Padiglione Paesi Nordici

The exhibition 'Mirrored' will be presented in the 2017 edition of the Nordic Pavilion at the 57th International Art Exhibition, la Biennale di Venezia. 'Mirrored' is a group exhibition featuring works by six artists from different generations: Siri Aurdal, Nina Canell, Charlotte Johannesson, Jumana Manna, Pasi “Sleeping” Myllymäki, and Mika Taanila.

'The artists in "Mirrored" present a mapping of connections that override the national and regional boundaries, and instead track a more multi-faceted view of how artistic practice may connect', says curator Mats Stjernstedt.

The exhibition 'Mirrored' attempts to avoid a topical approach, to focus on challenging a self-image reflected in, or stereotypes projected on, the Nordic countries. 'Mirrored' thus suggest a 'placeless place', to borrow Guiliana Bruno’s allegory on mirrors.

Siri Aurdal (b.1937), Charlotte Johannesson (b.1943), and Pasi “Sleeping” Myllymäki (b.1950) are innovators who, to some extent, have created and articulated the artistic realms they later came to work within. All three artists can be described as atypical for the Nordic Pavilion’s extended architecture, as much landscape and outdoor experience as an enclosed space. Their works are examples of urban art and urbanity that was ahead of its time in exploring industrial material, digital space, or design experiments with moving images. Aurdal’s module-based sculptures challenge the sculpture medium and establish new premises for it. Johannesson took her cue from traditional textile crafts and translated the logical setup of tapestries into computer-based pixels. Before giving up his film practice, Myllymäki produced forty-four super-8 films from 1976 to 1985; these films explore a wide range of elements from graphic design to performative actions.

A similar interest in urban subject matter, expressed, for instance, through material transformation or political content, intersects the works of the following artists: Mika Taanila (b.1965) is primarily recognised for producing temporal artworks in film, video and sound. For the present exhibition, Taanila uses montage technique to create a cut-out project in cinematic literature. Nina Canell’s (b.1979) experimental mode of relating to sculpture and installation, considers the place and displacement of energy. However, like Taanila’s film and sound work, they have a temporal quality, as Canell converts sculpture’s often fixed form into open-ended processes. The works of Jumana Manna (b.1987) explore how power is articulated through relationships, often focusing on the body and materiality in relation to narratives of nationalism, and histories of place. In her sculptural work, Manna indirectly unfolds representation, creating a visual language of absence and substitutes.

The Nordic Pavilion 

The Nordic Pavilion, by Norwegian architect Sverre Fehn, was completed in 1962 and has since been a space for collaboration between three nations – Sweden, Finland and Norway. For the past three biennials, a format was introduced which involved the solo commissioning of a project by each country in turn. For the period 2017–2021, the art in the Nordic Pavilion will be presented as a joint project, where the three countries are represented on equal terms. The countries will alternate as principal commissioner and manager of activities at the Nordic Pavilion as follows: 2017, Moderna Museet, Sweden; 2019, Frame Contemporary Art Finland, Finland; 2021, Office for Contemporary Art Norway (OCA).

Siri Aurdal 

 Siri Aurdal (b.1937) lives and works in Oslo, Norway. Aurdal has exhibited at Oslo Kunstforening, Kunstnernes Hus, Oslo, and Murray Guy, New York, and has participated in group exhibitions at Arkiv för dekorativ konst / Skissernas Museum, Lund, the 15th Biennial, Antwerp, Kunsthall Oslo, and Stavanger Kunsthall. A major sculptural work, Wavelengths – Recomposed, was installed in Oslo’s Vigeland park in 2016, as a joint project between Kunstnernes Hus and OSLO PILOT, Kulturetaten, the City of Oslo.

