Situation Sculpture between the Artist and the Viewer
Hexagram UQÀM, 2012:
’’Marjatta Oja has been producing and exhibiting videotapes and installations for over 20 years. Her work is shown internationally, most recently in a solo exhibition this year at the Gallerie Suvi Lehtinen in Berlin, and is in the collections of, among other institutions, the Moderna museet in Stockholm and the Museum of Contemporary Art Kiasma in Helsinki.
She recently completed her Doctorate in Fine Arts at the Finnish Academy of Fine Arts. Her doctoral project, Three-Dimensional Projection – Situation Sculpture between the Artist and the Viewer, brought together her extensive practice in video installation with a text which explores the topical issue of the relationship between the artist and the viewer. She asks : Can the new kinds of intermediate spaces of moving image works alter the role of the artist so as to facilitate a dialogue not only with the works, but also with the artist?’’
On Marjatta Oja’s Art (2012)
by Hanna Johansson
Marjatta Oja’s career as an artist began at the end of the 1980s. She is the first Finnish artist to start using video and slide projection as a central element in her work. Her orientation as an artist was shaped by the year she studied under Luciano Fabro in Milan in 1988–89. Projection offered Oja a natural instrument to experiment with the techniques, attitudes and themes typical to the post-1960s international generation of artists. Central elements of new art of the time were intermediality and bold experiments with visual technologies, intentional dissolution of the boundary between life and art, use of the body as an artistic medium, and rejection of pure visuality and of ‘pure’ areas in general, as well as a new interest in temporality.
Oja’s works could be described as performance videos, video sculptures or, as she herself sees them, situational sculptures. In a situational sculpture, moving images and their presentation media merge with the given space and the three-dimensional objects in that space. Oja has a predilection for visual technology apparatuses, both archaic and advanced: cameras, projectors, reflecting mirrors, tripods, free-standing projection screens. These are accompanied by structures that belong to the ‘subject’ of the moving image: cubes, curtains and fans. The objects are combined into a whole where the space of cinematic narrative and the space of the performance form a continuous or at least a contiguous whole.
As I see it, Oja’s work is about connections between images, the vagrancy of images and their endless process of transformation, as well as the relationship between reality and visual representation. Her work demonstrates that visuality is far from being an independent sphere of representation. On the contrary, Oja’s art underlines the materiality of the image and also its emergence in different types of support and in joints. I like to think Oja’s installations as ‘thought works’.