ROMANTIC GEOGRAPHIC SOCIETY

Exhibition: "BELVEDERE - Warum ist Landschaft Schön - Why is Landscape Beautiful ?"

2011-10-07T13:07:00.002+03:00

Installation by Cave Research Department and The Department of Subterranean Landscapes

in arp museum Bahnhof Rolandseck Germany, 4. september 2011 - 4. march 2012

ENLARGE: click the images
Photos: Jussi Kivi

Link to the web pages of the museum

Jussi Kivi: Interim Report on the Landscape and Cave Research Department

2011-10-07T03:13:00.001+03:00

'No voyages of discovery are made in a

world of matters of course.’

Grotta is the italian word for all kinds of caverns and grottos. In historico-cultural terms, however, the term derives from the underground temples and holy caverns of antiquity. Since the Baroque period the grotto has become a standard curiosity in the european landscape garden. In the romantic era an artificial grotto came increasingly to symbolise an element of the wild in the artificial landscape to which the art of landscape gardening was devoted. The grotto is a symbol of access to prehistoric depths, to the chambers of hermit monks and to metaphors of the underworld and the subconscious.

CAVE-PAINTING

During World War I the russians built a ring of fortifications around my hometown Helsinki as part of a broader strategy to defend St. Petersburg. The October revolution brought this huge undertaking to a standstill and Finland gained independence shortly afterwards. Among the most impressive structures still in existence today rank the trenches cut deep into the cliffs and the circa one hundred caverns intended initially for use as ammunition depots and bomb shelters. The army and the arms industry actually used some of them as such during World War II, after which they were put to various purposes. Some were swallowed up by urban development yet a few abandoned or never completed caverns can still be found in the forests on the city outskirts. The granite walls of the trenches leading to the caverns are covered by moss that has grown undisturbed there for decades. Today, some of the trenches look like a natural phenomenon, an impression underscored in the best cases by sylvan wilderness and lush undergrowth. Civilisation lends the place a particular aura too, with a hotchpotch of metal scrap and rubbish piled up over years. This heightens the anti-social profile often attributed to the modern suburban forest. Young people have used the caverns there as alternative ‘youth clubs’, which has given rise to all kinds of things of a sort that might better go unnoticed. Homeless people have evidently camped in the caverns too, although these are damp, cool and anything but comfortable. Not that one runs into people here often, though their traces are everywhere to see. These are places where people evade anyone who threatens to cross their path, places where anything might have happened ...

I began to make irregular jaunts to these caverns towards the end of the 1980s. In the winter of 2002 I photographed one of the largest open caverns as an experiment. While making the shots I lit the dark cavern by flashing my torch around. Then I had typical small-sized prints made in a photo shop. All the images on the film were underexposed — with one exception. This one successful shot, however, which had cost me so much trouble to make, was highly significant; for although the focus of my work in the preceding years had been something else entirely, my interest in photography revived the moment I saw it. The reason was that this one photograph had something painterly about it — a quality way beyond the usual scope of photochemical production. It was evidently a case of a paranormal, art-historical phenomenon of sorts. The postcard sized print with which I left the photo shop suddenly morphed into a masterpiece of painting, entrusted to my care. I returned to the caverns and once again, seemingly portentous after-images began to take shape in the light cone of my torch. They beckoned from the depths like spirits of the underworld. And the underworld from which they sprang was the tradition of a certain type of darkly coloured european painting.