Nina Canell 

 Nina Canell (b.1979) lives and works in Berlin, Germany. Canell has exhibited at Kunsthalle Fridericianum, Kassel, Hamburger Bahnhof, Camden Arts Centre, London, Douglas Hyde Gallery, Dublin, Moderna Museet, Stockholm, Arko Art Center, Seoul, and in 2017 at Museum Tamayo, Mexico City. She has participated in various group exhibitions at several art institutions, including Biennale de Lyon, Sydney Biennale, Palais de Tokyo, Paris, Museum of Modern Art, New York, Liverpool Biennale, Tate Liverpool, and Manifesta 7, Rovereto. Canell was an Edstrandska Stiftelsen laureate in 2011, and was awarded the ars viva Prize for Visual Arts the same year.

Charlotte Johannesson 

 Charlotte Johannesson (b.1943) lives and works in Skanör, Sweden. She has exhibited at Galerie S:t Petri, Lund, Konstmuseet, Ystad, Galleri Glemminge, Gelmmingebro, Galerie Green, Malmö, Dexter Bang Sinister, Kunsthall Charlottenborg, Copenhagen, and Galleri Petra Lilja, Malmö, and has participated in various group exhibitions, including the 32nd São Paolo Biennale, the Van Abbemuseum, Eindhoven, Barbican Art Gallery, London, Göteborgs Konstmuseum, Norrköpings Konstmuseum, Museum of Modern Art, Toyama, Pratt Center, New York, Academy of Art College Gallery, San Francisco, Musée d’Art Moderne, Paris, Air Gallery, New York, Malmö Konsthall, and Kulturhuset, Stockholm. Johannesson was awarded the Royal Swedish Academy of Arts scholarship in 1976. In 2016, she was a laureate of the Aase & Richard Björklund Fund.

Jumana Manna 

 Jumana Manna (b.1987) lives and works in Berlin, Germany. She has exhibited at SculptureCenter, New York, Chisenhale Gallery, London, and Beirut Art Center. She has participated in group exhibitions at Kunsthalle Wien, the Liverpool Biennial, the 20th Biennale of Sydney, Marrakech Biennale 6, the Jerusalem Show VII, Al Ma’mal Foundation, and Henie Onstad Kunstsenter, Bærum. Manna’s films have been screened at festivals and institutions such as M+, Hong Kong, the 54th Viennale International Film Festival, Guggenheim, New York, Filmlab: Days of Cinema, Ramallah, Tate Modern, London, Performa13 Biennial, New York, and IFFR Rotterdam. She was awarded the A.M. Qattan Foundation’s Young Palestinian Artist Award in 2012, and is the ars viva Prize for Visual Arts laureate in 2017. In 2017, she is engaged in commissions for the Satellite Program 10, Jeu de Paume, Paris and CAPC Bordeaux, and for The HighLine, New York.

Pasi “Sleeping” Myllymäki 

 Pasi “Sleeping” Myllymäki (b.1950) is a filmmaker based in Hämeenlinna, Finland. Myllymäki’s films have been screened widely at festivals and art institutions in Finland and internationally, including Unica, Baku, The Kitchen, New York, Hämeenlinna Art Museum, Moderna Museet, Stockholm, Rajaton Elokuva Event, Joensuu, Avanto Festival, Kiasma, Helsinki, Nordisk Panorama, Oulu, VIDEO-EX, Zürich, Kauniita uneksijoita-event, Kino Kaiku, Malmitalo, Helsinki, Avant Goes Witty, Karlstad, IFFR, Rotterdam, Kinos Festival, Lahti, AAVE Festival, Helsinki, Rakkautta ja Anarkiaa Film Festival , Helsinki, and VIDEOMEDEJA Film Festival, Novi Sad.

Mika Taanila 

 Mika Taanila (b.1965) lives and works in Helsinki, Finland. Taanila has exhibited at Kiasma Museum of Contemporary Art in Helsinki, Contemporary Art Museum St. Louis, Migrosmuseum, Zürich, and Badischer Kunstverein, Karlsruhe. He has participated in the following selected group exhibitions: documenta (13), Kassel, Aichi Triennale, Nagoya, Manifesta 4, Frankfurt-am-Main, and Shanghai Biennale. Taanila’s films have been screened at numerous international film festivals and special events, including the Toronto International Film Festival, IFFR Rotterdam, Berlinale, CPH:DOX, International Short Film Festival Clermont-Ferrand, Midnight Sun Film Festival, Sodankylä, and Oberhausen Kurzfilmtage. In 2015, he was presented with the Ars Fennica Award.

