Jaana Laakkonen at basis Projektraum, Frankfurt am Main, Germany, 2016
I lost count of how many paintings, piles, rolls and folds there are, were and are going to be. Even more confusing - these have begun to overlap. In Treignac, even more in Frankfurt. In Amsterdam, I noticed and let it happen (a bit). My tools and meters are not sensitive and fine enough for seeking the starting point.
At first, two months ago, everything was relatively clear for my observation tools; 2,10x10m Rolle grund. Polyester, 7x 70x100cm Teilstück Baumwolle, 1x20m Rolle Altpapier, Universalpinsel, Medium, Zitronen-gelb, Magenta, Saftgrün, Brilliantorange, Ultramarinblauhell, Titanweiss, Zinkweiss, Gelb, Phthaloblau, Alt-Goldgrün, Umbra, Magenta, Scharlack, Phthalogrün, Zinkweiss, Tiefschwarz. Plus one wholesale market customer card and two plastic buckets as freebie gifts.
A 10 metre-long piece of white polyester is coated with white primer on one side and tinted close to
a greenish-greyish brown shade of linen from the so-called backside. 70x100cm test pieces of linen labelled as cotton on the receipt. I will check again later whether it is cotton too; made to imitate the linen like outlook. The three polyesters I worked on with acrylic and took with me to Frankfurt are polyester
for sure. I am sure. That means that I have a feel for work by the ester functional group in main chain
With the middle-sized key of the three-keys key chain, I opened the door leading to the 30 square metres studio; carried the sofa away and covered the floor with several plastics. The rolled, I plan to exhibit. The folded one carries the paint that was not supposed to drop. I have to drop that in a bin soon. The three fabrics I imported, I have thought a lot with but did not finish. Is it possible that 'finishing' happened
even though it does not look like that? Finished or not, those works are forever tangled in my practice,
in 'other' works and world. Maybe that is why I never bought the new nylon spring clamps for them.
Two weeks ago somebody tied the leaves of a certain type of palm trees in a park area called Nizza, in Frankfurt. Leaves are tied close to the tree trunk and over the tree there stands a cone shaped metal cover. Helped by a metal pole. 'Helped by…' and … and… … together with… within… …intra-actively… enabling… If I do not want the narrow, clear story, how should I communicate, do, exhibit… responsibly? Could a change in artistic apparatus force or help in accounting the agencies and exclusions at play? …And perhaps also the doings that challenge scales, shapes or temporalities for normalised categories?
I roll the roll open; let's see of how much the space and I (who ever they are) allows. I plan to accompany the work with a folded linen. Or a cotton one, if it is cotton. I am considering showing a work in dull green with itchy orange paint. I allowed the scissors to work it into, one could say, two pieces (though twoness is far from the case). "Cutting-Together Apart" was not supposed to be highlighted in this exhibition in terms of representation. And that is why the 'uncut' rolls and cut-into-two-ready-cut-test-pieces make me feel uncomfortable (a bit ashamed too). Luckily, it is broadly needed to quit applying linear conceptions and representationalism (and abstraction too). This will release lots of energy and space to challenge the notions of cuts - to work towards healing from the causes of Dichotomy Addiction.