Harri Pälviranta

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	<title>Harri Pälviranta</title>
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Harri Pälviranta
Born 27.7.1971 in Tampere, Finland, lives in Helsinki, Finland


education
2012 Doctor of Arts, photography, Aalto University School of Art, Design and Architecture, Helsinki, Finland.
2005 MA in Media studies, University of Turku, Finland
2000 BFA in Photography, Turku Arts Academy, Finland
1993- Political sciences, University of Tampere, Finland

books2026 Burn Index.&#38;nbsp;Stockholm: kult books. (upcoming late 2026)
2022 Battered. Stockholm: kult books. Second printing 2023.2022 Wall Tourist. Stockholm: kult books. 2017 News Portraits. Paris: Èditions Bessard.2012 Toden tuntua galleriassa/Experiencing Reality in an Art Exhibition. Väitöskirja/Doctor of Arts Dissertation. &#38;nbsp;Helsinki: Aalto Arts Books ja Musta Taide.

selected exhibitions
2026
-&#38;nbsp;Harder Better Faster Stronger – Are Men OK? Fotografiska Stockholm, Sweden. Group show, until 2/2027.- PhEST - International Festival of Photography and Art in Monopoli, Italy - Edition XI 2026. Solo show Choreography of Violence, until 11/2026.
2025
- Gallery Heino, Helsinki, Finland. Solo show.
- Mikkeli Art Museum, Finland. Solo show.
- Gallery Hippolyte, Helsinki, Finland. Group show.
- Galerie H2O, Barcelona, Spain. Solo show. 
- Muisti Centre of War and Peace, Mikkeli. Solo show within a war history exhibition.- Lappeenranta Art Museum, Finland. Solo show.

2024- Hämeenlinna Art Museum.&#38;nbsp;Art Realm Biennial, Finland. Group show.
- Art Ii Biennial, Finland. Solo show within the biennial.

2023
- Dali International Photography Exhibition, Dali, Yunnan, China. Group show.
- Ratamo Gallery, Jyväskylä, Finland. Solo show.
- The Reference, Seoul, South Korea. Group show One Picture Manifesto.

2022
- Wäinö Aaltonen Museum of Art, Turku, Finland. Moving. Group show curated by Jonni Saloluoma. 
- National Museum of Contemporary Art / Imago Lisboa, Lisbon, Portugal. &#38;nbsp;Solo show. 
- Kana Kawanishi gallery, Tokio, Japan.&#38;nbsp;Group show One Picture Manifesto.
- Gallery Nykyaika, Tampere, Finland. Solo show. 
- ISFC - Instituto Superiore di Fotografia, Rome. Italy. Group show One Picture Manifesto.

2021- Galerie H2O, Barcelona, Spain. Solo show. 

2020
- Fotomuseum Winterthur, Switzerland. Street. Life. Photography – Street Photography aus sieben Jahrzehnten. Group show curated by Sabine Schnakenberg. - Benaki Museum, APhF:20, Athens, Greece. Group exhibition. 
- Latvian Museum of Photography, Riga, Latvia. Solo show.&#38;nbsp;

2019
- Kunst Haus Wien, Museum Hundertwasser. Austria. Group show STREET. LIFE. PHOTOGRAPHY. Curated by Sabine Schnakenberg and Verena Kaspar-Eisert. 
- Finnish Museum of Photography, Helsinki, Finland. Group show One Picture Manifesto.
- Mänttä Art Festival, Finland. Group show The Human Era, curated by Marja Helander.
- Helsinki City Museum, Finland. Objection! Group show.&#38;nbsp;

2018
- Finnish Museum of Photography, Helsinki, Finland. With Marja Helander and Kari Soinio. 
- IAPT Photobook:2018. Korai Art Space, Nicosia, Cyprus.
- House der Photographie, Deichtorhallen, Hamburg, Germany. [SPACE] –  Street. Life. Photography. Seven Decades of Street Photography . Group show curated by Sabine Schnakenberg.
- Gallery U, Helsinki, Finland. Group show.

2017 
- Photography Museum Siauliai, Lithuania. Group show.
- Latvian Museum of Photography, Riga, Latvia. Group show.
- M. K. Ciurlionis National Museum of Art, Kaunas, Lithuania. Group show.
- National Museum of Arts and Crafts, Zagreb, Croatia. Group show.
- Galerija Photon, Ljubljana, Slovenia. Group show. 
- Aboa Vetus &#38;amp; Ars Nova, Turku, Finland. Group show. 
- Fnac Callao, Madrid. PhotoEspana Descubrimientos PHE Award 1998-2016. Group show. 
- Galerie H2O, Barcelona, Spain. Solo show. 
- FLUSS, Wolkersdorf, Austria. Group show Independence throught the lenses. 
- beta SPACE, Aalto University, Espoo. Solo show.
- Robert Capa Contemporary Photography Center, Budapest, Hungary. Group show Independence throught the lenses.

2016
- Northern Center of Photography, Oulu, Finland. Solo show.

2015
- Tenerife Espacio de las Artes, Santa Cruz de Tenerife, Canary Islands, Spain. Group show Gestures towards the self.
- Kulturens Hus, Luleå, Sweden. Solo show.
- PhotoEspana, Matadero, Madrid. Descubrimientos PHE Award 1998-2014. Group show.
- Fotofestiwal, Lodz, Poland. 

2014
- Tampere Art Museum / TR1, Finland. Solo show.
- The MAC, Belfast, Northern Ireland. Group show of shortlisted artists for MAC International, juried by Hugh Mulholland, Francesco Bonami and Judith Nesbitt.
- Fotografie Forum Frankfurt, Germany. Group show curated by Celina Lunsford.
- Gallery H2O, Barcelona, Spain. Solo show.
- CFF, Stockholm, Sweden. Solo show.
- Hyvinkää Art Museum, Finland, Group show curated by Mika Karhu.

2013
- Ljungbergmuseet, Sweden. Group show Portrait Now!
- Helsinki Art Museum, Finland. Group show Happy End?, curated by Claire Gould and Heli Haarni.
- The Museum of National History, Frederiksborg Castle, Denmark. Group show Portrait Now! Brewer J.C. Jacobsen’s Portrait Award.
- Rencontres Photographiques de Montpellier / Les Boutographies, Montpellier, France. 
- Lahti Art Museum, Finland. Group show The Allure of LIght, curated by Ulla Jokisalo, Ari Kakkinen and Ville-Matti Rautjoki.

2012
- Contemporary Art Museum Kiasma, Helsinki, Finland. Group show Reality Bites - Documentary in contemporary art.
- Camden Palace Hotel Arts Center, Cork, Ireland, group show post SCRIPT curated by curated Peggy Sue Amison.
- Yan-Bian University Gallery, Yian-Ji, China, group show curated by Seung-hak, Yang.
- Festival Voies Off 2012, Arles, France. Projection curated by Elina Heikka and Anna-Kaisa Rastenberger.
- ECCO Espacio de Creación Contemporánea, Gadiz, Spain. Group show "Alice in Wonderland".
- Äkkigalleria, Jyväskylä, Finland. Group show consisting of seven Finnish male artists looking at malehood. Curated by Anna Ruth and Juho Jäppinen.
- Wäinö Aaltonen Museum of Art, Turku, Finland. Group show "The Mutual Factor of Extremes".

2011
- Coex, Seoul, Korea. Group show.
- Melkveg Gallery, Amsterdam, Netherlands. Solo show "Battered" curated by Suzanne Dechert.
- Ars Auttoinen, Auttoinen, Finland. Group show "Suomi Finland".
- Gallery Iang, Seoul, Korea. Group show curated by Issack KIm.
- Stilllife Gallery, Ellicot City, US. Group show curated by Rebecca Weber.
- FORMAT International Photography Festival, Derby, UK. Group show.
- Logomo, Turku, Finland. Alice in Wonderland. Group show curated by Sheyi Bankale (UK), Anna-Kaisa Rastenberger and Elina Heikka.

2010
- Gallery Maaret Finnberg, Turku, Finland, exhibition together with Sofia Saari.
- Thessaloniki PhotoBiennale 2010, Municipality of Neapolis gallery, Thessaloniki, Greece. Together with Kari Soinio (Finland).
- FotoTage Trier, Germany. Curated by Christoph Tannert.
- Gallery Augusta, Helsinki, Finland. Group show "Field works / Kenttätöitä".
- Finnish Museum of Photography, Helsinki, Finland. "People in the Summer Night − A Small Episodic Exhibition" group show curated by Anna-Kaisa Rastenberger.
- Gallery Uusitalo, Helsinki, Finland. Solo show.
- Nordic House, Reykjavik, Iceland. Group show with Icelandic and Finnish artists. Curated by Katrin Elvarsdottir and Spessi Hallbjornsson
- Belfast Exposed, Belfast, Northern Ireland, exhibition together with CJ Clarke. Curated by Karen Downey.
- ArtParis + Guests, Grand Palais, Paris, France. FINLAND: "The Stressed Beauty". Curated by Leevi Haapala.
- LeadAwards exhibition, Deichtorhallen, Hamburg, Germany.

2009
- Museo de Huelva, Huelva, Spain. Group show "Lingua Franca I Agresión-Conflicto-Accidente", curated by Ivan de la Torre Amerighi.
- Museo Archeologico di Atri, Italy. "A Pelle", group show curated by Giovanna Calvenzi, Mario Peliti and Laura Serani.
- Riga Art Space, Riga, Latvia. Group show "Variations on Transcending the Finiteness of Human Vision" curated by Marita Muukkonen.
- 9ème Rencontres Photographiques de Montpellier / Les Boutographies, Montpellier, France. 
- Contemporary Art Museum Kiasma, Helsinki, Finland. (un)naturally, group show curated by Marja-Terttu Kivirinta and Leena-Maija Rossi.
- Emil Filla Gallery, Usti nad Labem, Czech Republic. REBUS SIC STANTIBUS, group show curated by Silja Lehtonen and Michal Kolecek.
- Northern Center of Photography, Oulu, Finland. Solo show.
- Museum Baluarte de la Candelaria, Cadiz, Spain. Nine Voices Nine Places - Finland, group show curated by Silvio Salgado.

2008
- Singapore International Photography Festival, Old School, Singapore. Group show.
- Gallery Vartai, Vilnius, Lithuania. On a FinnIce - Moments of Everyday, together with Spessi (Iceland), curated by Kimmo Lehtonen.
- Mäntän kuvataideviikot / Mänttä Art Festival, Mänttä, Finland. Group show curated by Veli Granö.
- PHotoEspana 2008, Complejo el Aguila, Madrid, Spain. Solo show.
- Institute Camões, Lisbon, Portugal. Nine Voices Nine Places − Finland, group show curated by Silvio Salgado.
- Ars Nova, Turku, Finland. REBUS SIC STANTIBUS, group show curated by Silja Lehtonen and Michal Kolecek.
- Center for Creative Photography, Gallery Harmonia, Jyväskylä, Finland. Solo show.
- Kerava Art Museum, Kerava, Finland. What’s Up, Man! Group show curated by Pirkko Siitari.
- Finnish Museum of Photography, Helsinki, Finland. Group show curated by Hannu Vanhanen.
- Wäinö Aaltonen Museum of Art, Turku, Finland. Group show.
- Centro de Fotografia, Santa Cruz de Teneriffe, Spain. Solo show.
- Galleri Image, Århus, Denmark. Solo show.
- Gallery Formato Comodo, Madrid, Spain. Solo show.
- The Courtyard, Herefordshire’s Centre for the Arts, Hereford, UK. Solo show.
- The Northern Center of Photography, Oulu, Finland. The Sign of Fear, group show curated by Jari Silomäki.

