Tuomas Aleksander Laitinen´s current work and research focuses on the entanglements of human and
non-human coexistence. Laitinen composes situations and installations that are exploring the porous interconnectedness of language, body, and matter within morphing ecosystems.
Laitinen´s works have been recently shown in the 21st Biennale of Sydney, 7th Bucharest Biennale, SADE LA (Los Angeles), Amado Art Space (Seoul), Moving Image New York, Art Sonje Center (Seoul), Helsinki Contemporary, Museum of Contemporary Art Kiasma, EMMA – Espoo Museum of Modern Art, MOCA Shanghai & Cinemateca do MAM Rio de Janeiro.
~Fiskars Village Biennale, May 2019, curated by Jenni Nurmenniemi
~Library´s Other Intelligences, Jan-March 2019, a project in the centrtal library in Helsinki,
curated by Shannon Mattern and Jussi Parikka
~FCINY residency, New York, Fall 2019
~Hélène och Walter Grönqvists Stiftelse stipendium
~Chart Art Fair Film Program, Kunsthal Charlottenborg, Copenhagen. CHART ART FAIR FILM will extend beyond the dates of the fair and will be included as part of Kunsthal Charlottenborg’s programme until mid October.
Coding and technical consultation: Marko Tandefelt
Ultrasonic Audio Technologies Ltd.
The Library’s Other Intelligences, a project organized by the MOBIUS Fellowship Program of the Finnish Cultural Institute in New York.
Curated by Shannon Mattern and Jussi Parikka
Swarm Chorus is a performative installation and a sound piece with generative tools that are interpreting the construction of medieval musical canons. The work is an experiment with the form of the canon, a kind of an algorithm that allows us to generate complex polyphony from seemingly simple collections of organised sound. Here, the canon form can be seen as a morphing and churning organism, a layered progression without a definitive beginning or end. The work as a whole is likened to an ecosystem of circulating substances, with its words, inspired by ecological science fiction, functioning as fictional recipe poems describing and decoding an alchemistic combination of matter and meaning. In Swarm Chorus, one can find ancient epistemic modalities layered with the notion of extended embodied mind as a conductor for accumulated knowledge. In the library space, this information is translated into sound. These aural events are channeled in the location with the aid of singers and a sound installation for ultrasonic speaker, as an attempt to gently tend to and activate the space. Aside from the performance, a speculative score for the composition is displayed in the form of an installation consisting of a video—partly generated by an AI—and a series of hand-printed scrolls.
Swarm Chorus, 2019
Dossier of Osmosis, 2018
Dossier of Osmosis, 2018
Mixed media installation with ultrasonic speakers
Exhibition view: 21st Biennale of Sydney,
MCA Australia, curated by Mami Kataoka
Text: Nora N. Khan
Costume design: Julia Valle
Voice: Deborah Birch
Glass: Lasismi / Joonas Laakso
Production assistant: Paul Flanders
Commissioned by the Biennale of Sydney
Courtesy the artist and Helsinki Contemporary, Finland
The exhibition Cryptospores is a compilation of objects, sounds, and language that engages with questions of co-existence of human and non-human beings in their perpetually morphing diversity. The different parts of the exhibition come together as an ecosystem of porous interconnectedness. As a whole, it is a call to dissolve the artificial boundaries between language and materiality.
At the core of the exhibition is a collaboration with artist cook Ara Ahn. She has designed experimental fermentation recipes and processes that are displayed in glass containers, slowly growing in a continuous transformation of matter. In these works, two different time-scales are at play: the geological time of the glass, an amorphous liquid, and a more accelerated pace of fermentation.
The other focal point is a sound installation Cryptospores (for glass and voice). It appears as a creaturely ambient voice composed of sliced human speech and recordings of glass materials that were used in the production of the exhibition. The voices have been transformed—through spectral filters and generative tools—into a fecund and unpredictable organism that plays itself. These sounds are seeds that are dispersed into three separate spaces as an invitation to a deep listening process.
The name of the exhibition is referring to fossilised plant spores that first appeared in the fossil record in the late Ordovician period, allowing a glimpse to the myriad forms of earliest land flora.
‘Sensory Adaptation Devices’ is a constellation of sculptural, video, installation, and sound works.
The exhibition examined how the use of particular materials transmit the human sensorial experience of the world and affects how we can perceive and relate to our environment. The human existence has always been accompanied and thoroughly mediated by many materials that act as transmitting substances in sensing and orientating in the world. A specific material catalyses a particular type of sensory alliance, and human civilisations have evolved along with the constant introduction of new technologies based on particular materialities.
