Collecting

Collecting


The Art of Affordable Collecting
 
Persons Projects has created a new section that focuses on how to start and develop a photo collection for those who are not familiar with buying photography. On our Instagram twice a month we propose a carefully selected photographs. We are specifically offering a selection of works by established artists in smaller sizes as well as an emphasis on younger artists in the beginnings of their careers, whose works are modestly priced. This collection is also now on our website.
 
Why collect photography, how to do it wisely, and what to look for in young artists?
 
From a price-point perspective, photography is one of the more accessible mediums, to begin with. We advise young collectors to purchase works that challenge as well as inspire them. It's equally important to be able to live with and appreciate the collection your creating. The value of any piece is a combination of aesthetics, content, and how it challenges you. Build your collection around who you are and how it reflects your views in general. By supporting emerging artists, the collector becomes part of that individual's professional orbit, and it's emotionally rewarding in following the development of a young artists' career.
 
Why collect the Helsinki School?

It represents a 25 years history of six generations of artists that utilizes the photographic process as a tool for conceptual thinking. It's the longest sustainable platform of its kind worldwide and has generated over 180 publications of artists plus 6 volumes of the Helsinki School book series. Its artists are represented throughout many significant museums in Europe, South America, and the United States.

If you have any questions, please don't hesitate to contact us: berlin@personsprojects.com




Elina Brotherus, I Am Still Alive, after On Kawara, I am still alive 1970–2000, 2016


Pigment print, 22 x 14 cm


Wern recommend Elina Brotherus to begin with, who is one of the most rnwell-known artists within the Helsinki School. Her works have alternatedrn between autobiographical to art historical approaches, utilizing nearlyrn any aspect of her personal life to those of the most iconic images fromrn 19-20th-century paintings. Brotherus' most current focus is directed rntowards works from the 1960-70s.Her fascination with the Fluxus movementrn begins with the legendary German curators, René Block and his wife rnUrsula. Rene Block's gallery and Ursula's music store were the principalrn sources for Fluxus art in Europe. Through their friendship and time rnshared, Brotherus had both the opportunity and sources to begin her rnseries with a work dedicated to On Kawara's project I Am Still Alivern that consists of a series of telegrams sent over a thirty-year period rnto a wide range of recipients bearing the message "I Am Still Alive". rnBrotherus’s interpretation of this Kawaras’s work embodies both the rnspirit as well as the irony that was fluid within that Fluxus period at rntime. Brotherus emphasizes, "it is not about mimicking another artist's rnoriginal performances, but studying and understanding the written rnprotocols, the so-called 'event scores'."

contact us:

berlin@personsprojects.com


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Sanna Kannisto, Phoenicurus phoenicurus, 2019 
Archival pigment ink print, 40 × 32 cm

Sannarn Kannisto is one of the most unique and distinguished artists from the rnHelsinki School. She explores the intersection between nature, science, rnand art. Her photographs are a study of different methods, approaches, rnand theories in how humankind interacts with our natural environment. rnDuring her numerous stays in Peru, French Guiana, Brazil, and Finland, rnshe became a visual researcher, borrowing working methods from the rnnatural sciences, anthropological practices, and from still-life rnpainting. To create her images, Kannisto builds portable temporary rnstages or, in her words, "field studios.” Kannisto states: "I like the rnfact that in the act of flying, the bird’s stopped motion is so rnsculptural. The speed of the bird is challenging to frame, and I’m able rnto rotate it in space through photography.”
The work Phoenicurus phoenicurus,rn is dedicated to a relatively common summer migrant from winter grounds rnin Africa. This small bird has a distinctive habit of shivering its rnbright orangey tail.


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Janne Lehtinen, Harder Than Hard, 2015
Archival pigment print, 30 x 30 cm

Jannern Lehtinen’s art is a mixture of sculpture and performance and is rnrealized in the studio or in natural surroundings with no audience. rnThese performance-enhanced, staged photographs carry a sense of rnmelancholy bordering on absurdity. It’s more of a dance where the head rnfollows the heart with the photographs representing the moment the two rnmerge. He has, throughout his career, exercised an extremely personal rnapproach in reflecting upon his life using himself as his own model. In rnthe futured photo we find him as a solitary figure balancing himself rnbetween bricks, balloons, and his need to disappear.

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Ville Kumpulainen, Eros and Psyche, 2020 
Archival pigment print, 45 x 38,52 cm

For Ville Kumpulainen archive materials are like archeological findings. He begins by creating his sculptures based on found photographs and archival negatives, which he dismantles and recomposes by cutting, tearing, folding, and rearranging. He then challenges his viewers with his assorted combinations of images that re­define their form through words associated with another meaning, which he collects over time. He addresses the issues that arise from the tensions between a constructed environment and a natural one, focusing on the hidden instincts that lay within.
The myth of Eros and Psyche is one of the best-known love stories in mythology. Eros was throwing arrows at people to hit their hearts and make them fall in love. Psyche, a beautiful maiden, is a symbol of the soul purified by passions and misfortunes.

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Anni Leppälä, Mirror (Blanket), 2011 
Archival pigment print, 21 x 31,5 cm

Anni Leppälä is one of the most outstanding Helsinki School representatives, whose acquired recognition on a global scale. She was awarded the title the Young Artist of the Year in Finland, 2010. Her photographs are timeless images that evolve out of a trust stemming from how we as viewers are invited into her world as neutral observers. They all share a universal feeling of something familiar. She uses her images as a poet with words, leaving us with something "outside” the image, something out of sight, a sensibility without a face to name it.

In her Mirror (Blanket) work, the spectator can find a young woman dressed in red with her back turned against the spectator, hiding her face. Läppala often uses the red color, which symbolically may be related to a time when a girl becomes a woman, or it is often associated with passion and love or danger. The photo uncovers hidden emotions, memories in dreamlike settings, which convey a deep sense for a place that’s not hers to own but to share.

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Jaakko Kahilaniemi, All Play Every Day, 2018
Pigment print, framed, 46,67 x 35 cm

Jaakko Kahilaniemi is drawn to places of radical interference between people and the natural forces. With his series Nature Like Capital he explores the complex and contradictory relationship today’s society has in coexisting with nature and finding their mutual path for a healthy future. His images reflect his intentions for bridging a joint understanding between how we live within our environment in contrast to the nature of who we are as a society. 
Whether it be his own inherited forest or the aftermath of a forest fire from another property, Kahilaniemi presents his ideas in a minimal way letting the image speak for itself. He creates a visual language that unveils its secrets by challenging the viewer to step outside their own preconceived comfort zones, and look at the broader context of where we fit in to the nature of all things.

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