Salvatore Rosa: Landscape with Hermit c.1662

The first to emerge from the shadows were numerous versions of Arnold Böcklin’s Isle of the Dead as well as the cavern and abyss idylls of the frenchman Courbet, who was actually held to be a realist. At the entrance to the cavern was waiting the master himself, Caspar David Friedrich, whose nights, cliffs and landscapes of ruins are unrivalled everywhere — except in the natural world. The path into the thickening darkness pointed in this direction. I decided to apprentice myself to a master immediately and thereupon met another teacher: Leonardo and The Virgin of the Rocks, along with Altdorfer and Dürer, the ‘Albrechts’ of the sixteenth century. The list would not be complete without Hieronymus Bosch, the lesser-known landscape painter Roelant Savery and the, when not avant-garde then certainly experimental, Hercules Seghers. Italian Salvatore Rosa was also convincingly represented in these macabre galleries of the suburban forests, as was a string of lesser-known seventeenth century dutch painters and one or two German romantics. Every last one of them predated the invention of electric light. And Doré, of course, even though he was mainly a graphic artist. The forgotten tunnels transmogrified into museum halls and endless galleries. Sublime centuries of art spoke from the cliff face. I aspired now to higher things. My equipment consisted of a rather cheaper brand of Japanese camera, a tripod, a cable release, torches and an egg timer from the kitchen for long exposures. I usually set off on my photo expeditions only at dusk, so daylight would not impair the ambience. Slowly taking photographs in the dark often stretched the hours spent underground deep into the night. This too had an effect on the photographs. Likewise the underground odorous landscape plays a part in the proceedings. Just as a painter’s mood is lifted by the smell of oil paint and solvents, I, too, have something similar to confess. When I fill my nostrils with the first few hits of that archaic, simultaneously dry, damp and mildewed odour so typical of underground caverns my body is racked by waves of inspiration and suspense.

Gustav Dore

THE CAVE RESEARCH DEPARTMENT

The world is not only a picturesque combination of nocturnal odours and light, however. It soon became evident that the character of the caverns might be investigated on other levels than painting. Further research was necessary. I had first researched archaeological inventories in order to locate caverns. Then I studied archives and laid my hands on a file containing ground plans of caverns from the period 1937–39. The caverns had been surveyed at the time on behalf of the Ministry of Defence as a means to assess the extent to which such forgotten underground spaces in the depths of the forests might be used in the case of a war. Equipped with copies of the ground plans I began new field studies. I updated and enhanced old maps by adding to their content the strata of civilisation found in the caverns — in a manner not unlike that used for archaeological excavation plans. All kinds of scrap and rubbish have been dumped in the caverns over the years, everything from broken bottles to the rusting corpses of bikes and iron beds and even burnt out cars. Some of the remains found there speak of underground activities: evidence of campfires for example, or wood dragged inside to be burned. Occasionally one even comes across ritual-mythical arrangements in the caverns, composed of fragments of mirror, candles or stones and twigs laid out in various forms, which have all disappeared by the time one returns or altered their form.

In archaeology, examining finds is one of the primary research methods, and it can be applied equally to this kind of romanticist inquiry. The objective in this case, however, was not the distant past but the rich and constant permutations of subconscious life in wastelands and small forests on the urban periphery. The caverns themselves are portraits of a sort, depicting both the margins of civilisation and its inner core. They are the geological-expressionist and disregarded consequence of a macabre, megalomaniac policy, peppered with irrational contemporary addenda. Such disregard is tied up in turn with their message: that which the caverns reveal of a culture that brings forth such environments then shuns them.

Caspar David Friedrich
FURTHER RESEARCH: ONWARDS INTO THE DEPTHS

In addition to the aforementioned project, the scope of research was soon extended to include landscape research above ground into similar types of environment from the perspective of picturesque realism. The range of underground projects meanwhile spans more ambitious targets. Among these rank pits for the gain of primary materials and the underground networks indispensable to urban infrastructure. Activities in the cavern research sector have not been wholly unproblematic. Certain objectives have proved to be dangerous, and independent research into certain objects implies a measure of illegality and possibly undesirable juridical repercussions. It is for this reason that such activity, which in stylistic terms may rightly be called romantic, is presently attributed the additional mythical aura of underground art. It can indeed be seen as an impulse for the underground, for very little has happened in Western democracies in this field of landscape art for many years. To quote an anonymous twenty-first-century cave researcher:

‘You are of the earth and only in the earth can you grasp the infinity of the heavens [...] and the deeper, the closer to the core of all being we may wander, the weaker and more vulnerable this, our little spaceship, starts to feel. Earth [...] is our only home, only in her caverns are we safe; we cannot get any deeper than this ..."