2007
- gallery Uusitalo, Helsinki, Finland. Solo show.
- gallery Kakelhallen, Mariehamn, Åland. MaleStuff, group show curated by gallery Signe Vad and Harri Pälviranta
- M.K.Ciurlionis National Museum Picture Gallery, Kaunas, Lithuania. Kaunas Photo 07 decisive exhibition, group show.
- Photography Center Peri, Turku, Finland. MaleStuff, group show curated by gallery Signe Vad and Harri Pälviranta
- photographic gallery Hippolyte, Helsinki Finland. Group show curated by Jari Silomäki.
- PhotoEspana 2007 Descubrimientos PHE, Museo de Arte Contemporaneo, Madrid, Spain. Group show.
- gallery Signe Vad, Copenhagen, Denmark. MaleStuff, group show curated by gallery Signe Vad and Harri Pälviranta

2006
- Fotonauta Gallery of Photography, Barcelona, Spain. Solo show.
- National Gallery of Arts, Tirana, Albania. Onufri 2005, group show curated by Eleni Laperi.
- Center for Creative Photography/Gallery Harmonia, Jyväskylä, Finland. Solo show.

2005
- Northern Center of Photography, Oulu, Finland. Solo show.
- Wäinö Aaltonen Museum of Art, Studio, Turku, Finland. Solo show.
- Museum Center Vapriikki, Backlight2005, the 7. International Photographic Triennial in Tampere, Finland. Group show Untouchable Things.

2004
- Victor Barsokevitsch Photographic Centre, Kuopio, Finland. LIFE, group show curated by Anna Vilkuna.
- Salo Art Museum, Salo, Finland. In blue light, group show.
- Cultural center Lindart, Tirana, Albania. Solo show.

before 2003
- Photography Center PERI, Turku, Finland. Boys, group show. 2002.
- Northern Center of Photography, Oulu, Finland. Solo show. 2001.
- Gallery Just, Turku, Finland. Solo show. 2001.
- Mikkeli Photography Center, Mikkeli, Finland. Virne, Humour in Finnish Photography. Group show curated by Olli Jaatinen. 2001.
- Photography Center Peri, Turku, Finland. Solo show. 2000.
- Les Rencontres Internationales de la Photo, Arles, France. TECE exhibition, group show. 1999.

residencies
2015 Finnish Cultural Institute in New York, USA
2013 CFF, Stockholm, Sweden
2007−2009 Belfast Exposed, Northern Ireland
2007 Sirius Art Center, Cork, Ireland
2004 Cultural center Lindart, West Balkan AiR -residenssi (NIFCA), Tirana, Albania

curatorial work- 2023 Backlight festival, co-curated with Marko Karo. Tampere, Finland. Gallery Nykyaika, Gallery Saskiat, Gallery Koppelo and Tampere Art Museum.
- 2022–2023&#38;nbsp;One Picture Manifesto. ISFC - Instituto Superiore di Fotografia, Rome, Italy (April 2022), Gallery Kana Kawanishi, Tokio, Japan (September-October 2022) and The Reference, Seoul, Korea (March 2023). With Maija Tammi.&#38;nbsp;
- 2019&#38;nbsp;One Picture Manifesto. Finnish Museum of Photography, Helsinki, Finland. (13.9.–17.11.2019.) With Maija Tammi.- 2019 Objection! Helsinki City Museum, Finland. (24.5.–29.9.2019). With Marko Karo.- 2017 Gestures Towards the Self, Aboa Vetus &#38;amp; Ars Nova, Turku, Finland. (8.6. - 27.8.2017)- 2016 Reikä Gallery, Helsinki, Finland (1.9. - 24.12.2016). With Maija Tammi.- 2015 Gestos hacia uno mismo. Tenerife Espacio de las Artes, Santa Cruz de Tenerife, Canary Islands, Spain. (7.11.2015 - 6.3.2016.)- 2012 Helsinki Photography Biennial, Finland. (Member of curatorial board of 6 people)
- 2010 Gallery Augusta, Helsinki, Finland. Group show "Field works / Kenttätöitä". With Marko Karo. (20.8.–26.9.2010)- 2009 Sotiri 2009, Touch of Violence, Albania. Exhibition in Korca (23.5.−) and National Gallery/Tirana.- 2007 Digitally Yours, Ars Nova, Turku Finland (together with Andy Best ja Maija Koskinen, 31.3.-13.5.2007)- 2007 MaleStuff, gallery Signe Vad, Copenhagen Denmark (1.3.-31.3.2007); Peri Center for Photography, Turku Finland (31.8.-30.9.2007); gallery Kakelhallen, Maarianhamn Åland (10.11.2007-6.1.2008)- 2004 Concerning the Commonplace, Turku Art Museum, Finland (1.10.-12.12.2004)

grants and prices
Nomination DZ Bank f / 12.2 Scholarship 2017
Nomination Prix Pictet 2015
MAC International, shortlisted 2014
The Most Beautiful Book of the Year  Award Finland, Non-Fiction 2012
PhotoEspana 2007 Descubrimientos Award 2007
Arts Promotion Centre Finland
Finnish Cultural Foundation
KONE Foundation
Olga and Vilho Linnamo Foundation
FRAME
AVEK
JOKES
Aalto University School of Arts, Design and Architecture
Emil Aaltonen Foundation
Patricia Seppälä Foundation
Alfred Kordelin Foundation
Foundation of Press Photographers Finland
TOP-foundation
Turku City
Finnfoto

works in collections
- Contemporary Art Museum Kiasma, Helsinki, Finland
- The Finnish State Art Deposit Collection
- Tampere Art Museum, Finland
- Rovaniemi Art Museum / The Jenny and Antti Wihuri Foundation collection
- Finnish Museum of Photography, Helsinki, Finland

- Wäinö Aaltonen Museum of Art / Turku City art collection, Finland
- Heino Art Foundation- Centro de Fotografía Isla de Tenerife, Canary Islands, Spain

- Gallery Uusitalo, Helsinki, Finland
- Northern Centre for Photography, Finland
- Turun Sanomat, Finland
- Private collections in Finland, Spain, France and the USA.

pictures, reviews and articles in selected publications
- Internazionale magazine 1683, 18 September 2026, Italy- JoongAng Daily, 14 February 2026, South Korea- Taide-lehti 5–6 / 2025, Finland
- Photo Magazine Korea, Vol 439 / 2025.11, South Korea
- Agenda Magazine, Issue 3, 2024, Sweden
-&#38;nbsp;Liberation, 12 April 2023, France
- Collector Daily, 7 April 2023, US
- exibart, 27 April 2022, Italy.
- Foto Kvartals, 22 October 2020, Latvia.
- LTV, 6 October 2020, Latvia
- Foto Kvartals, 6 October 2020, Latvia.
- Delfi, 28 September 2020, Latvia.
- Diena, 10 September 2020, Latvia.
- Mum Spatik, 10 September 2020, Latvia.
- Arterritory, 8 September 2020, Latvia.
-&#38;nbsp;guns.doc. Image-based, text-extended approach to practical shooting. Visual essay in a book Visualization and visual communication. University of Lapland 2019. 
- Transeurope. European Photography and Visual Arts Forum. La Fabrica: Madrid. 2019.
- The Human Era. Mänttä Art Festival cataloque.Mäntän kuvataiteen ystävät: Mänttä 2019.
- A Concentrated Moment / Tiheä hetki. Musta taide ja Maahenki: Helsinki 2018.
- Street. Life. Photography. Seven Decades of Street Photography. Deichtorhallen and Kehrer Verlag: Hamburg 2018.
- L'Intervalle, 29 December 2017. France.
- Vision Magazine, # 155 Murder, October 2015. China.
- Float Photo Magazine, February 2015. USA-Israel.
- Medium, 25 October 2014. Interview by Joshua Beger.
- Al Jazeera Turkey 5 October 2014
- Huffinton Post 30. September 2014. USA.
- FeatureShoot 15 September 2014. USA.
- Side/Bond. PhotoRAW and Musta taide: Helsinki 2014
- Photo Dot magazine, January 2014, Korea
- Nordic Now! Special issue of Filter, Objektiv and Photo Raw. Helsinki, Finland 2013.
- The allure of Light, Lahti Art Museum exhibition cataloque, 2012.
- Reality Bites, Kiasma exhibition cataloque, eds. Aija Aarnio and Patrik Nyberg. Helsinki, Finland 2012.
- The Mutual Factor of Extremes, Wäinö Aaltonen museum exhibition cataloque. Turku, Finland 2012
- Voices of Photography magazine. November / December 2011, Taiwan.
- FK-magazine, 7. November 2011, Latvia
- Photo RAW # 14, 2011. Finland
- Sguardi e voci giovani sull"Europa / Miradas y voces jóvenes sobre Europa. Book by Peliti Associati, Italy 2010
- Where are the people? Contemporary Photographs of Belfast, 2002 − 2010. Belfast Exposed 2010.
- Korean Monthly Photography Magazine, Vol. 511, August 2010
- Foto Kvartals (Latvia), No. 5(19) October/ 2009
- Rolling Stone Italia, n. 71, September 2009
- DUMMY magazine (Germany), Summer 2009: Menner
- VIEW − photography magazine (Belgium). No 14, 2009
- PLAZM magazine Online
- Variations on transcending the finiteness of human vision, FRAME 2008
- Publico (Portugal), 25.9.2008
- PHOTONEWS, Germany, October 2008
- Creative Review, August 2008
- OBSCENA, junho/julho 2008
- The art of humanity, Mänttä XIII art festival catalogue 2008.
- PHotoEspana 2008 Festival guide. Madrid: La Fabrica 2008.
- Battered − Harri Pälviranta. Exhibition catalogue. Århus: Galleri Image 2008.
- Rebus sic stantibus. Exhibition catalogue, Aboa Vetus &#38;amp; Ars Nova ja Emil Filla Gallery 2008.
- ZEIT magazin Nr. 41, October 2007: Leben
- MOTIV magazine #11, June 2007: Home
- Catalogue for Backlight05, 7th International Photographic Triennial in Tampere, Finland. Tampere: Photographic Center Nykyaika (2005).
- Catalogue for ELÄMÄ-exhibition, Victor Barsokevitsch −center, Finland (2004).
- Catalogue Virne − Humour in finnis photography; Jaatinen, Olli (edit.). Helsinki: Musta Taide and Finnish Museum of Photography (2002).
- Catalogue PYLOS − On the Tracks of Our Cultural Progenitors. Feldkirch: Brunner/Fritsch Pädagogische Akademie (1999).

Radio interviews and other appearances in Radio YLE (Finnish National Broadcasting company), daily newspapers Helsingin Sanomat, Ilta-Sanomat, Turun Sanomat and Keskisuomalainen and several other Finnish newspapers and magazines. Also number of articles and interviews in Albanian media and in Spanish and Danish newspapers and radios. Critiques in several newspapers and magazines 1998−.


updated 10/2026


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RESEARCH / WRITING
List of publications


Peer-reviewed scientific articles-&#38;nbsp;Pälviranta, H., Baumann, S., &#38;amp; Athanasiadou, A. (2023). The choreography of violence : A discussion between Harri Palviranta and Stefanie Baumann. PHILOSOPHY OF PHOTOGRAPHY, 14(1), 95-108.

- Pälviranta, Harri (2019). guns.doc. Image-based, text-extended approach to practical shooting. Visual essay in a book Visualization and visual communication. University of Lapland.

- Pälviranta, Harri (2013). Encountering violence-related documentary photography in a gallery context. Photographies, Volume 6, Issue 1: special Helsinki Photomedia issue.


Non-refereed scientific articles
- Muureja todistamassa. Post-dokumentaarisesta todistamisesta ja tummasta turismista / Witnessing the walls. Post-documentary witnessing and dark tourism practices. In a book Likainen valokuva. Kirjoituksia post-dokumentaarisuudesta. Eds. Harri Pälviranta ja Anna-Kaisa Rastenberger (2023). LAB University, UTU Press and The Finnish Museum of Photography. 13–26.- Photographing border walls – Post-documentary photography as affective dark tourism. In a book Pälviranta, Harri 2022. Wall Tourist. Stockholm: Kult Books.