Mats Stjernstedt has been Director of Kunstnernes Hus in Oslo since 2011, and was appointed Director for Malmö Konsthall from January 2017.

Mats Stjernsted per i Padiglioni Nordici

Mats Stjernstedt è stato nominato curatore per il Padiglione dei Paesi Nordici (Norvegia, Finlandia e Svezia), ne ha dato notizia il Moderna Museet 

English

Mats Stjernstedt will curate the joint exhibition of Finland, Norway and Sweden in the Nordic Pavilion at the 57th International Art Exhibition, La Biennale di Venezia 2017. The exhibition marks the rejuvenation of the Nordic collaboration between the three countries.

The art in the Nordic Pavilion will be presented as a joint project, where the three countries are represented on equal terms. As before, the countries will take turns as principal commissioner and manager of activities at the Nordic Pavilion as follows:

2017: Moderna Museet, Sweden

2019: Frame Visual Art Finland, Finland

2021: Office for Contemporary Art (OCA), Norway

Moderna Museet has thus appointed Mats Stjernstedt to curate the Nordic Pavilion in 2017. Stjernstedt is the artistic director of Kunstnernes Hus in Oslo since 2011. He has curated numerous exhibitions internationally over the years.

“Being asked to assemble an exhibition for the Nordic Pavilion is an honour and a challenge. I appreciate being entrusted this assignment and look forward to combining my experience with research over the next few months. I also look forward to presenting interesting artists who are active in the Nordic countries, within the compelling framework of La Biennale di Venezia,” says Mats Stjernstedt.

The Nordic Pavilion for the Venice Biennial was completed in 1962 and has since been a space for collaboration between three nations – Sweden, Finland and Norway. Built on a plot between the pavilions of the United States and Denmark, it is situated in the Biennale grounds at Giardini in Venice. For the last three biennials of 2011, 2013 and 2015, a format was developed which involved the solo commissioning by each country of a project. For the period 2017–2021 the agreement entailing that all three countries are represented on equal terms, will be resumed.

Momentum alla Biennale di Venezia

Nel giorno di Mercoledì 29 Maggio si svolgerà dalle ore 18 alle 20 un presentazione del catalogo Momentum7  al Naranzaria wine bar in Rialto, San Polo 130.

Momentum è la Biennale Nordica di Arte Contemporanea, giunta alla settima edizione, che quest'anno si svolgerà dal 22 Giugno al 29 Settembre a Mollebyen, Norvegia.

Curatori di questa edizione Erlend Hammer e Power Ekroth. 

Tutte le info al sito 

Edward Munch per la Norvegia

La Norvegia quest'anno organizzerà nella galleria della Fondazione Bevilacqua la Masa in Piazza San Marco una mostra su una serie di opere di Edward Munch dal titolo "Beware of the Holy Whore: Edvard Munch and the Dilemma of Emancipation" e un film di Lene Berg

Ecco il comunicato stampa

Beware of the Holy Whore: Edvard Munch and the Dilemma of Emancipation' is a project organised by the Office for Contemporary Art Norway (OCA) and Fondazione Bevilacqua La Masa in Venice, as the official Norwegian representation at the 55th International Art Exhibition, La Biennale di Venezia in 2013. The exhibition, which includes a series of rarely exhibited works by Edvard Munch in addition to a newly commissioned film by Lene Berg, revolves around emancipation as an issue always vexed with contradiction – between the realm of freedom and the consequences of the isolation that often accompany the pursue of  a qualitatively different, ‘alternative’ life. In his Essay on Liberation, Herbert Marcuse notes  that the striving toward a ‘new sensibility’ involves a psychedelic, narcotic release from the rationality of an established system, as well as from the logic that attempts to change that system. Such new sensibility, which resides in the gap between the existing order and true liberation, might lead to a radical transformation – and in this shift art functions as a technique through which to reconstruct reality from its illusion, its imitation, its harmony, towards a matter not yet given, still to be realised. 