John Martin: Bridge over Chaos 1826

The text is published in the exhibition catalogue:
"BELVEDERE - Warum ist Landschaft schön? - Why is Landscape Beautiful" by arp museum Banhof Rolandseck, Germany 2011.

ENLARGE: Click the Images

Jussi Kivi

2011-08-07T02:29:00.002+03:00

Entrances I - topographical studies of light and shadow
Funnel quarry, north end seen from south
pencil 32 x 24 cm 2011

ENLARGE: Click the image

Jussi Kivi: Tartaros, tunnels and deep giant stopes, map of level +80

2011-08-06T14:17:00.004+03:00

ink on black paper 40 x 48 cm, 2011

(latin translation: Reijo Pitkäranta)

ENLARGE: Click the image

Jussi Kivi : Tartaros, map sketch -level +80

2011-08-06T13:37:00.002+03:00

ink, charcoal on tar paper, 25 x 20 cm, 2011

ENLARGE: Click the image

Jussi Kivi: Tartaros - Sectio Longitudinalis - Black Damp

2011-08-03T02:52:00.013+03:00

Giant underground stopes (worked out areas), tunnels and shafts, longitudal section of a mine.

- level +80

- level +115

Pastel on tar paper 117 x 175 cm, Department of Subterranen Landscapes 2011

ENLARGE: Click the Image

Tartaros - Sectio Longitudinalis - Black Damp (Detail)

ENLARGE: Click the Image

Jussi Kivi: Bayerischer Wald, part 1

2011-08-03T02:35:00.002+03:00

walking trail 7.12.1993 1.30 pm - 5.30 pm

pencil 35 x 50 cm, 1993

ENLARGE: Click the picture

III. Joint World Conference - MEETING OF THE GHOSTS

2011-08-03T02:16:00.002+03:00

Organised by Romantic Geographic Society ( R.G.S.) and The School of Esoteric Geography (S.E.G) ETC. Helsinki, Finland 12.3.2011

Group shot of the participants in the map room

High level conversations during the break

Presentations and lectures were followed intensively at all levels

ENLARGE: Click the photos

Conference summary in finnish - link to the blog of The School of Esoteric Geograhpy

II. World Conference - OUT OF MAP

2011-08-02T01:53:00.007+03:00

II. World Conference organised by Romantic Geographic Society and The School of Esoteric Geography 27 -28 of Feb. 2010 in Suomenlinna fortress-island, Helsinki, Finland.

Group shot of participants at the old execution place
Photo: Veli-Matti Rintala

Link to conference summary in The School of Esoteric Geography blog (in finnish):

2010-10-06T17:36:00.009+03:00

The Biogas area, landscape from a former waste dump, Vuosaari, Helsinki

2005, 80 x 130 cm, Jussi Kivi photo.

ENLARGE: Click the image

2010-08-30T13:21:00.008+03:00

Cave 1242, Kivikko, Helsinki, 2006

Photo: Jussi Kivi

ENLARGE: Click the image

2010-08-28T15:11:00.004+03:00

Jussi Kivi: Naive, painted banner, Project Overtures am Wasser, Kunstcircolo - Alpines Museum, München, 2005

ENLARGE: Click the image

2010-08-28T14:17:00.009+03:00

Campfire place in a cave with firewood, Mustavuori, Vantaa, Finland 2003

Photo: Jussi Kivi

ENLARGE: Click the image

Besenhorster Sandberge fairies

2009-11-16T21:19:00.029+02:00

Besenhorster Sandberge ruin area is in the outskirts of Hamburg.

In the days of second world war there was a nazi gunpowder factory with it's slave workers.

The factory was bombed in the war and today the ruins are surrounded by forest.

In this picturescue project these forest ruins were photographed and renamed with

romantic names in the spirit of Schubert and other important german romantics.