- Created together. Observations on the interpretations of documentary based artworks. In a book Erävaara, Taina ja Tanskanen, Ilona (eds.) 2009. Välissä. Valokuvat ymmärtämisen välineinä. Turku: Turun Amk ja Valokuvakeskus Peri. Fin. Huomioita dokumentaarisen valokuvataiteen tulkintamekanismeista.

- Reception of photographic art – the communication research perspective. In a book Albrecht, Kristoffer &#38;amp; Pentikäinen, Johanna (eds.) 2008. Kuva ja konteksti / Image and Context. Helsinki: Taideteollinen korkeakoulu. Working papers F33. 16−25. Fin. Valokuvataiteen vastaanotto viestinnällisestä näkökulmasta.

Allen Feldman and cultural anaesthesia. web-magazine Synnyt 1/2007


Scientific books (monographs)
- EXPERIENCING REALITY IN AN ART EXHIBITION. Encountering violence-related documentary photography in a gallery context. Helsinki: Aalto Books ja Musta taide. Doctor of Art thesis. 2012. Written in Finnish: Toden tuntua galleriassa. Väkivaltaa käsittelevän dokumentaarisen valokuvataiteen merkityksellistäminen näyttelykontekstissa.


Publications intended for professional communities- Likainen valokuva. Kirjoituksia post-dokumentaarisuudesta. Eds. Harri Pälviranta ja Anna-Kaisa Rastenberger. LAB University, UTU Press and The Finnish Museum of Photography. 2023.


Publications intended for the general public
- The Role of Research for an Artist. In a book The Turku School of Fine Arts, Now! Turku: Turku University of Applied Sciences. 2018.

- Photographic gestures towards the self. FotoNoviembre-catalogue. Santa Cruz: TEA, Centro de Fotografia Isla de Tenerife. 2015. 

- The impossibility to co-live the war. Text in Sofia Saari’s exhibition catalogue. Rauma Art museum 2006.

- Bite and onwards. Photographic art as a dog chasing its own tail. Exhibition catalogue Concerning the commonplace. Turku: Turun taidemuseon julkaisuja 4/2004. Eds. Mia Tykkyläinen and Harri Pälviranta. 21−31.

- More than 140 photography critiques since year 2000 in daily newspaper Turun Sanomat. Other photography related articles in Taidelehti and RAW Magazine.

Theses
- EXPERIENCING REALITY IN AN ART EXHIBITION. Encountering violence-related documentary photography in a gallery context. Helsinki: Aalto Books ja Musta taide. Doctor of Arts thesis. 2012. Written in Finnish. Toden tuntua galleriassa. Väkivaltaa käsittelevän dokumentaarisen valokuvataiteen merkityksellistäminen näyttelykontekstissa.

- Valokuvaväitöskirjat valokuvataiteen viimeistelijöinä. Suomalaiset valokuvataiteesta tehdyt väitöskirjat taidejärjestelmäteorian näkökulmasta. Turku: Turun yliopisto, mediatutkimus. MA Pro gradu Thesis. 2005. 

- Paha maisema. Turun taideakatemia, Turun AMK. BFA Thesis. 2000. 


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Delivered papers in research conferences and seminars
-Helsinki PhotoMedia 2022, Images among us.Aalto University School of Arts, Design and Architecture, Helsinki, FinlandMarch 31, 2022 – April 2, 2022One Picture Manifesto, with Maija Tammi

-Helsinki PhotoMedia 2012, The circulation of photographic images in terms of discourses, technologies and practices.
Aalto University School of Arts, Design and Architecture, Helsinki, Finland
March 28, 2012 – March 30, 2012
Encountering violence-related documentary photography in gallery context

-Lennart Nielsson conference, Oslo, Norway 
6.–8. March 2009
Presentation  "Violence and documentary practice", 8.3.2009.

-The Sociology of Culture RN of the ESA and The Sociology of the Arts RN of the ESA Conference Arts, Culture and Public Sphere – Expressive and Instrumental Values in Economic and Sociological Perspectives
IUAV University, Venice, Italy
November 4.–8. 2008
Paper “Created together – Documentary based photographic art as socially formed communication”

-Nordic Network for Visual Studies workshop Visual Narratives
University of Tampere, Finland
22.–25. October 2008
Paper “Photographic art as generically formed communication”

-Nordic Network for Visual studies research workshop Analysing the Visual
University of Tromsø, Norway
10.–13. September 2008
Paper “Created together – Photographic art as socially formed communication”

-ECREA and ICA conference Transforming Audiences – identity &#124; creativity &#124; everyday life
University of Westminster, London, UK
6.–7. September 2007
Paper “Who constitutes the meanings of the artworks? Photographic art as communication.”


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Doctor's thesis - summary

EXPERIENCING REALITY IN AN ART EXHIBITION
Encountering violence-related documentary photographic art in a gallery context

Although a great number of theories exist about meaning making, empirical research on how the actual audience receives and perceives contemporary art is nearly non-existent. Even less is known about the actual meaning making of violencerelated documentary photographic art in an exhibition context.

This study aims at patching up these holes in audience research. Firstly, my focus is on analysing communicated verbal expressions that actual viewers have produced as a reaction to viewing two particular bodies of work that have been exhibited in a gallery context. Secondly, this study contributes to audience research by introducing specific concepts that can be employed when studying meaning making regarding violence-related documentary photographic art.

The study is twofold in character. First of all, it includes vast artistic production. This means that as part of this research project, I myself have produced three different projects, namely Battered (2007), Playing Belfast (2009), and Notes on Finnish Gun Culture (2010). All thematically touch upon issues of violence, whether structural and/or apparent, and the approach is documentary. Battered looks into the physical assaults that take place in public spaces; Playing Belfast discusses children’s relationship to the bygone Northern Ireland conflict, The Troubles; and Notes on Finnish Gun Culture is a four-chapter narrative on various dimensions of gun use and shooting practices. All have been widely exhibited in Finland and internationally. During the research period, in six years pictures from these series have been included in 42 exhibitions in 17 countries.

Secondly, I have conducted a study on the reception given the Battered and Notes on Finnish Gun Culture series. Within this phase, my focus has been on finding out what kinds of meanings viewers give to the artworks from these two series and the extent to which their responses reflect an awareness that the works convey documentary discourse as well as the role that violence plays in the signification process. In line with these responses, an important question was: How do the artist and viewer’s perspectives of the artworks and significations relate to each other? Articulations of viewer interpretations have been gathered through questionnaires (n = 226) and interviews (n = 8) in connection with seven solo shows (five in Finland, one in Denmark and one in Spain).

What it comes to some of the key concepts applied in this study, it needs to be maintained that the term documentary is understood widely and conceptually. Rather than referring to photo-journalistic practices, it first of all preferably connotes an artist’s urge to discuss real-life events and phenomena photographically. Secondly, this study understands documentary to be performative in its character. This is to say that documentary is produced not only from the artist’s position but also from the viewers’ actions. Thirdly, documentary refers to the ontological status of the photograph, and thus the photograph’s propensity to evoke realityladen interpretations. Violence, another central concept used in the study, is conceptualized in relation to the ways that Slavoj Žižek has formulated it − that it is both subjective and objective; and in relation to objective character, it can have symbolic and systemic features. Analytically, the most important tool in this study is Stuart Hall’s encoding/decoding model. I slightly redefine the model’s basic features by labelling reading positions as complied reading (instead of dominant reading), negotiated reading, and refused reading (instead of oppositional reading) and by adding a fourth decoding position, indifferent reading.

The study shows that in general, viewers’ decodings are congruent with the artist’s encoding, although not entirely. The great majority of the viewers accepted both the thematic suggestions and the appearance of the artworks. However, some viewers applied negotiated reading when giving meaning to the artworks. They interpreted the pictures in connection to their earlier experiences and opinions regarding the subject matter while being suspicious about some particular features within the pictures. In addition to complied and negotiated readings, a few viewers refused to interpret the artworks in connection to preferred meaning and also expressed indifference towards the artworks. Interestingly, the majority of the viewers who practiced refused reading were in professions in the art field. Following this, it can be maintained that viewers who are familiar and comfortable with the practices and discourses of the art field can more likely interpret the artworks subjectively.

The study also suggests, following the theoretical framing, that the realistic approach and documentary quality of the artworks is not only a choice of approach on the artist’s part, but also an effect that occurs in response to the viewers’ reactions. According to this study, viewers are eager to interpret violence-related documentary photographic art using real-life experiences. Documentary quality guides and frames meaning-making, and this can be said to be based on generic dynamics. Along this line of thought, one could say that a documentary is also produced or reproduced at the time it is being viewed.

In relation to the findings discussed above, it needs to be maintained that also issues of violence decidedly framed and guided the reception and meaning making of the artistic projects. The violence presented in documentary art photography easily became interpreted via real-life experiences and prior knowledge. Exhibiting violence-related documentary photography in galleries and art museums seemed not to diminish the value of documentary expression. In fact, one could say the opposite: the gallery, as an institutional setting, provides viewers with an opportunity to contemplate photographs perhaps more thoroughly than they do when the photographs are in magazines and newspapers.

Violence as a theme also sets up a situation where viewers are willing to generalize. One violent incident presented in a photograph was easily seen to be representative of larger issues of violence and of even larger societal issues. Following this, viewers’ approaches are in line with Susan Sontag’s views that photographs of agony not only remind viewers of the explicit issues presented in the photographs, but also of the existence of a culture of violence in general.

In connection with the theme of violence, it is possible to sift seven distinctive, albeit not alternative, modes of interpreting violence-related documentary artworks in a gallery context. First of all, regarding the Battered series, more than half of the viewers expressed disgust and anxiety when encountering the pictures in the exhibition context. Viewers also showed empathy and pity. In relation to this, a small number of viewers also conveyed a sense of compassion fatigue in their responses.

An interesting aspect of the viewers’ responses, in relation to both series, had to do with the fact that the images of violence seemed both to attract and to repulse them at the same time. Put differently, part of the viewers expressed feeling a sense of fascination in viewing brutalities − they enjoyed seeing something that they are normally forbidden from viewing. However, voyeurism not only existed, but also haunted the viewers. They asked if it is correct and permissible to view pictures of violence.

Following this, the pictures also caused moral dilemmas for the viewers. One-fourth of the viewers made moral judgements, specifically in relation to making portraits of the school shooters and showing them in public. In contrast to this, all of the few Battered viewers who expressed ethical concerns asked about the artist’s moral investment and feelings when he had photographed and exhibited battered people with recognizable faces. In relation to this finding, one can generally maintain that morals and ethics are issues that surface when the viewer encounters images of violence.

It is noteworthy that approximately one-fourth of the viewers mentioned in their responses that the pictures evoked relatively private experiences and memories − the pictures seemed to remind them of something actual, something real from their past. Viewers also recognized gender issues in expressing that the majority of the violence was connected to male behaviour. Viewers also made intertextual references when decoding the artworks.

Finally, the study shows that encountering violence-related documentary photographic art in a gallery context needs to be seen as an event that punctures the gallery walls and time spent in an exhibition. To be precise, in this context this type of expanding means three different matters. Firstly, even though the artworks became actual only in the viewing situation, many of the viewers have a tentative experience of the exhibition already from the press, invitations, press releases or the artist’s website. In this study, more than half of the viewers possessed preliminary information about the pictures. Secondly, expanding means that the viewers also travel in time in their thoughts; when facing documentary photographic artworks, they often practise remembering. In addition to this, viewers connect their actual perceptions to prior experiences and knowledge. Furthermore, experiencing can also stretch towards the future, as the thoughts and feelings that the artworks brought forth may continue even after the exhibition visit. Also, the ways the viewer perceives things in the future can be affected by the exhibition experience. And thirdly, expanding is linked to the social character of the whole meaning making practice. As this study shows, even though the experience of art is always singular, viewers signify the artworks in a congruent manner and similarly to the artist’s premises. In other words, encountering violence-related documentary photographic art in a gallery context can be seen to be a collective routine.