LTC (Liminal Toxicity Cluster)
ISCP open studios 2016, Brooklyn
Including but not limited to:
Mp4-files, various scrim screens, extracts from a correspondence with an online service that helps customers to establish offshore companies, phosphophyllite lithium, uranium glass, wooden hand, copper infused arthritis glove, cardboard,
illustrations of stone age tools in relation to human skull size, support structure, lab stand, and motor
Sensory Adaptation Devices, 2015
Deep Time Séance 1-2, 2015 Residency Unlimited,
New York and Kiasma Theatre, Helsinki
Deep Time Séance: Contamination is a gathering that meditates the circulation and accumulation of humanmade toxins, the increasing pollution of our everyday surroundings, of places that feel distant to us and of our increasingly plastic bodies. The séance is organised as part of /theatre.now festival that takes place on Oct 14–18 at Kiasma Theatre. The theme of this year’s festival is climate change.
In the early years of the 20th century, a séance signified a ritualistic session for communicating with the spiritual world. This séance, however, is a performative installation that collides rational and magical tactics in order to encounter the pervasive uncertainty and the ecological concerns of our contemporary reality. Various artistic means are merged ranging from video art, improvised live music, circulating sculptural objects to poetry, choreography and reiki healing.
Deep Time Séance: Contamination includes a site-specific, performative installation by Tuomas A. Laitinen, Matti Ahopelto, Tapio Viitasaari and Anna Rawlings, circulating energy objects and text by Jaakko Pallasvuo, choreography by Laura Jantunen and a collective reiki session conducted by Pia Lindman. The séance is curated by Jenni Nurmenniemi (HIAP – Helsinki International Artist Programme) as part of Frontiers in Retreat (2013–2018), a multidisciplinary project around ecologies and contemporary art.
Working Group: Matti Ahopelto (Siinai), Tuomas A. Laitinen, Tapio Viitasaari, Anna Rawlings: video, music, performance; Jaakko Pallasvuo: energy objects, text; Pia Lindman: reiki; Laura Jantunen: choreography; Jenni Nurmenniemi: curation
The Powder of Sympathy, 2015
The Powder of Sympathy, 2015
HD video, stereo sound
In the collection of Kiasma – Museum of Contemporary Art
The video tracks the mythical and chemical characteristics of copper. Beginning with its healing properties then progressing to its conductive role in the development and continuity of electricity-dependent modern societies, the work’s occasionally disrupted images dissolve into entropy.
Credits: Tuomas A. Laitinen (Director, Editor, Sound Design, Music), Matti Ahopelto (Music), Jenna Sutela (Text), Yuan Z (Actor), AVEK / - (Funder), HIAP / - (Funder), TAIKE / - (Funder)
Conductor is examining the transformation and passages of matter and shifts in power structures of the world. In the core of the piece is copper, a material which has a long history ranging from alchemist traditions to being one of the core materials in contemporary life. Among other things, it is a conductor of elemental energy and indicator for economic transitions.
Sweet Spot of No Escape, 2014–2015
Sweet Spot of No Escape, 2014-2015
Ultrasonic sound installation
Performers, space, ultrasonic speakers, subwoofer
Costume design: Daniel Palillo Exhibition view: Tuomas A. Laitinen, Fundamental Matter, EMMA-Espoo Museum of Modern Art
Two performers beam a pre-recorded sound with ultrasonic speakers to visitors.The activators have a set of rules on how to react to the audience movement in the space. The sound in the installation is a compilation of reconstructed e-mails on the subject of copper mining and the circulation of substances in an organism.This piece was a companion work to the video installation Conductor.
Azure Dune (For J.G. Ballard), 2015
Azure Dune (for J. G. Ballard), 2015
HD video, silent, loop
Photo: Jussi Tiainen
Azure Dune presents a blend of an imagined desert landscape and the textures of azurite, that is one of the ores from which copper can be extracted. It is a meditation on the transformation of the ecosystem affected by climate change, human activity and deep time processes.
A Room for You, 2015
A Room for You, 2015
LED light, DMX controller, copper objects, canvas
In the collection of HAM – Helsinki Art Museum
Photo: Jussi Tiainen
Kimmo Modig & Tuomas A. Laitinen: Landlording, 2015 –
Landlording is an online tv series following the life and projects of Kimesco, a young real estate developer and investor.