The photographing project was a part of the exhibition and research project

"Mapping a City, Hamburg Kartierung" and it was shown atKunstverein in Hamburg

from november 2003 to february 2004. Photos: Jussi Kivi

House of Enigmas

Haus der Rätsel

ENLARGE: Click the image

Dwarfhouse

Zwergenhaus

ENLARGE: Click the image

Tree of Knowing

Baum des Wissen

Hottentot House

Hottentottenhaus

The Pavillon

Pavillon

ENLARGE: Click the image

Wanderer's Path

Plad der Wanderer

ENLARGE: Click the image

2009-10-13T11:13:00.006+03:00

Dorgarn - the uninhabited areas of Finland part 2 a

RGS camping and mapping department/ Jussi Kivi 1991

ENLARGE Click the image

Installation in Ars Fennica 2009 exhibition

2009-10-07T22:59:00.019+03:00

Dead spruce - dead pine, installation view (detail)

ENLARGE: Click the image

Forest edge - primeval forest in moonlight (detail)

ENLARGE: Click the image

First snow - small forest pond in the boreal forest belt surrounded by old forest and gradually being taken over by swamp vegetation in the moonlight after a snowfall. (Diorama)

Installation by Jussi Kivi in the exhibition Ars Fennica 2009 in Contemporary Art Museum Kiasma, Helsinki.

ENLARGE: Click the image

Jussi Kivi

2009-10-07T22:25:00.012+03:00

Cave 1242 "Theater", Kivikko, Helsinki photo 81 x 121 cm, 2006

ENLARGE: Click the image

2009-10-05T21:29:00.009+03:00

"Korsvikin kirkko" - Korsvik Church", Ground plan of a half-cave under huge erratic boulders near Loviisa, Finland. Explanations: 1= camp fire site, 2= path to the sea (100m)

Cave research department/ Jussi Kivi

ENLARGE: Click the image

2009-10-04T11:50:00.009+03:00

Sewer Rat, Herttoniemi, Helsinki, 83 x 118 cm

photo: Jussi Kivi 2007

ENLARGE: Click the image

An Expedition to the Little Night River 1995

2009-10-01T22:57:00.018+03:00

In August 1995 a group of finnish, russian and komi biologists and artists mounted a joint expedition to the Voi-Vozh river valley in Komi, North Western Urals.

The Voi-Vozh river runs between the Pechora plains and the Urals Mountains. It's a low tributary of the River Bol'shaya Synya which runs to river Usa, which in turn is a tributary of the Pechora River. In the Komi language, the points of the compass and the times of day are indicated with parallel constructions. The small southern branch of the river is called Day-River: the northern branch is the Night-River.

The area is closed in by thick impassable forest, and is therefore entirely uninhabited. It constitutes the single largest area of untouched forest on the European side of the continent. This remote and lonely region is dominated by dark forests, bogs, mountains, wild animals and millions of blackflies. Here, the human species (homo sapiens) exerts minimal influence.

The place therefore affords unique opportunities for obseving and studying "The UNTOUCHED."

The artistic aim of the expedition was to study untouched, pristine nature as a mytchical concept. This entailed viewing expedition itself as a mythical rite converging on pristine nature. The scientific interests focused on botany, zoology, ornithology, ecology and hydrobiology. Homever, the environment seemed supremely indifferent to our aims!

The expedition was organised by Pori Art Museum, Frame - finnish fund for art exhange and Komi University/ Biological department ( Syktyvkar. The Artistic results of the project was presented as a part of the exhibition "Strangers in the Arctic"

in Rundetaar, Gopenhagen, The Art Museum of Atheneum, Helsinki and The Art Gallery of Ontario, Toronto. (1996-97)

Map: Ural mountains and Pechora plains in the surroundings

of River Voi-Vozh and River Vangyr. 1995

ENLARGE: Click the image

The horizon of Urals from north to south-east seen from the point: 65°57N/55°58E

ENLARGE: Click the image

Geological formations remind an ancient fortress,

or a nose of a petrified Nenets soldier.

Jussi Kivi 1995-96

ENLARGE: Click the image

Melancholic evening at Voi-Vozh River

by the edge of Ural mountains and Pechora plains.

On the way to Pechora, river meanderings seen from the aeroplane.

