HENNA-RIIKKA HALONEN



VIDEOWORKS   |   PERFORMANCES + INSTALLATIONS   |   POSTERS   |   TWO-DIMENSIONAL
PRESS + ARTICLES






PERFORMANCES + INSTALLATIONS



Eden
EDEN, THE POW(D)ER OF FEAR,
2014


Some Potential Scenarios
SOME POTENTIAL SCENARIOS,
2010


The Great Blue
THE GREAT BLUE,
2008
I don't know what you...
I DON'T KNOW WHAT YOU...,
2006








 

 
EDEN, THE POW(D)ER OF FEAR

2014



Above: Still photos from 'Eden, The Pow(d)er of Fear', 2014


Eden, The Pow(d)er of Fear was a performance/installation and later a film that was constructed at Lilith performance studio, Malmo, Sweden in May-June 2014. The starting point for the project was the French Nouveau Romain writer Alain Robbe Grillet’s film, L’Eden et Apres (After Eden) from 1970.

The live performance Eden, The Pow(d)er of Fear took place in a labyrinth like construct, in which the young Actors from Malmo repeated strange rituals and viewers were let in to wander freely. A throw of a dice governed the order of the scenes inside of the set, where a group of “students” were spending time, indulging in transgressive behavior of all sorts; games, plays, rituals and other activities.  All this triggered a hallucinogenic, baffling chain of events, which took quite bizarre forms.
The whole set of Eden, The Pow(d)er of Fear had a repetitive structure and was full of mirror images. lt was like a mise en abyme, a world within worlds, stories within stories where the line between “real” and “illusion” were difficult to determine.

Lilith Performance Studios







 

 
SOME POTENTIAL SCENARIOS
Berwick Gymnasium Gallery, 14th August - 12th September 2010



Above: Photos from 'Some Potential Scenarios' exhibition, 2010, by Colin Davidson


In this exhibition in Berwick Gymnasium Gallery Henna-Riikka Halonen assumed the role of a time traveller in Berwick-upon-Tweed, one who attempts to describe her story of place and understand its past, present and the future. She was a subjective storyteller projecting her own stories and collaborating with others to produce fictional scenarios taking place against the backdrop of Berwick's regeneration process.

In developing this work Halonen conducted several interviews with inhabitants of Berwick, people involved in decision-making and residents who are actively contributing towards the future of the town. The aim of the exhibition was to reveal and liberate the potential and multiple positions. Different viewpoints and stories have been allowed to enter the work not only as a form of research but also allowing the different participants to become active collaborators in the creation of this work.

Some potential Scenarios was an exhibition about the present, past and future that unfolds in four stages. It used sequentially formal languages of documentary, re-interpretation and full dramatization, mixing documentary, staging, acting and non-acting. The installation moved on to distribute the grammar of the narrative between past and future tenses.

The four stages of the installation took on several methods of making, it begun with a documentary-style video, which shows young dancers from Berwick-upon-Tweed reading quotations from futuristic literature. They discuss the notion of time and pose questions about their own personal futures and the future of the town. Reflecting their individual roles in the fictional drama and imagining a society where work does not exist and everything has become mechanized.

The second stage of the installation was a dramatization, a fictional video projection Strange Place for Snow and was presented on a more cinematic scale. Working with local actresses and dancers and filmed in venues with significance to the Berwick Futures' regeneration plan it is a fictional work portraying a woman's interaction with her environment, inundated with uncertainty she explores the changing architectural landscape of the town.
The third stage of the installation began with a proposal to a group of three writers, inviting them to imagine a fictional scenario about Berwick based on certain keywords and images provided by Halonen. These include an imagined preview of the exhibition by art critic Rosalie Doubal, a fictional regeneration report by local writer Wendy B Scott and a futuristic script by artist/writer Anna Pickering.
Finally in stage four a future stage set for an as yet unwritten production was suggested. Halonen presented (in a style reminiscent of a theatre or a museum display) drawings, costumes, props, and posters from the production of her work.

Buy the Some Potential Scenarios book here >>








 

 
THE GREAT BLUE
2008
Installation
Depford X exhibition, London



Above: 'The Great Blue', 2008

Work 'The Great Blue' refers to the blue fence that was surrounding London Olympic construction site, and became a landmark and a symbol of regeneration. It was typical to more deprived areas and is a symbol of their fast development. However, most importantly the blue fence represented power. It was not inclusive; but merely exclusive and stood for the systems associated with money, such as property development and privatization of public place .It took control of areas and transformed them for forever. In this project the blue wall took a form of a heroic sculpture, similar to statues and memorials that pay a tribute to power.







 

 
I Don't know what you are trying to Save me from, But I can feel your Hand
Video, photographs, paint and MDF, 2006



Above: Still photos from 'I don't know what you...' performance 2006


An Installation, inspired by 19th century notion of Hysteria, particularly phenomena called Arctic Hysteria, According to the description of Arctic hysteria, the sufferers were mostly women from Arctic countries. The symptoms included, running aimlessly around naked, rolling in the snow, imitating sounds of birds and mammals etc.
University of Goldsmiths 2005