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	</item>
		
		
	<item>
		<title>teaching experience</title>
				
		<link>https://harripalviranta.com/teaching-experience</link>

		<pubDate>Tue, 28 Mar 2017 07:29:49 +0000</pubDate>

		<dc:creator>Harri Pälviranta</dc:creator>

		<guid isPermaLink="true">https://harripalviranta.com/teaching-experience</guid>

		<description>
TEACHING EXPERIENCE


Teaching experience:
- Visiting lecturer, Turku University of Applied Sciences / Arts Academy, MFA Photography 2023–, BFA photography 2005–2017
- University teacher Photography MA, Aalto University School of Arts, Design and Architecture, academic year 2020–2021, Spring 2022
- Visiting lecturer, Aalto University School of Arts, Design and Architecture 2011–
- Visiting lecturer, Lahti University of Applied Sciences, Institute of Design and Art 2010–2022

- Visiting lecturer, Academy of Fine Arts, University of the Arts Helsinki 2017, 2022

Workshops:2022
- Workshop Documentary Methods, 10 ECTS, Lahti University of Applied Sciences, Institute of Design and Art, Photography (Lahti, Finland), September 2022 - December 2022.
- Expanded Documentary, Post-documentary practices in contemporary photography, Masterclass workshop, Atelier Lisboa, Portugal, June 2022 - October 2022.&#38;nbsp;

2021
-	Workshop Documentary Methods, 10 ECTS, Lahti University of Applied Sciences, Institute of Design and Art, Photography (Lahti, Finland), September 2021 - December 2021.
-	Workshop Theory of Photography, 5 ECTS, Lahti University of Applied Sciences, Institute of Design and Art, Photography (Lahti, Finland), September

2020
- Exhibition Project,&#38;nbsp;6 ECTS, Aalto University School of Arts, Design and Architecture
- Artistic Work Seminar,  3 ECTS, Aalto University School of Arts, Design and Architecture
- Experimental Studio, 6 ECTS,&#38;nbsp;Aalto University School of Arts, Design and Architecture- Workshop Theory of Photography, 5 ECTS, Lahti University of Applied Sciences, Institute of Design and Art, Photography (Lahti, Finland), April-May

2019
-	Workshop Method and Photography, 10 ECTS, Lahti University of Applied Sciences, Institute of Design and Art, Photography (Lahti, Finland), October 2019 - March 2020.
-	Workshop Theory of Photography, 5 ECTS, Lahti University of Applied Sciences, Institute of Design and Art, Photography (Lahti, Finland), September
- Image ethics. Summer school Communication Difficult Pasts. Latvian Centre for Comtemporary Art. Kuldiga. Latvia.&#38;nbsp;

2018
-	Strengthening projects and approaches. Latvian museum of Photography, Riga, Latvia.- Workshop Theory of Photography, 4 ECTS, Lahti University of Applied Sciences, Institute of Design and Art, Photography (Lahti, Finland), September

2017
-	Seminar 'From Theme to Analysis'. 4 ECTS, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography, teaching done together with Senior Lecturer Heli Rekula (Helsinki, Finland) 2017-2018.
-	Workshop On Documentary, 5 ECTS, Turku University of Applied Sciences, Arts Academy, Photography (Turku, Finland) forthcoming in November – December
-	Workshop Research Skills, 2 ECTS, Lahti University of Applied Sciences, Institute of Design and Art, Photography (Lahti, Finland) November - December
- Workshop 'Photography -- Method' in Budapest. Together with Jari Silomäki. Academy of Fine Arts, University of the Arts Helsinki. 17. - 22.1.2017.

2016
-	Seminar 'From Theme to Analysis'. 4 ECTS, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography, teaching done together with Senior Lecturer Heli Rekula (Helsinki, Finland) 2016-2017
-	Workshop On Documentary, 5 ECTS, Turku University of Applied Sciences, Arts Academy, Photography (Turku, Finland), November – December
-	Workshop Research Skills, 2 ECTS, Lahti University of Applied Sciences, Institute of Design and Art, Photography (Lahti, Finland)
-	Workshop Image and Text – Interactions, 4 ECTS, Lahti University of Applied Sciences, Institute of Design and Art, Photography (Lahti, Finland), September

2015 
-	Seminar From Theme to Analysis. 4 ECTS, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography, teaching done together with Senior Lecturer Heli Rekula (Helsinki, Finland) 2015-2016
-	Workshop Research Skills, 2 ECTS, Lahti University of Applied Sciences, Institute of Design and Art, Photography (Lahti, Finland)
-	Workshop Image and Text – Interactions, 4 ECTS, Lahti University of Applied Sciences, Institute of Design and Art, Photography (Lahti, Finland)

2014 
-	Workshop Image and Text – Interactions, 4 ECTS, Lahti University of Applied Sciences, Institute of Design and Art, Photography (Lahti, Finland)
-	Workshop Telling Images, 4 ECTS, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography, teaching done together with Marko Karo (Helsinki, Finland)

2013 
-	Workshop Image and Text – Interactions, 4 ECTS, Lahti University of Applied Sciences, Institute of Design and Art, Photography (Lahti, Finland)
-	Workshop Telling Images, 4 ECTS, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography, teaching done together with Marko Karo (Helsinki, Finland)

2012 
-	Workshop Telling Images, 4 ECTS, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography, teaching done together with Marko Karo (Helsinki, Finland)
-	Workshop Research Skills, 4 ECTS, Lahti University of Applied Sciences, Institute of Design and Art, Photography (Lahti, Finland)

2011 
-	Workshop Telling Images, 4 ECTS, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography, teaching done together with Marko Karo (Helsinki, Finland)
-	Workshop Violent Photographs – A Documentary Approach, 4 ECTS, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography (Helsinki, Finland)
-	Workshop Research Skills, 4 ECTS, Lahti University of Applied Sciences, Institute of Design and Art, Photography (Lahti, Finland)

2010 
-	Workshop Research Skills, 4 ECTS, Lahti University of Applied Sciences, Institute of Design and Art, Photography (Lahti, Finland)

2009 
-	Workshop On Documentary, 4 ECTS, Turku University of Applied Sciences, Arts Academy, Photography (Turku, Finland)

2006 
-	Workshop Basics of Photojournalism, 4 ECTS, Diaconia University for Applied Sciences, Journalism (Turku, Finland)

2005 
-	Workshop On Documentary, 6 ECTS, Turku University of Applied Sciences, Arts Academy, Photography (Turku, Finland)
-	Workshop Basics of Photojournalism, 4 ECTS, Diaconia University for Applied Sciences, Journalism (Turku, Finland)

2004 
-	Workshop Basics of Photojournalism, 4 ECTS, Diaconia University for Applied Sciences, Journalism (Turku, Finland)

2001 
-	Workshop Basic Photography, 4 ECTS, Pori Art School (Pori, Finland)

2000 
-	Workshop Basic Photography, 4 ECTS, Pori Art School (Pori, Finland)

Lectures (most recent):
2023
- Artist talk One Picture Manifesto, The Reference, Seoul, Korea.

2022
- Artist talk One Picture Manifesto with Maija Tammi, Finnish Institute in Japan, Tokyo.
- Master class artist talk with Photography Philosophy Lab, Universidade Lusófona, Lisbon, Portugal.- Master class artist talk, Atelier de Lisboa, Portugal.
- Post-documentary photography as affective dark tourism / Theory of Photography, Aalto University, Finland.

2020
- Post-documentary photography as affective dark tourism / Theory of Photography,&#38;nbsp;Aalto University, Finland.

2019
- Documentary and the conceptual. DOCUMENTARY CLUB, Aalto University, Finland.
- Artist talk. Lahden valokuvataide ry. Lahti, Finland.- Image ethics.&#38;nbsp;Summer school Communication Difficult Pasts. Latvian Centre for Comtemporary Art. Kuldiga. Latvia.

2017
- Artist talk, FLUSS, Wolkersdorf, Austria.
-	Research Methodology (for PhD-students), Aalto University, School of Arts, Design and Architecture, Department of Media, Photography (Helsinki, Finland)
-	Research Methodology (for MA-students), Aalto University, School of Arts, Design and Architecture, Department of Media, Photography (Helsinki, Finland)

2016
-	International practices, Turku University of Applied Sciences, Arts Academy, Photography (Turku, Finland)
-	Research Methodology (for PhD-students), Aalto University, School of Arts, Design and Architecture, Department of Media, Photography (Helsinki, Finland)
-	Research Methodology (for MA-students), Aalto University, School of Arts, Design and Architecture, Department of Media, Photography (Helsinki, Finland)

2015 
-	Contemporary Documentary, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography (Helsinki, Finland)
-	Research Methodology (for PhD-students), Aalto University, School of Arts, Design and Architecture, Department of Media, Photography (Helsinki, Finland)
-	Research Methodology (for MA-students), Aalto University, School of Arts, Design and Architecture, Department of Media, Photography (Helsinki, Finland)

2014 
-	Research Methodology for PhD-students, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography (Helsinki, Finland)
-	Research Methodology (for MA-students), Aalto University, School of Arts, Design and Architecture, Department of Media, Photography (Helsinki, Finland)
-	Research Based Art – Perspectives and Approaches, Aalto University, School of Arts, Design and Architecture, Department of Media, Graphic Design (Helsinki, Finland)
-	The Political Potential of Art, Backlight seminar, Tampere, Finland
-	Images of Alienation, Hyvinkää Art Museum, Finland

2013 
-	Documentary Potential, Pori Art Museum, Finland
-	Ethics of Documentary Expression, Center for Photography, Stockholm, Sweden
-	Research Methodology for PhD-students, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography (Helsinki, Finland)
-	Research Methodology (for MA-students), Aalto University, School of Arts, Design and Architecture, Department of Media, Photography (Helsinki, Finland)

2012 
-	Research Methodology (for MA-students), Aalto University, School of Arts, Design and Architecture, Department of Media, Photography (Helsinki, Finland)

2011 
-	Research Methodology (for MA-students), Aalto University, School of Arts, Design and Architecture, Department of Media, Photography (Helsinki, Finland)

2010 
-	Research Methodology (for MA-students), Aalto University, School of Arts, Design and Architecture, Department of Media, Photography (Helsinki, Finland)

Other recent teaching involvements
•	MFA graduation project examiner, Laura Lohiaita, University of the Arts, Academy of Fine Arts 2024
•	MFA graduation project examiner, Patrik Rastenberger, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography 2022
•	MFA graduation project examiner, Akseli Valmunen, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography 2021
•	MFA graduation project tutor, Veera Konsti, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography, 2021
•	MFA graduation project tutor, Daniel Court, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography, 2020
•	MFA graduation project examiner, Marc McGuinness, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography 2020
•	MFA graduation project examiner, Pauliina Heinänen, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography 2020
•	MFA graduation project examiner, Jonna Yletyinen, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography 2020
•	MFA graduation project examiner, Matti Tanskanen, Aalto University, School of Arts, Design and Architecture, Department of Art, Visual Cultures, Curating, and Contemporary Art 2019
•	MFA graduation project tutor, Silla Virmajoki, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography, 1.5.2016-30.5.2018
•	MFA graduation project examiner, Aukusti Heinonen, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography 2017
•	MFA graduation project tutor, Susanna Kesänen, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography, 2017. 
•	MFA graduation project tutor, Karoliina Paatos, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography, 2016-2017. 
•	BFA graduation project tutor, Utu-Tuuli Jussila, Lahti University of Applied Sciences, Institute of Design and Art, Photography, 2016
•	BFA graduation project tutor, Akseli Valmunen, Lahti University of Applied Sciences, Institute of Design and Art, Photography, 2016
•	MFA graduation project tutor, Aapo Huhta, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography, 2015
•	BFA graduation project tutor, Miia Autio, Lahti University of Applied Sciences, Institute of Design and Art, Photography, 2015
•	MFA graduation project examiner, Salvatore Elefante, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography 2015
•	MFA graduation project examiner, Hwanhee Kim, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography 2014
•	DA artistic work pre-examiner, Maija Tammi, Aalto University, School of Arts, Design and Architecture, Department of Media, Photography 2013


</description>
		
	</item>
		
		
	<item>
		<title>Burn Index</title>
				
		<link>https://harripalviranta.com/Burn-Index</link>

		<pubDate>Wed, 25 Sep 2024 07:27:57 +0000</pubDate>

		<dc:creator>Harri Pälviranta</dc:creator>

		<guid isPermaLink="true">https://harripalviranta.com/Burn-Index</guid>

		<description>

BURN INDEX
2023–2025


With climate change, wildfires are becoming more frequent and more intense. They are spreading faster and lasting longer. The wildfires in southern Europe in 2023 appear exemplary of this development - about fourteen percent of the surface area of the island of Rhodes burned just in one week, while the wildfires in southern Italy lasted for months.

