Hand scale: Juhani Pallasmaa and Radosław Gryta


Juhani Pallasmaa "The Thinking Hand: embolied and existentialwisdom in art”
Radoslaw Gryta ”Skala- rozmyślania na temat”

date: 06.11.2019, 10:00
place: Auditorium (also transmition on PATIO ASP)


Juhani Pallasmaais a Finnisharchitect He hadexhibitions in morethanthirtycountries and he haswrittennumerousarticles on culturalphilosophy, environmentalpsychology and theories of architecture and the arts.
AmongPallasmaa'smanybooks on architecturaltheoryis The Eyes of the Skin – Architecture and the Senses, a bookthathasbecome a classic of architecturaltheory and is requiredreading on courses in manyschools of architecturearound the world. A selection of essayswritten by Pallasmaa, from the earlyyears to morerecentones, hasbeentranslatedinto English and collatedtogether in the bookEncounters – ArchitecturalEssays (Helsinki, 2005), edited by Peter MacKeith.
In terms of architecturalproduction, His earlycareeris characterised by concerns with rationalism, standardization and prefabrication. Pallasmaa'sfirstkeyworkdemonstratingtheseprinciples was the Moduli 225 (with Kristian Gullichsen), an industrial-producedsummerhouse, 1969-1971, of whicharoundsixwerebuilt in Finland. However, the keymodels for thistype of architecturewerebothJapanesearchitecture and the refinedabstractions of Ludwig Mies van der Rohe. In Finlandthistype of architectureis referred to as "constructivism" – with only a family resemblance to the avant-gardist Russian Constructivism – and at thattime, the late 1950s and 1960s, stood in opposition to the work of Alvar Aalto, who was increasinglyseen in hishome country as an idiosyncraticindividualist. But the interest in Japan alsocontained the seeds for Pallasmaa'slaterconcerns; materiality and a phenomenology of experience. It was afterreturning from teaching in AfricathatPallasmaaturnedaway from pureconstructivism, and tookuphisconcerns with psychology, culture, and phenomenology.

Radosław Grytais a sculptor, performer and teacher. Lives and works in Finland. He usuallysculpts in wood and stone. He usesclay, fiberglass, ceramics, sheet metal and plywood. He considersindividual and collectivememory – and forgetting – in hisartisticactivity. Values – and definingthem. He buildsmicrohistoriesthatrefer to the everyday life of ordinarypeople. He provokesus to readpoetry, materialized in a visual form. Radosław Gryta'sworkscan be found in museums and privatecollectionsallover the world, and the artistalsoworks in public spaces.
Excerpt from: „WILD STRAWBERRIES History and memory in the sculpture of Radosław Gryta” by Lars Saari.
“In the goldenage, the leaves of treesthemselvessecretedhoney, but todaybeesareborn from fresh flower clusters and grass”, Virgil wrotemanycenturies ago. The use of honey as a materialbrings to mindan emminentartist and the founder of the concept of socialsculpture, Joseph Beuys. With hisphilosophy and, aboveall, the symbolism of his materials – felt, fat, honey – Gryta combines a greatdeal. Whatinterested the German artist Wolfgang Laib in Beuys’ art was primarilyitstherapeuticaspect, a dialoguebetweenmatter and the spirit. I seethese same desires in Gryta’s art. Religion, Catholicism in Poland, theseareobviouslysignificantsocialforces and constructors of memory. Gryta saysthat the Church would be just fine withoutGod. And he quotes a poem by Różewicz about the two most importantmoments in a person’s life. The firstcomeswhen a person is born a god; the second – when he dies, and he doessosomehowunintentionally, he slipsaway, never to return.


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