Panorama Urals 270°, from west to south

RGS exploration dept. / J. Kivi

ENLARGE: Click the image

Sorbus Aucuparia (Uralin Pihlaja), Pinus Sibirica

ENLARGE: Click the image

Jussi Kivi : Vuosaari Wall 1, Helsinki, November 2006

2009-09-29T21:05:00.020+03:00

Wasteland dept. / Department of Landscape Studies (for Albrecht Dürer)
Digital photo print 78 x 116 cm

ENLARGE: Click the image

2009-09-28T22:28:00.009+03:00

Ormusmäki hill, Malmi, Helsinki, caves and battle trenches quarried into rock

Department of caves and bunkers, Jussi Kivi 2006

ENLARGE: Click the images

2009-09-28T22:03:00.006+03:00

Salvation, Jussi Kivi, 2006

ENLARGE: Click the image

2009-09-28T00:36:00.004+03:00

The Uninhabited areas of Finland part 7: Hindsby Forest 1977-1989,

The Map: Jussi Kivi 1991

ENLARGE: Click the image!

Jussi Kivi : Forest in moonshine

2009-09-03T00:43:00.011+03:00

photograph 90 x 115 cm 2005

ENLARGE: Click the image

2009-07-31T02:15:00.007+03:00

The Coffee Map: Hietasaari - Pajusaari islands, camp site and rowing routes, Pajusaarenselkä, Lake Saimaa, Taipalsaari, Finland, pencil, dark roasted coffee. Jussi Kivi 1997

ENLARGE: Click the image

2009-07-29T04:04:00.008+03:00

Meiko (Dorgarn), Kirkkonummi, Finland

" The German romantic artist Oliver Kochta is photographing waterfall in Meiko woods"

End of april 1999, (photo: J.K.) Backwoods & Wilderness archives Nr. 35

ENLARGE: Click the image

2009-07-29T03:40:00.008+03:00

T. Kontinen RGS member of honour, photographed in the wild light of sunset

Repokaira Wilderness, Inari, Lappland

Wilderness & Backwoods archive Nr. 107 (photo: JK)

ENLARGE: Click the image

2009-07-29T03:21:00.008+03:00

Meiko, Kirkkonummi, Finland

The official first of may camp in Meiko woods

Backwoods & Wilderness archive Nr. 57 (Photo: JK. 2000)

ENLARGE: Click the images

2009-07-29T02:56:00.006+03:00

Elimyssalo, old camp site in the vicinity of Saunaniemi, 1990

Wilderness & Backwoods dept. Nr. 2

Elimyssalo, camp site in the morning, near by Saunaniemi, Kuhmo, Finland 1990

Wilderness & Backwood dept. Nr. 3 (photos: J.Kivi)

ENLARGE: Click the image

2009-07-29T02:39:00.010+03:00

Salamanperä, Koirajärvi ( The Dog Lake) 1977

Wilderness & Backwoods photo archive Nr. 6

ENLARGE: Click the image

Report from the RGS & SEG conference 2008

2009-07-28T02:19:00.027+03:00

Next morning walk trought the bushes

The Late night presentation session

The Jamal Peninsula botanic presentation

The Openinig ceremonies at rock table, the official RGS meeting place in Vartiosaari island, Finland.

ENLARGE:click the images

Explorations in a Completed World

First Joint World Conference and Summer Seminar of the Romantic
Geographic Society (R.G.S.) and the School of Esoteric Geography (S.E.G.)
Vartiosaari Island, Helsinki, Finland, august, 2008

The seminar was a perfect succes. The program started at afternoon and continued until 2am. and then it was time for sauna. We heard several intensive an exciting presentations from passionate amateurs and professional researchers; artists, photographers , writers, explorers and intruders, geographist, botanists, archaeologists etc.

Program consisted following topics:

Presentations of the activities and philosophy of both Romantic Geography and Esoteric geography, Urban exploration in Finland and Baltic states, Botanic research in Jamal Peninsula, Fortress and bunker archaelogy, Borderland business in Africa, Photographic documentation of wastelands and chancing landscapes in between, Expeditions in the Finnish Archipelago etc.

(photos: Tellervo Kalleinen)

A short visual report of the conference by Stalkers (LINK)

Jussi Kivi

2009-07-27T02:27:00.008+03:00

Sights of East-Helsinki part 1; Mustavuori and Vuosaari wasteland (former dump).

