The scary picture of the future today made me think about the attitude of different generations towards the future, hope and change.
In the 1970s, Finland was undergoing a major social upheaval, urbanization, the promise of fresh suburbs, hundreds of thousands moving to Sweden in search of a better life, increased employment of women, humanizing laws and an internationalizing cuisine.
Koskenkorva's sales records are also in this decade, just like my birth.
So a lot of promise.
In my mind, I imagine Åsa-Ulrika, who has just moved to Hagalund with her husband, listening to the radio, leaning on her hands as she stares at the suburban life through the folds of her kappa curtains, and hopes that the canned peach jelly will come out of its pan without breaking this time, sucks the last smokes from her cigarette and fixes her hairdo.
On the other hand, also kitchens smoky with tobacco, heavy knockers, thin bread, living Irwin Goodman's lyrics as flesh.
Jelly dishes saved the meal of many poor families, they are an amazing eye-turning trick. How little could be created with the help of gelatin and mold to create something festive, flamboyant, and for a moment believe again that life will carry.
It was this fragile feeling of happiness, an almost desperate faith in tomorrow that inspired the works.
The exhibition also features parts of a work reflecting on the change in protest culture, text scraps, which can also be seen as protest signs, as an internal motive for each of them to participate.
Heidi Linsén (1976) is an artist from Helsinki whose works combine softness with society's grievances. The rugs realized by tufting make the viewer stop and think about their relationship with the subject being discussed.
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