The impulse to operate in the margins – on the outside trying to break in or on the inside redefining the context – is one of the key driving forces in the history of art, and is also at the centre of 'Beware of the Holy Whore: Edvard Munch and the Dilemma of Emancipation'. The exhibition, curated by Marta Kuzma, Director, OCA, Angela Vettese, President, Fondazione Bevilacqua La Masa and Pablo Lafuente, Associate Curator, OCA, will bring together rarely exhibited works from the collection of the Munch Museum in Oslo with Lene Berg’s new film Ung Løs Gris (Dirty Young Loose, 2013), in order to explore the relationship between art, its social context and changing gender relationships, both in the age of emancipation in which Munch lived and today.

At the beginning of the 20th century, sexual norms and traditional gender roles were questioned amid new psychological theories of sex and politics and a struggle for women’s equality. Challenged by such developments, Munch faced the alienation that characterised the Christiania Bohemia, a society bidding for emancipation but trapped in ‘reality’, struggling between two options: assimilating shared values, or going beyond them in order to construct a new frame for perception. Munch’s emphatic treatment of these themes from 1902 to 1908, before entering the asylum, reflected an internal ambiguity and anguish. Munch described this period as an ‘eternal civil war’, after which his work moved to a more distanced treatment of subjects, in social caricatures in which he offers an ironic critique of an increasingly capitalist and permissive society. In Social Studies: Cause and Effect, made shortly after, Munch also reflected upon the conditions of artistic production and its reception, via patronage, sales, criticism and public opinion, opening new dimensions for his work, from a psychological perspective into social and historical realms.

These issues are echoed in Lene Berg’s Dirty Young Loose, a film that concentrates on three stereotypical characters who are interrogated about their roles as either victims or perpetrators in a complex situation. The film explores the interpretation of human behaviour based on preconceived concepts and established norms. Just like the exhibition as a whole, the film presents the deconstruction of an original scene which functions as a catalyst for  a revision of the politics of liberation, of gender struggle and of internal conflict – the dilemma of emancipation.

For further information on this project, please contact Antonio Cataldo, OCA’s Senior Programme Coordinator. 

‘Beware of the Holy Whore: Edvard Munch and the Dilemma of Emancipation’ will take place from 31 May to 22 September 2013 at Galleria di Piazza San Marco of Fondazione Bevilacqua La Masa. It is made possible by 
the support of Fritt Ord and with the cooperation of the Munch Museum in Oslo. 

Beware of the holy whore: Edvard Munch and the dilemma of emancipation

Beware of the Holy Whore: Edvard Munch and the Dilemma of Emancipation' is a project co-organised by the Office for Contemporary Art Norway (OCA) and Fondazione Bevilacqua La Masa in Venice, Italy, as the official Norwegian representation at the 55th International Art Exhibition, La Biennale di Venezia in 2013. The project, curated by Marta Kuzma, Director, OCA, Angela Vettese, President, Fondazione Bevilacqua La Masa and Pablo Lafuente, Associate Curator, OCA, revolves around emancipation as an issue always vexed with contradiction – between the realm of freedom and the consequences of the isolation that often accompanies pursuing a qualitatively different, ‘alternative’ life. In his Essay on Liberation, Herbert Marcuse noted that this striving toward what is essentially a ‘new sensibility’ involves a psychedelic, narcotic release from the rationality of an established system, as well as from the rationality that attempts to change that system. This new sensibility, which resides in the gap between the confines of the existing order and those of true liberation, might lead to a radical transformation – and in this transformation art serves as a technique through which to reconstruct reality from its illusion, its imitation, even its harmony, towards a reality not yet given, still to be realised. 

