Fragile – Marja Sakari invites to the 30th Onoma anniversary exhibition with a strong theme

Curated by art historian Marja Sakari, the anniversary exhibition combines design and art in a way that plays with contrasts. Fragile is an exhibition by over 60 participants from Fiskars, and one of the two exhibitions of the 2024 Fiskars Village Art & Design Biennale. It invites visitors to come and curiously enjoy art and design in a unique environment.

“Life itself is very fragile,” Marja Sakari says, smiling gently as the spring sun casts its rays through the café window onto Sakari’s face.

Born in Paris and having worked as the director of the Ateneum Art Museum and as the superintendent of Kiasma, Sakari recalls pondering in late summer 2023 whether she could join in realising such a large project. “At that time, I was still working at Ateneum, but remember being intrigued by the overarching theme of fragility, the local community of Fiskars, and the exploration of the relationship between nature and humanity.”

The Fiskars Village Art & Design Biennale is being held in Fiskars for the third time this summer, and it reaches across the village in two parts. Taking place in the historic iron works area from June 16th to September 1st, 2024, the biennale consists of two main exhibitions: the exhibition curated by Sakari showcasing the art collective Onoma, and another exhibition curated by Sini Rinne-Kanto.

“My original idea was to showcase works by recently deceased artists. That is: works by Martti Aiha, Markku Kosonen, Jukka Mäkelä, Stig Nordman, and Howard Smith. The idea emerged through the concept of fragility. Art lives on even after life ends. So, in a way, humans also live through art even after death.”

However, the tribute to deceased artists soon expanded into a comprehensive exploration of the entire community, especially focusing on the region’s tradition of craftsmanship. It is a diverse and versatile demonstration of what is being done – and what has always been done – in Fiskars.

On a thematic level, the idea of life’s fragility has been central, but it also includes an understanding that fragility itself embodies resilience, strength, and perseverance. “This is also reflected in the natural materials used in the exhibition. In nature, fragility and delicacy go hand in hand; spider webs, silk threads, and eggshells are easily breakable, yet remarkably resilient and durable. Similarly, in life, one cannot escape the world, every life will end, and things can change in an instant. But there is strength to be found in acceptance.”

“In nature, fragility and delicacy go hand in hand; spider webs, silk threads, and eggshells are easily breakable, yet remarkably resilient and durable. Similarly, in life, one cannot escape the world, every life will end, and things can change in an instant. But there is strength to be found in acceptance.”

Marja Sakari

Many artists have reflected on the disappearing nature of the world in their works. The decline in biodiversity, changes in the environment and the climate, but also the state of the tradition of craftsmanship and folklore. “Fiskars provides a magnificent environment for the exhibition because the forest, its beings, and spirits are all present. Nature deserves respect.”

“Posthumanism is strongly present in the theme of the exhibition. Humans cannot separate themselves from nature or other beings. We are all part of the same system and highly dependent on each other. This becomes evident in many works.”

Similarly, the exhibition aims to blur the lines between design and fine art. The open call for submissions in autumn 2023 included very few proposals for functional objects such as tableware or furniture. There was no need for differentiation, and the exhibition gathers around shared themes. The works engage in conversations with each other in an organic manner. They reflect the fragility of identity but also the defences built to protect it.

“But the exhibition does not emphasise sorrow or worry,” the curator reminds.

Even though existing circumstances, those concerning the environment for example, cannot be reversed, people can always be reminded that something must be done. “Fiskars sets an example in living in harmony with nature and the environment, without prioritising material values.”

This is evident in many ways in the exhibition. The building of the exhibition has utilised old partition walls, while avoiding taking on choices that would have a large carbon footprint. The materials used in many works are recycled, including surplus materials. The exhibition aims to repair what  is broken, not unlike kintsugi, the Japanese method of repairing ceramic objects with gold. “Not everything that is broken needs to be thrown away, but rather can become part of something new.”

The 30th anniversary exhibition of the art collective Onoma is “made in Fiskars”. All the artists are from the area. With this, Sakari invites us to reflect on our own relationship with locality and identity – how much we travel, for example. Because what is the difference between locality and globality when “local can be equally global”, the curator asks.

One thing is noticeably absent. The exhibition offers very little in terms of technology-driven art, artificial intelligence, or internet art. The artworks draw inspiration from the environment.

Is there a risk that the viewer will become overtaken by nostalgia?

“There is nothing wrong with nostalgia,” Sakari smiles and continues, “we don’t have to yearn for the past, but we can reuse the old  because it can still be useful. This is also evident in the aesthetics of the exhibition, in the craftsmanship created through old traditions, which cannot be mechanised.”

“There is also plenty of playfulness and humour found in the works! While this can also be fragile in a way, it is also nothing but pure vitality.”

Various paths for exploration easily form within the exhibition. Through QR codes, viewers can pick up clues for interpretation. The thoughts of the creators have been recorded because, according to the curator, they are often profound, and for many works, it may be interesting to know what materials have been used in the works. This, too, is a subtle reference to the theme of the exhibition, fragility.

The curator encourages visiting the exhibition with an open mind. “You don’t have to see everything, nor do you have to remember every detail. I hope the viewer would merely surrender to the works. There is no need to overthink in their presence, just let the work affect you.”

The collection features a piece which is a hike, where the viewer can walk to places and contemplate on their spirit. If one wishes, since nothing is mandatory, and everyone is encouraged to experience the exhibition  in their own way. But the curator will promise one thing: “The environment will sensitise you.”

Fiskars Village Art & Design Biennale will take place in Fiskars Ironworks from 16 June to 1 September 2024. More details can be found here.