As a socially concerned image maker, these vast and violent forest fires interest me for several reasons. First of all, I am visually interested in the traces produced by burning and heat. Secondly, the translation or adaptation of a burn mark into a photographic representation appears fascinating because it also provides a platform for theoretical considerations, re-evaluation of an idea of a document. Thirdly, I am concerned about the impact of wildfires on our global climate conditions, and humans’ part in their expansion.

Rather than depicting actual fires, I concentrate on the imprints, traces, vestiges. I have travelled to Greece, Spain, Australia, Portugal, the USA (Los Angeles) and South Korea to witness the material effects of large scale wildfires and document their multifaceted imprints. I see burnt forests and bushes as indexical signs of the fires.

More than a question or an answer, my work is about thinking with materials. I approach the subject with documentary methods, in the spirit of elementary politics.

-----------

The body of work consists of landscape images and portraits of burned trees. In addition, I have been experimenting with works that I call firegrams – I place branches of trees on large wooden panels and burn the background black with a blowtorch. The artworks are like photograms but made with fire. Also, I have rubbed the burned trees and their branches with white cloths, and thus produced a kind of charcoal drawings. I also collect ashes from the burned forests and later turn these into artworks. The project has received support from the Finnish Cultural Foundation, the
Arts Promotion Centre Finland, the Foundation for Journalistic Culture (JOKES) and Hämeenlinna Art Museum.

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Gallery Heino, Helsinki, Finland 2025 (©️Pertti Kärki / Galleria Heino)


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Hämeenlinna Art Museum, Finland 2024


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Ii Art Biennial, Finland

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&#60;img width="1173" height="1500" width_o="1173" height_o="1500" data-src="https://freight.cargo.site/t/original/i/d5b8bf2f0725637c316961b65d811179260bbe658684865f9305ca934a41a6db/tenerife_x16_55x43.jpg" data-mid="218654050" border="0"  src="https://freight.cargo.site/w/1000/i/d5b8bf2f0725637c316961b65d811179260bbe658684865f9305ca934a41a6db/tenerife_x16_55x43.jpg" /&#62;
&#60;img width="1163" height="1500" width_o="1163" height_o="1500" data-src="https://freight.cargo.site/t/original/i/597b5629c461d7cdac2f51162f69f22710ad32bf2cdef3c162bb2fee55ac09c0/tenerife_40_118x91cm.jpg" data-mid="218654057" border="0"  src="https://freight.cargo.site/w/1000/i/597b5629c461d7cdac2f51162f69f22710ad32bf2cdef3c162bb2fee55ac09c0/tenerife_40_118x91cm.jpg" /&#62;
&#60;img width="1500" height="1256" width_o="1500" height_o="1256" data-src="https://freight.cargo.site/t/original/i/6c4cbbdccadb65e5507cd2e58b38825d334faa1cc0376ddddd5829697f838649/tuligrammi_2.jpg" data-mid="218654052" border="0"  src="https://freight.cargo.site/w/1000/i/6c4cbbdccadb65e5507cd2e58b38825d334faa1cc0376ddddd5829697f838649/tuligrammi_2.jpg" /&#62;
&#60;img width="1500" height="1724" width_o="1500" height_o="1724" data-src="https://freight.cargo.site/t/original/i/e43f7022c5062de2730f128ae9e46effa08309b0ed314b0e55e143454fc8806a/x_piirros_2.jpg" data-mid="218654053" border="0"  src="https://freight.cargo.site/w/1000/i/e43f7022c5062de2730f128ae9e46effa08309b0ed314b0e55e143454fc8806a/x_piirros_2.jpg" /&#62;
&#60;img width="1500" height="1542" width_o="1500" height_o="1542" data-src="https://freight.cargo.site/t/original/i/4d4bbb4402739e4106095fc46b0bfd4e81962a716d6f9a5121664b3a00392412/x_piirros_3.jpg" data-mid="218654054" border="0"  src="https://freight.cargo.site/w/1000/i/4d4bbb4402739e4106095fc46b0bfd4e81962a716d6f9a5121664b3a00392412/x_piirros_3.jpg" /&#62;

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	</item>
		
		
	<item>
		<title>Raja</title>
				
		<link>https://harripalviranta.com/Raja</link>

		<pubDate>Mon, 10 Mar 2025 09:53:00 +0000</pubDate>

		<dc:creator>Harri Pälviranta</dc:creator>

		<guid isPermaLink="true">https://harripalviranta.com/Raja</guid>

		<description>


&#60;img width="2000" height="1074" width_o="2000" height_o="1074" data-src="https://freight.cargo.site/t/original/i/16205da4cd24ba0a8e05553d3ecc8018ce6cba0f8d702180cf62a82a1e17ca79/lappeenranta_29.jpg" data-mid="227948576" border="0"  src="https://freight.cargo.site/w/1000/i/16205da4cd24ba0a8e05553d3ecc8018ce6cba0f8d702180cf62a82a1e17ca79/lappeenranta_29.jpg" /&#62;


Harri Pälviranta
RAJA 
(2025)

In 2023, Finland started building a border fence to its border with Russia. In addition to that, a simulative border fence was built, to rehearse manouvres in relation to border conflicts. It lies in South-East Finland near Russian border. &#38;nbsp;
This defensive training fence encapsulates various thoughts related to surveillance and the use of power even more clearly than actual border fences and walls. Inspired by his encounter with the simulative border fence, Pälviranta adopted an alternative photographic approach: he employed paper negatives, imperfect development process, and collage techniques to express his affective engagement with the simulation.


&#60;img width="2000" height="1413" width_o="2000" height_o="1413" data-src="https://freight.cargo.site/t/original/i/a18f7146645d6b73e5e0fd59c9028a1f9fdec41524a66de41e871408e9ee3695/lappeenranta_28.jpg" data-mid="227948521" border="0"  src="https://freight.cargo.site/w/1000/i/a18f7146645d6b73e5e0fd59c9028a1f9fdec41524a66de41e871408e9ee3695/lappeenranta_28.jpg" /&#62;


&#60;img width="2000" height="1658" width_o="2000" height_o="1658" data-src="https://freight.cargo.site/t/original/i/cfeeb743b322db89150fb5bb1339da7a27e805093a5caf603502cce3168c5b9b/lappeenranta_31.jpg" data-mid="227948573" border="0"  src="https://freight.cargo.site/w/1000/i/cfeeb743b322db89150fb5bb1339da7a27e805093a5caf603502cce3168c5b9b/lappeenranta_31.jpg" /&#62;Raja #1
170 x 210 cmPrinted offset paper glued on canvas, acrylic paint


&#60;img width="2000" height="1670" width_o="2000" height_o="1670" data-src="https://freight.cargo.site/t/original/i/473f15a77635b1a788a5ed956a7110b258d71c450874e5a43762e64da4a56802/lappeenranta_33.jpg" data-mid="227948574" border="0"  src="https://freight.cargo.site/w/1000/i/473f15a77635b1a788a5ed956a7110b258d71c450874e5a43762e64da4a56802/lappeenranta_33.jpg" /&#62;
Raja #2170 x 210 cmPrinted offset paper glued on canvas, acrylic paint


&#60;img width="6989" height="3756" width_o="6989" height_o="3756" data-src="https://freight.cargo.site/t/original/i/52cc199e5b3cac7937bd9aac4ffebb87308ea396b93694ebcc9663bd6b1af9fd/lappeenranta_30.jpg" data-mid="227948577" border="0"  src="https://freight.cargo.site/w/1000/i/52cc199e5b3cac7937bd9aac4ffebb87308ea396b93694ebcc9663bd6b1af9fd/lappeenranta_30.jpg" /&#62;
Raja #3
210 x 510 cm (triptych)Printed offset paper glued on canvas, acrylic paint


</description>
		
	</item>
		
		
	<item>
		<title>Wall Tourist</title>
				
		<link>https://harripalviranta.com/Wall-Tourist</link>

		<pubDate>Mon, 10 Mar 2025 09:40:14 +0000</pubDate>

		<dc:creator>Harri Pälviranta</dc:creator>

		<guid isPermaLink="true">https://harripalviranta.com/Wall-Tourist</guid>

		<description>

&#60;img width="2000" height="1037" width_o="2000" height_o="1037" data-src="https://freight.cargo.site/t/original/i/d45dd2e84e5f6f1c5b59a923f1995884f02f9ed46777eec16e25d6f34c516226/lappeenranta_06.jpg" data-mid="227948296" border="0"  src="https://freight.cargo.site/w/1000/i/d45dd2e84e5f6f1c5b59a923f1995884f02f9ed46777eec16e25d6f34c516226/lappeenranta_06.jpg" /&#62;


Lappeenranta Art Museum, Finland 2025


Harri Pälviranta
WALL TOURIST2016–2025
In 2015 and 2016, Europe saw a historically unprecedented wave of immigration, with around 40,000 refugees arriving every day. Although the effects of the refugee crisis were most significant for the immigrants themselves, the events had a transformative impact on how Europe defined itself. But even though the number of refugees arriving in Europe was enormous, it was just one example of movement where people sought safety and a better life elsewhere. The need for people to move touches the world globally.

While many countries try to help those on the move, certain individual countries take radical measures against unregulated border crossings: they enact laws that make entry impossible, and build walls, surveillance systems and other barriers to control and prevent unwanted immigration. In recent years, thousands of kilometres of walls and fences have been built around the world. Thousands of kilometres more are in the works.

From 2016 to 2024, Harri Pälviranta travelled to thirteen countries on five continents to photograph border fences and walls. The main character in the series is a middle-aged white male traveller, a Wall Tourist, whois particularly interested in tense locations. From his travels, he seeks not only information and experiences but also adventures. Through his travels, he has not only witnessed the existence, quality and nature of fences and walls firsthand but also begun to reflect more deeply on the reasons for their construction, their consequences and, in general, the discussions and justifications surrounding border construction and control. In the discussions, as well as in the fences and walls themselves, he is fascinated by their recurrence and the administrative and systematic use of power.

The border fence being built on Finland’s border with Russia was the last one Pälviranta visited. In fact, he was not allowed near the fence itself, but he was given the opportunity to photograph a simulative border fence located in South-East Finland near Russian border. The defensive training fence encapsulates various thoughts related to surveillance and the use of power even more clearly than actual border fences and walls. Inspired by this encounter, Pälviranta adopted an alternative photographic approach: he employed paper negatives, imperfect development process, and collage techniques to express his affective engagement with the simulation.