The impulse to operate in the margins – on the outside trying to break in or on the inside redefining the context – is one of the key driving forces in the history of art, and is also at the centre of 'Beware of the Holy Whore: Edvard Munch and the Dilemma of Emancipation'. The exhibition, which will take place at Fondazione Bevilacqua La Masa’s gallery at Piazza San Marco, will bring together works from the collection of the Munch Museum in Oslo in order to explore Edvard Munch’s position within and response to the age of emancipation in which he lived, where sexual norms and traditional gender roles were challenged amid new psychological theories of sex and politics and a struggle for women’s equality. Challenged by social developments and psycho-emotional expression, Munch faced the alienation that characterised a society (the Kristiania Bohemia) bidding for emancipation but trapped in ‘reality’, struggling between two options: assimilating shared values, or going beyond them in order to construct a new frame for perception. As Munch’s illustrations for Charles Baudelaire’s Les Fleurs du mal warned, sex might bring death. 

Munch’s emphatic treatment of these themes from 1902 to 1908, before entering the asylum, reflected an internal ambiguity and anguish. Munch described this period as an ‘eternal civil war’, after which his work moved to a more distanced treatment of subjects, in social caricatures in which he offers an ironic critique of an increasingly capitalist and permissive society. In Social Studies: Cause and Effect, made shortly after, Munch also reflected upon the conditions of artistic production and its reception, via patronage, sales, criticism and public opinion, opening new dimensions for his work, from a psychological perspective into social and historical realms.

The ‘pile of humanity’ or ‘human mountain’, a recurrent motif in Munch’s work since the early 1890s, is a pivotal element for 'Beware of the Holy Whore: Edvard Munch and the Dilemma of Emancipation', in its reflection on an emancipatory drive that might conclude in tragedy. While some of the sketches, illustrations, drawings and lithographs of the versions portray the human mountain as a platform for what looks like a move towards true liberation, others show a sarcophagus at the mountain’s pinnacle – an allegory that reflects Munch’s deep ambivalence towards the new times, their promises and their possibilities, and that expresses the dilemma of emancipation. 

Norway at Biennal

Norway's representation at the 54th International Art Exhibition, La Biennale di Venezia, will consist of two programmes, running consecutively throughout 2011: 'The State of Things', a series of lectures by internationally renowned intellectuals in various cultural and academic institutions in Venice, and 'Beyond Death: Viral Discontents and Contemporary Notions about AIDS', a teaching programme by artist Bjarne Melgaard at Università Iuav di Venezia.


ABOUT 'THE STATE OF THINGS'
At the end of World War I, a series of citizenship laws across Europe resulted in masses of refugees on the continent. In response to this crisis, Norwegian diplomat, scientist and explorer Fridtjof Nansen designed the Nansen Passport — an identity card issued by the League of Nations in 1922 that enabled refugees to move across borders. By 1942 the passport was recognised by 52 governments, enabling leading intellectuals and artists, among others, to travel in search of political and intellectual shelter. In 1938, the Nansen International Office for Refugees was awarded the Nobel Peace Prize for its efforts to establish the passport. Nansen himself received the Nobel Peace Prize in 1922 for his work with refugees and those suffering famine in Russia.

Reflecting upon the principles of the Nansen Passport today, and upon the possibility that the image of a nation may in fact be defined by its internationalism, the Office for Contemporary Art Norway (OCA) is organising 'The State of Things', a series of public lectures that is part of Norway's representation for the 54th International Art Exhibition, La Biennale di Venezia, in 2011. The programme will commence in the opening days of the Biennale in June 2011, and continue until its closure six months later, in late November. It is organised by OCA and hosted by Venetian cultural and academic institutions, such as the Faculty of Design and Arts at the Università Iuav di Venezia and the Istituto Veneto di Scienze, Lettere ed Arti.

The public lectures, given by internationally respected intellectuals, will reflect upon themes such as diversity, Europe, the environment, peace-making, human rights, capital, sustainability, migration, asylum, aesthetics and war. Each of the papers will tackle the 'state of things' today, drawing from the speakers' fields of activity and research, and from what they consider the intellectual and political priorities of today. Confirmed speakers include gender theorist Judith Butler, environmental activist and author Vandana Shiva, media theorist and activist Franco Berardi, art historian T.J. Clark, philosopher Jacques Rancière and architectural theorist Eyal Weizman.