2005

ENLARGE: Click the image

2009-07-25T03:44:00.007+03:00

Cave survey, Korppivuori cave, Pesolansaari, Finland

pencil J. Kivi, 1996-97

EXHIBITIONS 2005 -2008

2009-07-25T02:10:00.021+03:00

Department for Studies of Unusual Light Phenomena (detail)

The Mystery of Professor Lemström - A Northern light Project by Oliver Kochta - Kalleinen

"Supernaturalism 2", Momentum - 4th Nordic Festival of Contemporary Art,

Moss, Norway 2006

Front: Samples from the RGS collection of romantic objects

Background: Materials from RGS underground departments

( cave research dept & department of subterranean landscapes)

Samples from RGS backwoods & wilderness department photo archive

RGS Collection in the exhibition:

"Friction and Conflicts", Kalmar Art Museum, Sweden 2008

(Propaganda dept. J.Kivi, O.Kohta-Kalleinen)

Installation view (detail)

Samples from the RGS collection of romantic objects

Wilderness & Backwoods photo archive (detail)

"Supernaturalism 2", Momentum - 4th Nordic Festival of Contemporary Art,

Moss, Norway 2006 (J.Kivi, O. Kochta-Kalleinen)

"Lemström museum", Department of strange light phenomenon, (northern light project by O.Kochta-Kalleinen)

Installation view (detail)

Supernaturalism I

Lönnström museum, Rauma, Finland 2005

RGS propaganda department: Jussi Kivi, Oliver Kochta-Kalleinen, Tero Kontinen

2009-07-24T21:38:00.002+03:00

Crossing the great swamp, Repoaapa, Sompio, Finland 1981

RGS/ Backwoods & Wilderness archive nr.81 (J.Kivi)

2009-07-24T18:55:00.011+03:00

Pihlajavesi, Saimaa lake district, Finland, rowing routes and camp sites

watercolour, ink, RGS mapping dept. / outdoor investigations department

(Jussi Kivi 2005)

ENLARGE: Click the image

2009-07-24T18:15:00.004+03:00

The Geese hunters plastic tee-pee, Martimoaapa marshlands, Autumn 1984

Rgs Wilderness & Backwoods archives Nr.7 / Outdoor investigations department / Documentation dept. (photo: J. Kivi)

ENLARGE: Click the image

2009-07-24T01:48:00.006+03:00

Pötsönpuro Camp in moonshine, November 1990

Text: General description of the campsite near Pötsönpuro creek in dark spruce forest in the north side of Jeremiaanrasi in Elimyssalo backwoods, Kuhmo, Finland, RGS wilderness & backwoods dept. / Hiking and wandering department 1997 (JK)

ENLARGE: Click the image

2009-07-24T00:58:00.010+03:00

Landscape study, Dorgarn, Kirkkonummi, Finland,

profile from west south west to east north east, forest, small open swamps, swampy forest, low rocky dry pine woods, two small lakes, old camp sites

scale 1:1000, pencil on millimeter paper, Jussi Kivi 1997

ENLARGE: Click the image

Jussi Kivi

2009-07-23T18:27:00.008+03:00

MEIKO - LAPPTRÄSK - DORGARN The Uninhabited Areas of Finland part 12.

Field studies 1977- The map: 1992-97 watercolour, ink 100 x 70 cm

ENLARGE: Click the image

2009-07-23T18:00:00.007+03:00

Caves 1034, 1035, Ormusmäki, Malmi, Helsinki

Cround plan, basic drawing from ministery of defence underground mapping project 1937-39