Pälviranta no longer sees fences merely as physical structures preventing movement, but as various performative practices and manifestations of power. Although every fence and wall is the result of its own unique development, they are connected by their appearance, the narratives and ideas associated with them, and the atmosphere that prevails near the walls and fences. Walls are at once both fascinating, beautiful and incredibly distressing.
-------------

The exhibition has been supported by Finnfoto Association, Foundation for Journalistic Culture (JOKES), Finnish Heritage Agency, Patricia Seppälä Foundation, Finnish Cultural Foundation and Arts Promotion Centre Finland (Taike).


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&#60;img width="2000" height="1029" width_o="2000" height_o="1029" data-src="https://freight.cargo.site/t/original/i/4f5a3d983a89b4dfa469313e8ff659bc8d2cce3be2916bcc3aa151f477d08fdd/lappeenranta_04.jpg" data-mid="227948295" border="0"  src="https://freight.cargo.site/w/1000/i/4f5a3d983a89b4dfa469313e8ff659bc8d2cce3be2916bcc3aa151f477d08fdd/lappeenranta_04.jpg" /&#62;

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&#60;img width="2000" height="1113" width_o="2000" height_o="1113" data-src="https://freight.cargo.site/t/original/i/091ac7bc6aa6fd96ef20dfb36c666abad2785adf0a6c589862f141beb22097c4/lappeenranta_07.jpg" data-mid="227948299" border="0"  src="https://freight.cargo.site/w/1000/i/091ac7bc6aa6fd96ef20dfb36c666abad2785adf0a6c589862f141beb22097c4/lappeenranta_07.jpg" /&#62;


&#60;img width="2000" height="1045" width_o="2000" height_o="1045" data-src="https://freight.cargo.site/t/original/i/8d8dc3310b48200c2854d1b5d798552cec7e0a9c404c4ca54eb3876d42156213/lappeenranta_09.jpg" data-mid="227948300" border="0"  src="https://freight.cargo.site/w/1000/i/8d8dc3310b48200c2854d1b5d798552cec7e0a9c404c4ca54eb3876d42156213/lappeenranta_09.jpg" /&#62;
&#60;img width="2000" height="1174" width_o="2000" height_o="1174" data-src="https://freight.cargo.site/t/original/i/7d4280c750c40beb840ff91bd10dc08ad1f8947ac06ce3fb7eda0c824394c5fe/lappeenranta_26.jpg" data-mid="227948302" border="0"  src="https://freight.cargo.site/w/1000/i/7d4280c750c40beb840ff91bd10dc08ad1f8947ac06ce3fb7eda0c824394c5fe/lappeenranta_26.jpg" /&#62;

&#60;img width="2000" height="1413" width_o="2000" height_o="1413" data-src="https://freight.cargo.site/t/original/i/a18f7146645d6b73e5e0fd59c9028a1f9fdec41524a66de41e871408e9ee3695/lappeenranta_28.jpg" data-mid="227948301" border="0"  src="https://freight.cargo.site/w/1000/i/a18f7146645d6b73e5e0fd59c9028a1f9fdec41524a66de41e871408e9ee3695/lappeenranta_28.jpg" /&#62;

&#60;img width="2000" height="1074" width_o="2000" height_o="1074" data-src="https://freight.cargo.site/t/original/i/e1d12c03bd2e2723254d560925d085cbccc51e15fca76b278dff2aa4e804fe42/lappeenranta_29.jpg" data-mid="227948297" border="0"  src="https://freight.cargo.site/w/1000/i/e1d12c03bd2e2723254d560925d085cbccc51e15fca76b278dff2aa4e804fe42/lappeenranta_29.jpg" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>Book Battered</title>
				
		<link>https://harripalviranta.com/Book-Battered</link>

		<pubDate>Tue, 18 Oct 2022 05:13:21 +0000</pubDate>

		<dc:creator>Harri Pälviranta</dc:creator>

		<guid isPermaLink="true">https://harripalviranta.com/Book-Battered</guid>

		<description>

&#60;img width="1200" height="1200" width_o="1200" height_o="1200" data-src="https://freight.cargo.site/t/original/i/8de6f78a326095a16e2ca0e117743429bb31ec095d13944750bb64194e40e877/01_Battered_cover.jpg" data-mid="156162347" border="0"  src="https://freight.cargo.site/w/1000/i/8de6f78a326095a16e2ca0e117743429bb31ec095d13944750bb64194e40e877/01_Battered_cover.jpg" /&#62;

Book

Harri Pälviranta
BATTERED

Assaults and street fights are everyday activities on weekend nights in Finland. People have a strong tendency to get rather intoxicated when partying and, once drunk, they are released from their inhibitions. Aggression turns into physical acts, to direct violence. There is a social awareness of this topic in Finland. The issue is recognized, and it is considered to be a severe social problem. But the discussion has mainly literal dimensions; it appears in news headlines, and it is discussed in seminars.

In the book Battered&#38;nbsp; the Finnish Photographer Harri Pälviranta shows the real faces of street violence in Finland. In contrast to the stereotypic portrayals of male heroics and the worn-out attempts at shocking people, Pälviranta deals with the utmost banality inherent in violence. 

Battered is a project first exhibited in December 2007, and since then pictures from the series have been appeared in tens of exhibitions around the world.  Even though vastly exhibited, Battered has never been available as a book. This situation is now corrected.


Perfect bound hard cover with a tipped in photograph64 pages32 photographsOffset printing29,5 x 29 cm

First edition of 300 copies [sold out]ISBN 978-91-987606-2-0

Second printing coming soon!

---------

The book will be released in Paris at Polycopies book fair on the 10th of November at 5 PM. Pälviranta will be present to sign books and talk about the work.

Currently 15 pictures from the Battered series are exhibited in the National Museum of Contemporary Art MNAC in Lisbon as part of a bigger solo show by Harri Pälviranta.


&#60;img width="2000" height="1040" width_o="2000" height_o="1040" data-src="https://freight.cargo.site/t/original/i/648273ce57531b59c4b899d76798f831cf71a6e1f2b229f1f9526f1a5955c9ec/battered_02.jpg" data-mid="156162654" border="0"  src="https://freight.cargo.site/w/1000/i/648273ce57531b59c4b899d76798f831cf71a6e1f2b229f1f9526f1a5955c9ec/battered_02.jpg" /&#62;
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&#60;img width="1200" height="1200" width_o="1200" height_o="1200" data-src="https://freight.cargo.site/t/original/i/b36eaa24b298feaf245a332e84088e674b08b7aa1641d8355cd02dcf5cfa3232/10_Battered_backcover.jpg" data-mid="156162381" border="0"  src="https://freight.cargo.site/w/1000/i/b36eaa24b298feaf245a332e84088e674b08b7aa1641d8355cd02dcf5cfa3232/10_Battered_backcover.jpg" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>Book Wall Tourist</title>
				
		<link>https://harripalviranta.com/Book-Wall-Tourist</link>

		<pubDate>Fri, 15 Jul 2022 06:23:49 +0000</pubDate>

		<dc:creator>Harri Pälviranta</dc:creator>

		<guid isPermaLink="true">https://harripalviranta.com/Book-Wall-Tourist</guid>

		<description>&#60;img width="2000" height="1200" width_o="2000" height_o="1200" data-src="https://freight.cargo.site/t/original/i/fffd15d927234a39a8063bba9961ec915eb1012b87812abd3328c7b1e91cae29/Wall_Tourist_Kult_Books_01.jpg" data-mid="187675317" border="0"  src="https://freight.cargo.site/w/1000/i/fffd15d927234a39a8063bba9961ec915eb1012b87812abd3328c7b1e91cae29/Wall_Tourist_Kult_Books_01.jpg" /&#62;
Book

Harri Pälviranta
WALL TOURIST
In 2015–2016, Europe experienced an influx of immigrants and refugees: every day some 40 000 immigrants crossed the European borders. The situation was historically exceptional and caused confusion and even chaos. However, the situation in Europe was only one example of people seeking shelter or better lives from other countries. As we speak, uncontrollable immigration takes place in every corner of the Earth.

Connected to migration, a high number of countries are making extreme decisions in reacting to unorganized border crossings. Thousands of kilometres of fences and walls are built to prevent so-called illegal, or if you wish, unwanted immigration. Thousands more are planned to be constructed.

In Wall Tourist, the Finnish photographer Harri Pälviranta reflects these developments with photographic means. During the years 2016-2021 Pälviranta travelled to twelve different countries on five different continents to photograph the border lines. Instead of following the principles of traditional landscape and aftermath photography, the story is told through the eyes of an urban man whose joy is to travel to specific borders around the world. The protagonist is a conflict tourist of our times: he uses his privileged position as a middle class Western white man to experience the situations and places beyond his normal daily life. He seeks bodily knowledge, and perhaps also excitement.

Silk screened hard cover with coloured edgesSwiss bound100 pagesOffset printing21 x 27 cm

39 photographs and texts by Anna-Kaisa Rastenberger, Alexandra Athanasiadou and Harri Pälviranta.
Printing 300 copiesISBN 978-91-987606-1-3
Released July 5th 2022 in Rencontres d'Arles


&#60;img width="2000" height="1200" width_o="2000" height_o="1200" data-src="https://freight.cargo.site/t/original/i/60e6792909a6d531dd4187fc493c64dfe548e1d599a249208a152d5364d0857d/Wall_Tourist_Kult_Books_05.jpg" data-mid="187675321" border="0"  src="https://freight.cargo.site/w/1000/i/60e6792909a6d531dd4187fc493c64dfe548e1d599a249208a152d5364d0857d/Wall_Tourist_Kult_Books_05.jpg" /&#62;

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&#60;img width="2000" height="1200" width_o="2000" height_o="1200" data-src="https://freight.cargo.site/t/original/i/8a1c4f70195dbbee0b063bc6654c9531d3b80771bf16a00a7971ff7495c2fc2d/Wall_Tourist_Kult_Books_04.jpg" data-mid="187675320" border="0"  src="https://freight.cargo.site/w/1000/i/8a1c4f70195dbbee0b063bc6654c9531d3b80771bf16a00a7971ff7495c2fc2d/Wall_Tourist_Kult_Books_04.jpg" /&#62;

&#60;img width="2000" height="1200" width_o="2000" height_o="1200" data-src="https://freight.cargo.site/t/original/i/37f08a8c773bc7d8c5c43c4d2f232cde3c012a9a694f550562cbcb2b259364f2/Wall_Tourist_Kult_Books_06.jpg" data-mid="187675322" border="0"  src="https://freight.cargo.site/w/1000/i/37f08a8c773bc7d8c5c43c4d2f232cde3c012a9a694f550562cbcb2b259364f2/Wall_Tourist_Kult_Books_06.jpg" /&#62;

&#60;img width="2000" height="1200" width_o="2000" height_o="1200" data-src="https://freight.cargo.site/t/original/i/fb81d53704bcdb765304143d10780f81b40a4b857a9c45905d0f03f741c13957/Wall_Tourist_Kult_Books_07.jpg" data-mid="187675323" border="0"  src="https://freight.cargo.site/w/1000/i/fb81d53704bcdb765304143d10780f81b40a4b857a9c45905d0f03f741c13957/Wall_Tourist_Kult_Books_07.jpg" /&#62;

&#60;img width="2000" height="1200" width_o="2000" height_o="1200" data-src="https://freight.cargo.site/t/original/i/5a7a3893e160fb5d492d45b88f5b6a0de04a6069ab2820d586c1c9bddca7a850/Wall_Tourist_Kult_Books_08.jpg" data-mid="187675324" border="0"  src="https://freight.cargo.site/w/1000/i/5a7a3893e160fb5d492d45b88f5b6a0de04a6069ab2820d586c1c9bddca7a850/Wall_Tourist_Kult_Books_08.jpg" /&#62;