A book will be published upon completion of the lecture programme, compiling the papers produced by the participants, and possible additional materials. Through these diverse documents, the book will offer a nuanced overview of the intellectual and political challenges affecting the world today from the standpoint of a contemporary version of Nansen's rights-based internationalism.


ABOUT 'BEYOND DEATH: VIRAL DISCONTENTS AND CONTEMPORARY NOTIONS ABOUT AIDS'
Also as part of Norway's representation at the 54th International Art Exhibition, La Biennale di Venezia, Norwegian artist Bjarne Melgaard will serve as Guest Professor for the Graduate Programme of Visual Arts at the Faculty of Design and Arts, Università Iuav di Venezia. In an attempt to tackle one of the key issues in the world today, Melgaard will conduct a Masters programme titled 'Beyond Death: Viral Discontents and Contemporary Notions about AIDS'. The programme will be structured around a series of lectures and workshops by the artist taking place from mid-February to mid-May 2011, and will conclude with a public project and a publication reflecting the materials researched during the course. 'Beyond Death' will look at the history and present of the AIDS crisis, and its reflection within contemporary art and discourse.


ABOUT NORWAY AT LA BIENNALE DI VENEZIA
The International Art Exhibition, La Biennale di Venezia, has been since its foundation in 1895 one of the key art events worldwide. For the 2011 edition, Norway will for the first time be represented in Venice independently from Finland and Sweden. This is the result of a temporary agreement that assigns sole responsibility for the Nordic Pavilion in the Giardini to a single country, on a rotational basis for the next three editions. For the 2011 edition, the Office for Contemporary Art Norway, as commissioner for Norway's representation in Venice, will focus on art's ability to function as a platform for discussing the world and its urgencies, and will develop a collaboration with established Venetian institutions in order to reach both art and wider audiences.


ABOUT THE OFFICE FOR CONTEMPORARY ART NORWAY
Norway's representation in Venice for the 54th International Art Exhibition, La Biennale di Venezia, in 2011 is commissioned by the Office for Contemporary Art Norway and organised by its director, Marta Kuzma and OCA's associate curator, Pablo Lafuente, together with Peter Osborne, director of the Centre for Research in Modern European Philosophy at Kingston University in London. The teaching programme was developed at the invitation of and in cooperation with Angela Vettese, Director of the Graduate Programme of Visual Arts, Università Iuav di Venezia.

The Office for Contemporary Art Norway is a non-profit foundation created by the Norwegian Ministry of Culture and Church Affairs (KKD, now KUD) and the Norwegian Ministry of Foreign Affairs (UD) in autumn 2001 with the aim of strengthening the position of contemporary visual arts and production from Norway, and stimulating and facilitating exchange between Norwegian and international art institutions and professionals. Since its foundation in 2001, OCA has been responsible for a programme of exhibitions, conferences, lectures and seminars both in Norway and abroad, involving artists, curators, philosophers and art and cultural theorists. Also since 2001, OCA has been responsible for Norway's representation in the Venice Biennale of contemporary art. For the 53rd edition in 2009, OCA, as the commissioner of the Nordic Pavilion, set up an unprecedented collaboration between the Nordic and Danish Pavilions, through an exhibition titled 'The Collectors', curated by artists' duo Elmgreen & Dragset.

Paesi Nordici

Sul lato opposto, accanto alla Francia, c’è il moderno Padiglione dei Paesi Nordici (Finlandia, Norvegia e Svezia) Costruito nel 1962 dall’architetto norvegese Sverre Fehn. Attualmente è gestito a rotazione fra le tre nazioni,Svezia 2011. Finlandia 2013 e nel 2015 Norvegia.
Per certi periodi è stato organizzato in gruppo o con proposte nazionali.