(Finnish war archives), updated by J.Kivi 2005

ENLARGE: Click the image

Jussi Kivi

2009-07-23T17:44:00.011+03:00

Vuosaari wall, Helsinki, april 2007
photo 78 x 118 cm

ENLARGE: click the image

2009-07-23T17:36:00.009+03:00

Cave 1243, Kivikko, Helsinki, cround plan

Basic drawing from ministery of defence underground mapping project 1937-39

(Finnish war archives), updated by Jussi Kivi 2005

ENLARGE: Click the image

2009-07-23T17:23:00.012+03:00

Cave 1425

Mustikkamäki (Blueberry Hill), Kontula, Helsinki, profiles

J. Kivi 2006

ENLARGE: Click the image

Jussi Kivi

2009-07-23T17:14:00.013+03:00

Cave 1425, Mustikkamäki (Blueberry Hill), Kontula, Helsinki

Department of subterranean landscapes, photo, 2002

ENLARGE: Click the image

2009-07-23T17:05:00.004+03:00

Cave 1222, Kivikko, Helsinki, ground plan and profiles

JK 2003-2005

ENLARGE: Click the image

2009-07-23T16:41:00.012+03:00

Cave dept.

Profile Sketches, cave 1245, "Theater", Kivikko, Helsinki

ENLARGE: Click the image

2009-07-23T16:13:00.011+03:00

F o r e s t o n a m o v e

Landscape dept. photo: Jussi Kivi 2003

Dedicated to Max Ernst

ENLARGE: Click the image

Jussi Kivi: Cross-section of a natural cave

2009-07-23T13:50:00.013+03:00

Korppivuori, Pesolansaari Island, Finland

Scraped on photographic paper, 1996

Handwritten markings (translation from finnish): "The scale, Korppivuori, upper cave, cross-section of a cave, camp fire site, entrance."

ENLARGE: click the image

2009-07-23T02:11:00.016+03:00

RGS/Wilderness & backwoods archives nr.54.

Mysterious abandoned lean to camp in Hammastunturi Wilderness.

Following things were found from the camp:

Camping matress, pullower (wool), Camel boots (in good condition),

snowspate, kettle, spoon, knife, FOOD: severeal bags instant soup etc.

dry dog food, hair schampoo, soap

Photo: JK. sept 1998

ENLARGE: click the image

2009-07-23T01:40:00.011+03:00

RGS/Wilderness & backwoods archives nr. 18

Kirakkajärvi, Hammastunturi Wilds, Inari, Finland, September 1994

Jussi Kivi: Theatrical Landscape, quarry, Ahvensaari island, Finland.

2009-07-22T12:31:00.029+03:00

Landscape Department/Wasteland dept. 2007

ENLARGE: click the image

2009-07-22T02:47:00.019+03:00

Cave Research Department: Ground plan and profiles of cave (bunker) 1242, Kivikko, Helsinki. Ground drawing from 1938 ( Finnish war museum). Additional study and markings by RGS cave dept./Jussi Kivi 3.12.05

ENLARGE: Click the image

2009-07-22T01:16:00.013+03:00

Department of Subterranean Landscapes:

Ice stalagmits in a cave

photo 100 x 140 cm, Jussi Kivi 2006

ENLARGE: Click the image

Jussi Kivi BIOGRAPHY

2009-07-22T00:45:00.010+03:00

Born 1959 Helsinki, lives and works in Helsinki, Finland

SELECTED EXHIBITIONS:

One man shows

2010 Museum of Contemporary Art, Kiasma, Helsinki Finland

"Ars Fennica Winner 2009", Kuntsi Modern Art

Museum, Vaasa, Finland

2009 "Fire & Rescue Museum", Finnish pavilion - 53rd International Art Exhibition La
Biennale di Venezia

2006 Galleria Artina, Helsinki Finland

2001 Galerie für Landschafstkunst, Hamburg

2000 Galleria Kari Kenetti, Helsinki

1997 Museum of Contemporary Art, Helsinki,

Unge Kunstneres Samfund, Oslo

1994 Pori Art Museum, Finland

1992 Galleri Lång, Malmö

1991 Galleria Pieni Agora, Helsinki Finland

1987 Galerie Nemo, Kiel,

1981 Vanhan galleria, Helsinki Finland

Group shows

2011 "BELVEDERE Warum ist Landschaft schön? - Why is Landscape Beautiful ",
   Arpmuseum Banhof Rolandseck, Germany
   "In the middle of nowhere", Rauma Art Museum, Finland
   " Mustarinda - The Great Outside", Hyrynsalmi, Finland