&#60;img width="2000" height="1200" width_o="2000" height_o="1200" data-src="https://freight.cargo.site/t/original/i/c9d228d92abe90cc65bab2bb1303d5f5ab785bf7732b545264be4c17779b4f85/Wall_Tourist_Kult_Books_09.jpg" data-mid="187675325" border="0"  src="https://freight.cargo.site/w/1000/i/c9d228d92abe90cc65bab2bb1303d5f5ab785bf7732b545264be4c17779b4f85/Wall_Tourist_Kult_Books_09.jpg" /&#62;

&#60;img width="2000" height="1200" width_o="2000" height_o="1200" data-src="https://freight.cargo.site/t/original/i/f3ee053d3cc1fd25e38df78dbdfd569669837db046703a01519dd29e676334e5/Wall_Tourist_Kult_Books_10.jpg" data-mid="187675326" border="0"  src="https://freight.cargo.site/w/1000/i/f3ee053d3cc1fd25e38df78dbdfd569669837db046703a01519dd29e676334e5/Wall_Tourist_Kult_Books_10.jpg" /&#62;

&#60;img width="2000" height="1200" width_o="2000" height_o="1200" data-src="https://freight.cargo.site/t/original/i/e0c3517f47e4992ef2254112d2202004c326328771c702b54e9af01467dea25d/Wall_Tourist_Kult_Books_12.jpg" data-mid="187675328" border="0"  src="https://freight.cargo.site/w/1000/i/e0c3517f47e4992ef2254112d2202004c326328771c702b54e9af01467dea25d/Wall_Tourist_Kult_Books_12.jpg" /&#62;

&#60;img width="2000" height="1200" width_o="2000" height_o="1200" data-src="https://freight.cargo.site/t/original/i/8a34c57a690992b38629b2a1de2f8a8bec3008fda6bc0348d2ecfaf24a71eddd/Wall_Tourist_Kult_Books_02.jpg" data-mid="187675318" border="0"  src="https://freight.cargo.site/w/1000/i/8a34c57a690992b38629b2a1de2f8a8bec3008fda6bc0348d2ecfaf24a71eddd/Wall_Tourist_Kult_Books_02.jpg" /&#62;

&#60;img width="2000" height="1200" width_o="2000" height_o="1200" data-src="https://freight.cargo.site/t/original/i/623771551cfc0d41e7457f22bb41445b2a462702f4f21cf56ac9125075f00cd5/Wall_Tourist_Kult_Books_13.jpg" data-mid="187675329" border="0"  src="https://freight.cargo.site/w/1000/i/623771551cfc0d41e7457f22bb41445b2a462702f4f21cf56ac9125075f00cd5/Wall_Tourist_Kult_Books_13.jpg" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>Choreography of Violence</title>
				
		<link>https://harripalviranta.com/Choreography-of-Violence</link>

		<pubDate>Fri, 09 Oct 2020 09:46:59 +0000</pubDate>

		<dc:creator>Harri Pälviranta</dc:creator>

		<guid isPermaLink="true">https://harripalviranta.com/Choreography-of-Violence</guid>

		<description>
CHOREOGRAPHY OF VIOLENCE (2015–2020)

Choreography of Violence is a photographic project that visually reinterprets historical press photographs which depict actual acts of violence, consisting of new works and appropriated photographs. 

For the last twenty years, Harri Pälviranta has been highly interested in the images of violence. He has occasionally purchased historical news photographs depicting actual acts of violence. This collection of odd and haunting press photographs now consists of some 120 pictures. They depict incidents such as racist assaults from the 1950s, a man shot in his stomach in front of a supermarket from the 1970s, a boy beaten up by the police from the 1940s and a clash between students and the police in a demonstration from the 1960s.

The collection appears as a starting point for Choreography of Violence showing a visual narrative of how actual violence was depicted in mainstream news media in the B&#38;amp;W press image era. Although Pälviranta’s collection is neither comprehensive nor scientifically solid archive, it still reveals certain recurring features. Pälviranta has analysed the photos – paying special attention to how the victim is portrayed and how his body reacts to the use of force – and based on this analysis, created new works. Thus, the collection functions as a reference and a material. Pälviranta conserves, cuts, rephotographs and reinterprets the photos from the collection.

This manifold approach aims to visualize recurrent practices in depicting actual acts of violence. Modes of historical press photos may also mark the contemporary way of visualising violence. The project is research-based from its starting point and thus the ‘research material’ and the ‘results’ could be treated and presented in a very literal manner. However, instead of scientifically analysing the collection and writing an article about the conclusions, Pälviranta’s final statement is visual. This follows his belief that pictures are able to tell important stories and facts about our society with a very different grammar to texts: pictorial presentations open up alternative ways to ‘conceptualize’ and ‘see’ the world. Whereas written research reports have a tendency to try to rhetorically convince the reader, pictures articulate not only facts but also emotions, carnality, oddities, passions and uncertainty. Pictures appear more contradictory, cruel, intrusive and shocking than texts. They touch differently. In this manner, they may provoke more verisimilitude than conventional research reports.


----------

The project has received support from Arts Promotion Centre Finland, Finnish Cultural Foundation and VISEK.


&#60;img width="2000" height="1334" width_o="2000" height_o="1334" data-src="https://freight.cargo.site/t/original/i/c4e5e438e3436957c808665a9e3d90af1b6ceb36fae5a5b2ddacc5361f81f615/IMG_7204.jpg" data-mid="123562692" border="0"  src="https://freight.cargo.site/w/1000/i/c4e5e438e3436957c808665a9e3d90af1b6ceb36fae5a5b2ddacc5361f81f615/IMG_7204.jpg" /&#62;
Galerie H2O, Barcelona, Spain 9.9.–1.10.2021Photo: Àlex Castro


&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/e91914a006584f5923c8f9dba2bbce4294d44acb274ec63970515de45f93f8d1/IMG_7162.jpg" data-mid="123562690" border="0"  src="https://freight.cargo.site/w/1000/i/e91914a006584f5923c8f9dba2bbce4294d44acb274ec63970515de45f93f8d1/IMG_7162.jpg" /&#62;Galerie H2O, Barcelona, Spain 9.9.–1.10.2021
Photo:&#38;nbsp;Àlex Castro


&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/605ecbba5a2413ab4d8b0846873e4ca00b4fa77403119a0391dbf04d659b9717/IMG_7165.jpg" data-mid="123562691" border="0"  src="https://freight.cargo.site/w/1000/i/605ecbba5a2413ab4d8b0846873e4ca00b4fa77403119a0391dbf04d659b9717/IMG_7165.jpg" /&#62;
Galerie H2O, Barcelona, Spain 9.9.–1.10.2021Photo: Àlex Castro


&#60;img width="2000" height="1084" width_o="2000" height_o="1084" data-src="https://freight.cargo.site/t/original/i/ca1e15e0b081af250391ace4d263c1183c644ac9e9afde135135f1b8cd00d2ff/riga1.jpg" data-mid="87627468" border="0"  src="https://freight.cargo.site/w/1000/i/ca1e15e0b081af250391ace4d263c1183c644ac9e9afde135135f1b8cd00d2ff/riga1.jpg" /&#62;
Latvian Museum of Photography, Riga, Latvia 8.10.–8.11.2020. 
Photo: Linda Muižniece


&#60;img width="2000" height="1260" width_o="2000" height_o="1260" data-src="https://freight.cargo.site/t/original/i/a9ee18bf84d0e9e39c116fc2bffc375cf6d533e07b2f3aa1d86680035bd576fe/riga2.jpg" data-mid="87627469" border="0"  src="https://freight.cargo.site/w/1000/i/a9ee18bf84d0e9e39c116fc2bffc375cf6d533e07b2f3aa1d86680035bd576fe/riga2.jpg" /&#62;
Latvian Museum of Photography, Riga, Latvia 8.10.–8.11.2020.&#38;nbsp;
Photo: Linda Muižniece


&#60;img width="2443" height="3189" width_o="2443" height_o="3189" data-src="https://freight.cargo.site/t/original/i/5a9de98f29f80955b2a2f1219d00ee546c054de2477eaf50073c3d43d9076cde/bendix_us_1941.jpg" data-mid="85098157" border="0"  src="https://freight.cargo.site/w/1000/i/5a9de98f29f80955b2a2f1219d00ee546c054de2477eaf50073c3d43d9076cde/bendix_us_1941.jpg" /&#62;
Bendix, US 1945
Press photograph, framed with museum glass 
40,7 x 35,7 cm


&#60;img width="2533" height="1956" width_o="2533" height_o="1956" data-src="https://freight.cargo.site/t/original/i/03e9341bfa2c998a704cf2455df58bb7f6b94e17830e8e70f161d309510f4c60/Birmingham_Alabama_1962.jpg" data-mid="85098158" border="0"  src="https://freight.cargo.site/w/1000/i/03e9341bfa2c998a704cf2455df58bb7f6b94e17830e8e70f161d309510f4c60/Birmingham_Alabama_1962.jpg" /&#62;
Birmingham, Alabama, US 1962
Press photograph, framed with museum glass 
40,7 x 35,7 cm


&#60;img width="2415" height="1723" width_o="2415" height_o="1723" data-src="https://freight.cargo.site/t/original/i/0cd6bf1516c7f546dca5ab728cf2bd1330e35a15f2f401cad79cdfd9002446e4/buenos_aires_1959.jpg" data-mid="85098160" border="0"  src="https://freight.cargo.site/w/1000/i/0cd6bf1516c7f546dca5ab728cf2bd1330e35a15f2f401cad79cdfd9002446e4/buenos_aires_1959.jpg" /&#62;
Buenoa Aires, Argentina 1959
Press photograph, framed with museum glass 
40,7 x 35,7 cm


&#60;img width="2962" height="2331" width_o="2962" height_o="2331" data-src="https://freight.cargo.site/t/original/i/5fe1d1d33fb6272691dc2d3de56f9be43d12e3a1ed0b35003e290621dc931930/paris_1969.jpg" data-mid="85098178" border="0"  src="https://freight.cargo.site/w/1000/i/5fe1d1d33fb6272691dc2d3de56f9be43d12e3a1ed0b35003e290621dc931930/paris_1969.jpg" /&#62;
Paris, France 1969
Press photograph, framed with museum glass 
40,7 x 35,7 cm


&#60;img width="2615" height="2088" width_o="2615" height_o="2088" data-src="https://freight.cargo.site/t/original/i/8c8ca0653270fe9a40d8e76127b895a0b0ab853ab5750a3d181454d74323ac93/paterson_nj_1964.jpg" data-mid="85098179" border="0"  src="https://freight.cargo.site/w/1000/i/8c8ca0653270fe9a40d8e76127b895a0b0ab853ab5750a3d181454d74323ac93/paterson_nj_1964.jpg" /&#62;
Paterson, New Jersey, US 1964
Press photograph, framed with museum glass 
40,7 x 35,7 cm


&#60;img width="3037" height="2462" width_o="3037" height_o="2462" data-src="https://freight.cargo.site/t/original/i/1e93ac2dd16151b2516d83ff4fac8e85db053f89775547bc3ac26c5218c69b8f/new_york_1948_ontto.jpg" data-mid="85098253" border="0"  src="https://freight.cargo.site/w/1000/i/1e93ac2dd16151b2516d83ff4fac8e85db053f89775547bc3ac26c5218c69b8f/new_york_1948_ontto.jpg" /&#62;
New York, US 1948
Archival ink print, framed with museum glass 
40,7 x 35,7 cm
2020


&#60;img width="3099" height="2269" width_o="3099" height_o="2269" data-src="https://freight.cargo.site/t/original/i/b380fab8f5059e0b5bab617eab852fa80bc90b64492f5f1df64c8e374d793258/new_york_1966-2_ontto.jpg" data-mid="85098275" border="0"  src="https://freight.cargo.site/w/1000/i/b380fab8f5059e0b5bab617eab852fa80bc90b64492f5f1df64c8e374d793258/new_york_1966-2_ontto.jpg" /&#62;
New York, US 1966Archival ink print, framed with museum glass 40,7 x 35,7 cm2020


