingly, in an interview made shortly after Biskra and published in a 1931 issue of the Finnish magazine <em>Konstrevyn</em>, Rissanen says very little of why and how he painted in Northern Africa. Virtually, the whole text deals with touristic trivia.</p> <p>Keywords<strong>:</strong> Juho Rissanen (1873-1950), Biskra, French Orientalism, tourism, 20<sup>th</sup> century visual arts<span class="Apple-converted-space">&nbsp;</span></p> 2019-03-18T14:48:30+02:00 Copyright (c) 2019 Marie-Sofie Lundström Apokatopinen maailmanmaisema: Paratiisin ikonografia ja satelliittiperspektiivi Petri Ala- Maunuksen 2000-luvun öljyvärimaalauksissa 2019-07-18T09:11:38+03:00 Hilja Roivainen <p>Petri Ala-Maunus kuvaa 2000-luvun maalauksissaan utooppisia eli hyvää ei-paikkaa esittäviä maisemia apokalyptisin sävyin. Analysoin artikkelissa maalauksissa havaittavaa maailmanmaiseman (<em>Weltlandschaft</em>) kuvatyyppiä ja paratiisimaiseman ikonografiaa. Kuva-aiheet punoutuvat niin nykymaailman muotoutumiseen vaikuttaneeseen eurooppalaisen kolonialismin historiaan kuin 2000-luvun satelliittiperspektiiviin.</p> 2019-03-18T14:49:02+02:00 Copyright (c) 2019 Hilja Roivainen Kadonneiden huviloiden jäljillä Saksassa 2019-07-18T09:11:05+03:00 Renja Suominen-Kokkonen <p>Kirja-arvio Teppo Jokisen teoksesta "Haus Molchow &amp; Haus Kosmack. Baugesichten am Molchowsee in der Mark Brandenburg – The Molchow House and the Kosmack House. Histories of Building on the Lake Molchow in the March of Brandenburg" (Ernst Wasmuth Verlag, Tübingen, Berlin, 2018).</p> 2019-03-18T14:50:03+02:00 Copyright (c) 2019 Renja Suominen-Kokkonen Taide raivaa utopiaa arkeen 2019-07-18T09:10:33+03:00 Hanna Johansson <p>Kirja-arvio Riikka Haapalaisen väitöskirjasta "Utopioiden arkipäivää: Osallistumisen ja muutoksen paikkoja nykytaiteessa 1980–2011" (Helsingin yliopisto, 2018).</p> 2019-03-18T14:51:01+02:00 Copyright (c) 2019 Hanna Johansson Syväluotaus Taidehallin näyttelytoimintaan Bertel Hintzen toimikaudella 2019-07-18T09:10:01+03:00 Tuuli Lähdesmäki <p>Kirja-arvio Maija Koskisen väitöskirjasta "Taiteellisesti elvyttävää ja poliittisesti ajankohtaista – Helsingin Taidehallin näyttelyt 1928–1968 (Helsingin yliopisto, 2019).</p> 2019-03-18T14:51:54+02:00 Copyright (c) 2019 Tuuli Lähdesmäki Miten museokokoelman merkitystä voisi arvioida? 2019-07-18T09:09:30+03:00 Ira Westergård <p>Kirja-arvio teoksesta Visa Immonen &amp; Elina Räsänen, toim. "Kauneus, arvo ja kadonnut menneisyys – Näkökulmia Klaus Holman muistokokoelmaan". THT – Taidehistoriallisia tutkimuksia (Taidehistorian Seura, 2018).</p> 2019-03-18T14:52:45+02:00 Copyright (c) 2019 Ira Westergård Taiteellisesti elvyttävää ja poliittisesti ajankohtaista: Helsingin Taidehallin näyttelyt 1928–1968 2019-07-18T09:08:59+03:00 Maija Koskinen <p>Lektio</p> 2019-03-18T14:53:32+02:00 Copyright (c) 2019 Maija Koskinen