Shared Knowledge, Radical Belonging
On Aimless Exhibition by Curator Jernej Cucek Gerbec
February 2026
I can’t, leave me alone! I’d rather be on a beach, watching the sun set into the sea. Perhaps I’d drift over to a picnic and then we’d gorge ourselves on grapes and sip homemade iced tea while dipping breadsticks into hummus. Carefree, with the wind in my hair, on a road with no destination. I’d sit in a car in some city-centre car park with the engine running. Without any regards for the overpriced petrol slowly burning away for no reason. I’d stand in the middle of the night in front of a closed kiosk, lost in thought with no solution. Longing for something I don’t need and do so without a care in the world.
New Performance Turku Biennial
On "Calling" Piece by Heidi Horila
February 2026
Kamehkosh performed a minimally mundane act, such as the extremely slow act of putting a tablespoon into his mouth or the bedtime routine with bedclothes soaked in honey and molded. He tied a lump of stone to his hand with plastic wrap, or placed the stone against his cheek while lying in bed, or under a cassette recorder, respectively.
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Saturdays, a glimpse of five joyful encounters
On Saturdays project, by Ramiro Camelo
June 2023
Even if we do not want to, we are constantly thrown into interacting with people whose assumptions, points of view, ideologies, and backgrounds are different or totally opposite from our own. Perhaps never before was more complex and intricate the struggle to understand each other in the middle of multiple layers of go-between tech translators, screens, keyboards, and apps. So forth, we might say that the idea of interacting with strangers is essentially both the consequence and cause of why we are so bad at forced acts of translation.
Presence Time Body Exhibition
Review by Kati Heljakka
January 2023
Presence is perhaps one of the most elusive needs in our busy times. That’s why art exhibitions, where simply looking around is not enough, offer the best medicine for stopping and being still for a moment.
Parsa Kamehkhosh: A sense of presence and joy
An interview by Athanasía Aarniosuo
June 2023
AA: You spent a few months in 2022 at Tokyo Arts and Space Residency. As your artistic practice involves incorporating your daily life, routines, and observations into your work, did the change of scenery bring on changes in your work as well?
PK: With the change of scenery, I expected to see new elements in the ideas that flowed through me. Because you know, when it comes to my art practice, I am hesitant to label myself as a creator. Instead, I see myself as a “door” through which certain ideas emerge, and to fulfill this role, I must be present, a challenging quality that I describe as being in the world.
”Honey, escape!”
Sara Kovamäki on the exhibition Unwordable (honey edition)
May 2023
On Saturdays Project
by Matti Tanskanen
MAY 2022
Congratulations project-one hour contemplation
to do lists (ed. 1 to 45)
March 2022
Inside Out in Objekti Exhibition
by Jakub Bobrowski
August 2018
April 2013
Our vision captures a world teeming with complexity, yet our brains naturally focus on what piques our interest, simplifying our perceptions. This subconscious process is deeply influenced by the traditional geometric and reductionist approach to nature. In product design, particularly when drawing inspiration from the natural world, designers often tend to distill intricate organic forms into basic geometries and adapt materials for their projects. However, this prevailing approach may hinder our ability to truly grasp the complex reality of nature, which holds great potential for revitalizing the aesthetic language in design.
In response to this, I conducted a thorough phenomenological study in 2011 to learn from nature’s approach to “form,” aiming to uncover a fresh perspective. I meticulously observed various natural phenomena, including birds and plants, chosen randomly. The insights from these observations revealed that nature’s method of dealing with form significantly differs from that of designers, with growth being a fundamental differentiating factor as opposed to the assemblage in design.
The culmination of this study is presented as “The Theory of Design Naturally,” which serves as a platform to introduce product designers to an analytical and practical understanding of diverse form paradigms found in nature. This theory encompasses form-giving processes, geometry, gestalt, visual abstractions, function, and more.
Abstract: In the context of product design and when it comes to studying the physical forms in nature, aesthetic norms sometime can function as the filters that make the complex structures of reality seem only as the basic geometries, proportions and patterns in our eyes. In other words, although we look at the complex structure but the mind only picks the. It can even get more problematic when we take this manipulated, simplified and reduced perception of a phenomenon as the reality of it. This means we are depriving ourselves of seeing a huge aesthetic portion of reality in natural phenomenon which, could be of a great potential for pushing the boundaries of the aesthetic norms in the field of product design. This paper proposes an approach that revolves around minimising the dominance of reductionist mind in observing and studying the mater of forms in nature in order to get closer to the complex reality of them. This approach is presented under the title of The Theory of Design Naturally and consists of a collection of principles that hypothetically would help designers to deal with the complexity of forms with less reductionist approach.
Batin-Based Design
July 2010
Abstract: The issue of globalization has been a major concern in many countries around the world and has led to the formation and consolidation of different approaches, such as localization strategies that share a focus on the design and management of culture. However, in some countries, including Iran, there is a deep gap between the two factors of culture and technology and its products. The solution to this challenge is to focus more on culture-based design and to seek a way to get rid of superficiality in this area. This paper proposes CAL futurology method as a suitable way to help designers to pay closer attention to culture, and through a series of experiments, it measures the effectiveness of this method in action. The results show that using this method in culture-based design is beneficial and can lead the designer to cultural considerations in a structured way. Having that said, it is also clear that it cannot cover the whole design process alone and requires a combination of complementary methods.
Keywords: Culture-Based Design; Layered Analysis of Causes; Layers of Recognition; Effective Interaction
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