&#60;img width="3523" height="2106" width_o="3523" height_o="2106" data-src="https://freight.cargo.site/t/original/i/136ff04a81bc2a0f6e64fb47c9087dcf211fcc8ba1d6b14dda20f52b6733f2f8/alliquippa_1937_ontto.jpg" data-mid="85098270" border="0"  src="https://freight.cargo.site/w/1000/i/136ff04a81bc2a0f6e64fb47c9087dcf211fcc8ba1d6b14dda20f52b6733f2f8/alliquippa_1937_ontto.jpg" /&#62;
Alliquippa, Pennsylvania, US 1937Archival ink print, framed with museum glass 40,7 x 35,7 cm2020


&#60;img width="2553" height="3306" width_o="2553" height_o="3306" data-src="https://freight.cargo.site/t/original/i/89967787e3c47a6ebd2a0003503293093e95dcff383cdea7d63e85fa965cadf1/flint_1939_ontto_repro.jpg" data-mid="85098326" border="0"  src="https://freight.cargo.site/w/1000/i/89967787e3c47a6ebd2a0003503293093e95dcff383cdea7d63e85fa965cadf1/flint_1939_ontto_repro.jpg" /&#62;
Flint, MIchigan, US 1939Archival ink print, framed with museum glass 40,7 x 35,7 cm2020


&#60;img width="1417" height="1417" width_o="1417" height_o="1417" data-src="https://freight.cargo.site/t/original/i/3e6dbb89ed829898c2f6a7c7f5c01780077627ece0950df0587ff15bfc9ce4e5/victim_08_musta.jpg" data-mid="85098184" border="0"  src="https://freight.cargo.site/w/1000/i/3e6dbb89ed829898c2f6a7c7f5c01780077627ece0950df0587ff15bfc9ce4e5/victim_08_musta.jpg" /&#62;
Victim # 08
Archival ink print, mounted on composite aluminium 
32,2 x32,2 cm
2020

&#60;img width="1417" height="1417" width_o="1417" height_o="1417" data-src="https://freight.cargo.site/t/original/i/74da65d316116533e90748b22bbfe1402101d6bf5574925342d31385a751f273/victim_05_musta.jpg" data-mid="85098182" border="0"  src="https://freight.cargo.site/w/1000/i/74da65d316116533e90748b22bbfe1402101d6bf5574925342d31385a751f273/victim_05_musta.jpg" /&#62;
Victim # 05Archival ink print, mounted on composite aluminium 32,2 x32,2 cm2020


&#60;img width="1417" height="1417" width_o="1417" height_o="1417" data-src="https://freight.cargo.site/t/original/i/c715ebd19539458e34bb9bd976833357d5434251dadde092171266fb9a3cd4ca/victim_01_musta.jpg" data-mid="85098181" border="0"  src="https://freight.cargo.site/w/1000/i/c715ebd19539458e34bb9bd976833357d5434251dadde092171266fb9a3cd4ca/victim_01_musta.jpg" /&#62;
Victim # 01Archival ink print, mounted on composite aluminium 32,2 x32,2 cm2020


&#60;img width="1417" height="1417" width_o="1417" height_o="1417" data-src="https://freight.cargo.site/t/original/i/ae59a85c564ad6f3a0f13cc7b91eeea829faf0bf785ef406719dd59fbee7836b/victim_11_musta.jpg" data-mid="85098185" border="0"  src="https://freight.cargo.site/w/1000/i/ae59a85c564ad6f3a0f13cc7b91eeea829faf0bf785ef406719dd59fbee7836b/victim_11_musta.jpg" /&#62;
Victim # 11Archival ink print, mounted on composite aluminium 32,2 x32,2 cm2020


&#60;img width="1417" height="1417" width_o="1417" height_o="1417" data-src="https://freight.cargo.site/t/original/i/3c550e4ba63272987c2d2fcc30e58c9af54eb46f19117e172c69afefc6211fe0/victim_21_musta.jpg" data-mid="85098189" border="0"  src="https://freight.cargo.site/w/1000/i/3c550e4ba63272987c2d2fcc30e58c9af54eb46f19117e172c69afefc6211fe0/victim_21_musta.jpg" /&#62;
Victim # 21Archival ink print, mounted on composite aluminium 32,2 x32,2 cm2020


&#60;img width="1417" height="1417" width_o="1417" height_o="1417" data-src="https://freight.cargo.site/t/original/i/f5788720746d0075bd93e7a6a7f84c7938240a9c9ac04e764a1ce6fd3e722492/victim_12_musta.jpg" data-mid="85098186" border="0"  src="https://freight.cargo.site/w/1000/i/f5788720746d0075bd93e7a6a7f84c7938240a9c9ac04e764a1ce6fd3e722492/victim_12_musta.jpg" /&#62;
Victim # 12Archival ink print, mounted on composite aluminium 32,2 x32,2 cm2020


&#60;img width="1417" height="1417" width_o="1417" height_o="1417" data-src="https://freight.cargo.site/t/original/i/064eeec94ab745472d8c36b7697270627bdaef85595875f982c5a5af8abcdf75/victim_07_musta.jpg" data-mid="85098183" border="0"  src="https://freight.cargo.site/w/1000/i/064eeec94ab745472d8c36b7697270627bdaef85595875f982c5a5af8abcdf75/victim_07_musta.jpg" /&#62;
Victim # 07Archival ink print, mounted on composite aluminium 32,2 x32,2 cm2020


&#60;img width="1417" height="1134" width_o="1417" height_o="1134" data-src="https://freight.cargo.site/t/original/i/952da137398a148f79f8384ca94d3963554afce9d8064af0fbcbbe11ca1ba0f7/choreography_7_-Haymarket-Square--Chicago-1969.jpg" data-mid="85098168" border="0"  src="https://freight.cargo.site/w/1000/i/952da137398a148f79f8384ca94d3963554afce9d8064af0fbcbbe11ca1ba0f7/choreography_7_-Haymarket-Square--Chicago-1969.jpg" /&#62;
Choreography # 7
Archival ink print, mounted on composite aluminium, framed with museum glass43,8 x53,8 cm
2020

&#60;img width="1417" height="1134" width_o="1417" height_o="1134" data-src="https://freight.cargo.site/t/original/i/ed2ba7e43e17f4f8110393e19a394fbeb702e964bdfdf777ff487e8e846acfdd/choreography_5_-Birmingham--Alabama-1962.jpg" data-mid="85098166" border="0"  src="https://freight.cargo.site/w/1000/i/ed2ba7e43e17f4f8110393e19a394fbeb702e964bdfdf777ff487e8e846acfdd/choreography_5_-Birmingham--Alabama-1962.jpg" /&#62;
Choreography # 4Archival ink print, mounted on composite aluminium, framed with museum glass43,8 x53,8 cm2020


&#60;img width="1134" height="1417" width_o="1134" height_o="1417" data-src="https://freight.cargo.site/t/original/i/5489bf720f3b2933f351265982f86616dfbcdfc5cce2564d3a7772bf27004758/choreography_3.jpg" data-mid="85098164" border="0"  src="https://freight.cargo.site/w/1000/i/5489bf720f3b2933f351265982f86616dfbcdfc5cce2564d3a7772bf27004758/choreography_3.jpg" /&#62;
Choreography # 6Archival ink print, mounted on composite aluminium, framed with museum glass43,8 x53,8 cm2020


&#60;img width="1134" height="1417" width_o="1134" height_o="1417" data-src="https://freight.cargo.site/t/original/i/86d3f04dbd8250573c373d799132db5ac8c6e3b1c0d080a35405fe6888ca339d/choreography_2_-Brooklyn--New-York-1964.jpg" data-mid="85098162" border="0"  src="https://freight.cargo.site/w/1000/i/86d3f04dbd8250573c373d799132db5ac8c6e3b1c0d080a35405fe6888ca339d/choreography_2_-Brooklyn--New-York-1964.jpg" /&#62;
Choreography # 3Archival ink print, mounted on composite aluminium, framed with museum glass43,8 x53,8 cm2020


&#60;img width="1417" height="1417" width_o="1417" height_o="1417" data-src="https://freight.cargo.site/t/original/i/09ae5e777a1628035adcdb74bd99fe768773d305fdaa40b59d88c809808bd8ff/erikinkatu_2006.jpg" data-mid="85098172" border="0"  src="https://freight.cargo.site/w/1000/i/09ae5e777a1628035adcdb74bd99fe768773d305fdaa40b59d88c809808bd8ff/erikinkatu_2006.jpg" /&#62;
Choreography # 12Archival ink print, mounted on composite aluminium, framed with museum glass43,8 x53,8 cm2020


&#60;img width="1417" height="1417" width_o="1417" height_o="1417" data-src="https://freight.cargo.site/t/original/i/9bc8bef649fbb8cb2bd586d9e33ec01493e118d3241e69ef187349b3db35f139/erikinkatu_2006_2.jpg" data-mid="85098170" border="0"  src="https://freight.cargo.site/w/1000/i/9bc8bef649fbb8cb2bd586d9e33ec01493e118d3241e69ef187349b3db35f139/erikinkatu_2006_2.jpg" /&#62;
Choreography # 11Archival ink print, mounted on composite aluminium, framed with museum glass43,8 x53,8 cm2020


------------


</description>
		
	</item>
		
		
	<item>
		<title>Genuine Nature</title>
				
		<link>https://harripalviranta.com/Genuine-Nature</link>

		<pubDate>Thu, 14 Nov 2019 05:16:41 +0000</pubDate>

		<dc:creator>Harri Pälviranta</dc:creator>

		<guid isPermaLink="true">https://harripalviranta.com/Genuine-Nature</guid>

		<description>
Genuine Nature, New Zealand (2019)


&#60;img width="1772" height="2116" width_o="1772" height_o="2116" data-src="https://freight.cargo.site/t/original/i/4dea26d430f9f98dc8e246779eb7a590fe691644485aa787c122be86d6c4a9cf/nz_genuine_nature_www.jpg" data-mid="54694227" border="0"  src="https://freight.cargo.site/w/1000/i/4dea26d430f9f98dc8e246779eb7a590fe691644485aa787c122be86d6c4a9cf/nz_genuine_nature_www.jpg" /&#62;
136 x 117 cm
Archival pigment print, Dibond, framed
2019


&#60;img width="1630" height="1333" width_o="1630" height_o="1333" data-src="https://freight.cargo.site/t/original/i/7f5ba4282c556bce82f48eeab55f699b4e1c8c947c6fbcf8ea3f8669e7a90c12/VTM_projekti1.jpg" data-mid="86102650" border="0"  src="https://freight.cargo.site/w/1000/i/7f5ba4282c556bce82f48eeab55f699b4e1c8c947c6fbcf8ea3f8669e7a90c12/VTM_projekti1.jpg" /&#62;
Installation view, group show&#38;nbsp;One Picture Manifesto, Finnish Museum of Photography, Helsinki 2019


Genuine Nature, New Zealand is a singular piece photographed in Wellington, New Zealand just s few kilometres from the core of the city. There lies a fully-fenced wildlife sanctuary, a restored forest and freshwater ecosystems conserved&#38;nbsp;as closely as possible to pre-human state.&#38;nbsp;Genuineness is monitored and guarded closely. Non-native species are obliterated.

Genuine Nature, New Zealand visualises the odd and unequal quality of human-nature relationship. On the one hand, nature is a resource for a man, and on the other, its independence is celebrated. Post-human approach shakes the foundations of these conceptions questioning the need to built polarities. 

New Zealand offers a wonderful setting for critical observer of nature: as an isolated combination of islands, it provides distinctive habitats for many of its endemic species. This originality is celebrated by a man, and the Kiwi nature is turned into a tourism attraction. Funnily humans are working hard to preserve something they do not belong to. This can be seen to be an act of beautiful altruism, or yet another trial to govern the environments surrounding the humans.


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