2013 — Terike Haapoja (padiglione Paesi Nordici) e Antti Laitinen (padiglione Finlandiaia) (Curatorei: Collective Gruppo 111)
2011 — SVEZIA: Fia Backström, Andreas Eriksson (Curatore: Magnus af Petersens)
2009 — "The Collectors" (in collaboration with the Danish Pavilion): Elmgreen and Dragset, Klara Lidén (SE), Wolfgang Tillmans (DE) and others. (Curatores: Elmgreen & Dragset, DK/NO)
2007 — "Welfare — Fare Well": Adel Abidin (IQ/FI), Jacob Dahlgren (SE), Lars Ramberg (NO), Toril Goksøyr & Camilla Martens (NO), Sirous Namazi (SE), Maaria Wirkkala FI (Curatore: René Block, DE)
2005 — "Sharing Space Dividing Time": Miriam Bäckström and Carsten Höller (SE/DE), Matias Faldbakken (NO) (Curatore: Åsa Nacking, SE)
2003 — "Devil-May-Care": Karin Mamma Andersson (SE), Kristina Bræin (NO), Liisa Luonila (FI) (Curatores: Anne Karin Jortveit and Andrea Kroksnes, NO)
2001 — "The North is Protected": Leif Elggren (SE), Tommi Grönlund/Petteri Nisunen (FI), Carl Michael von Hausswolff (SE), Anders Tomren (NO) (Curatores: Grönlund/Nisunen, FI)
1999 — "End of a Story": Annika von Hausswolff (SE), Knut Åsdam (NO), Eija-Liisa Ahtila (SE). (Curatore: John Peter Nilsson, SE)
1997 — "Naturally Artificial": Henrik Håkansson (SE), Mark Dion (US), Marianna Uutininen (FI), Mariko Mori (JP), Sven Påhlsson (NO) (Curatore: Jon-Ove Steihaug, NO)
1995 — Eva Løfdahl (SE), Per Maning (NO), Nina Roos (FI) (Curatore: Timo Valjakka, FI)
1993 — Jussi Niva (FI), Truls Melin (SE), Bente Stokke (NO) (Curatore: Lars Nittve, SE)
1990 — "Cavén, Barclay, Håfström": Per Barclay (NO), Kari Cavén (FI), Jan Håfström (SE) (Curatore: Per Hovdenakk, NO)
1988 — Per Inge Bjørlo (NO), Rolf Hanson (SE), Jukka Mäkelä (FI) (Curatore: Maaretta Jaukkuri, FI)
1986 — "Techne": Bård Breivik (NO), Marianne Heske (NO), Olli Lyytikäinen (FI), Kjell Ohlin (SE), Erik H. Olson (SE), Silja Rantanen (FI), Carl Fredrik Reuterswärd (SE), Osmo Valtonen (FI) (Curatore: Mats B.)
1984 — FINLANDIA: ; NORVEGIA: Bendik Riis; SVEZIA:
1982 — FINLANDIA: ; NORVEGIA: Synnøve Anker Aurdal; SVEZIA:
1980 — FINLANDIA: ; NORVEGIA: Knut Rose; SVEZIA:
1978 — FINLANDIA: ; NORVEGIA: Frans Widerberg; SVEZIA:
1976 — FINLANDIA: ; NORVEGIA: Boge Berg, Steinar Christensen/Kristian Kvakland, Arvid Pettersen; SVEZIA: ARARAT (Alternative Research in Architecture, Resources, Art and Technology)
1972 — FINLANDIA: ; NORVEGIA: Arne Ekeland; SVEZIA:
1970 — FINLANDIA: ; NORVEGIA: Arnold Haukeland; SVEZIA:
1968 — FINLANDIA: ; NORVEGIA: Gunnar S. Gundersen; SVEZIA: Sivert Lindblom, Arne Jones
1966 — FINLANDIA: ; NORVEGIA: Jakob Weidemann; SVEZIA: Öyvind Fahlström
1964 — FINLANDIA: ; NORVEGIA: Hannah Ryggen; SVEZIA: Evert Lundquist

1962 — FINLANDIA: ; NORVEGIA: Rolf Nesch, Knut Rumohr; SVEZIA: Siri Derkert