2009
“Beyond the Picturesque” Stedelijk Museum voor Actuel

Kunst, Gent, Belgium

"Richtung Norden", Maerz Kunstlervereinigung, Linz, Austria,

"Ars Fennica 2009", Museum of Contemporary Art, Kiasma,

Helsinki, Finland

"Pittoresk Neue Perspektiven auf das Landscahftsbild",

Museum Marta Herford,Herford, Germany

2008
“Friction and Conflict”, Kalmar Konstmuseum, Sweden

2006
“Landscape, Museum of Contemporary Art, Kiasma,

Helsinki Finland

“Momentum 2006, 4^th Nordic Festival of Contemporay

Art”, Moss, Norge

2005
"Overtures am Wasser" Alpines museum, München

"Romantic Geographic Society - Supernaturalism"

Lönnström Art Museum, Rauma Finland

2003-2004

"Feldforschung", Hamburger Kunsthalle,

"Hamburg Kartierung", Kunstverein in Hamburg

2003

"KUNST_Sachsen-Anhalt 2, Landschaft(en) -Wildflecken

und Gartenreich” Staatliche Galerie, Moritzburg Halle,

"Romantic Geographic Society, Annual Exhibition of

Nature Romanticism 2003", Huuto gallery, Helsinki

2001

"Roots", Helsinki Art Hall, Finland, Tallinna Art Hall, Estonia

”Erde”, Forum, Kunst und Austellungshalle der

Bundesrepublik Deutschland, Bonn

2000

"North, Contemporary Art from Northern Europe",

Kunsthalle Wien.

1999

"Auf der Suche nach der verlorenen Zeit, Finnische Kunst

90er Jahre", Haus am Waldsee, Berlin.

"Finnish Line, Starting point, Jeunes artistes finlandais",

Musee d´art Moderne et Contemporain, Strasbourg.

" Europa-Edition -portfolio" , Artware, Wien.

1997,1998

"Cartographers", Museum of Contemporary art, Zagreb,

Umetnostja Galerija, Maribor, Mücsarnok, Budapest,

"Unbekanntes Abenteuers -Positioner zeitgenössischer

Kunst aus Finland", Badischer Kunstverein, Karslruhe,

Stadtgalerie Kiel, Kunsthalle Rostock

1996,1997

"Strangers in the Arctic" , Rundetaarn, Gopenhagen,

Contemporay Art Museum, Helsinki,

Art Gallery of Ontario, Toronto

1994
"Air, Water, Earth", Focus in finnish art, touring show, Japan

1995
"Europa Creation - Re Creation, Mücsarnok, Budapest

1994
"Drift-art in landscape", Lista, Norja

1993
”Equi-Librium”, Riga, Latvia

1992
”The Cultural Landscape”, Palazzo Esposizioni, Rooma

”Seeing”, Pori Art Museum

”Satumaa-Sinirand” Tallinna, Estonia

"Nuuksio-Project", Academy of Fine Arts, Helsinki

1991
”European workshop Ruhrgebiet I-II”,

Recklinghausen Kunsthalle

1988
”Made in Camera”, Galleri Sten Eriksson, Stockholm.

1987-1988

"Eighty-european painters today", touring show: Strassbourg,

Paris, Berlin, Madrid, Stockholm, etc.

1987

"U-Media", Umeå, Sweden

"Sao Paulo Biennale", Brasilia

"Attitudes", Aalborg, Reykjavik, Södertälje,

"Natur -6 finskt kunstnere", Sophienholm, Gopenhagen

1986
”Hearing”, Helsingin Art Hall

1983
”Project vadehav”, Ribe, Kööpenhamina,

”AKT-83”, Art Museum of Atheneum, Helsinki

1980
”Ö-group”, Vanhan galleria, Helsinki

2009-07-21T11:53:00.011+03:00

Mapping Dept. Three Lakes With Surroundings, Vihti, Espoo, The Uninhabited Areas of Finland (Drawing: Jussi Kivi 1992).

ENLARGE: click the image