Tracking is a continuous work examining the relationship between animals and human beings and their positioning in their own living environment through their traces, movements and actions.
Track of Wolf, 2015
Trout,laser etched photography on plywood
Muorravaarakka river from air,laser etched photography on plywood
Lutto river bank from air,laser etched photography on plywood
Wolf, Kuhmmo,laser etched photography on plywood
Wolf track, Kuhmmo,laser marked track on acrylic, coded led lights, based on male wolf track in Kuhmo area 2011
CONFIRMED LOCATIONSCheckpoint Leonardo exhibition Oulu Art Museum, Oulu, January 23th
How can we see the presence and impact of animals through their tracks, movements and actions in the changing environment. What is the relationship between animals and human beings, and what is their relationship to the landscape.
An animal in nature in its own environment is a mobile force whose influence extends far and wide. Wolves move over large areas and they affect their environment. Trout DNA varies even in different tributaries of the same river. We humans are tied to our own perspective of time, whereas the nature and the landscape have a more extensive, multi-level memory. New technologies such as underwater and aerial cameras, global positioning and drones make it possible to create new aesthetics; new ways of creating artistic and scientific expression that can break and expand the present view of the nature and time. The rituals of tracking and observing are opened through action, technology and framing. Satellite positioning places an object, an animal in the landscape in relation to time as a point, as a moving line, as a cluster, a network in the landscape. A world populated by individuals appears as a network of overlapping and intersecting fields, as a whole created by individual elements. The male wolf and migrating trout are drawn with lasers on wood and acrylic. Through the led lit river the trout pulses up the river. The new meets with the everlasting.
The trout migrates to its home river from the neighbouring Russia via the Luttojoki fighting its way through the rapids upstream. The almost lifeless river carries these miracles; the individuals specialized in this river. The dry pine trunks that the river profile is carved on have drawn their water from the same land; they are part of great northern stream of life. The tree has lived through time; through the annual arrival of the trout to spawn and their descent to the lakes, the changing borders, the Sami yearly rotation from the fells to the forests with their reindeer, the arrivals of gold-diggers and pearl catchers, the comings and goings of soldiers, the freezing winters, the Spanish flu, the energy drinks, the tourists in their Gore-Tex rushing past. A generation is just a side remark, a few inches on the tree trunk. The trout migrates to wait for the clear nights and aurora borealis on the boundaries of the bare fell and forest valley, to wait for the water to cool, for the spawning. After the Ice Age this small river in the wooden valley has developed its own trout population whose genome carries a part of the landscape and environment. This makes it recognizable, belonging to exactly this water body, this tributary, this environment. The Muorravaarakka trout have been photographed in cooperation with the fish researchers of Luke, the Natural Resources Institute Finland on expeditions since 2007. They participated in the Venice Biennale in 2013. Now they come to Oulu for the first time.
We humans are just a part of this side of the watershed, of this forest, river bend, of this movement and this bakcround noise of life. There in the border region the wolf moves with its pack, the trout swims in the Muorravaarakka River. The continuum, the overlaps, support and develop each other. The landscape carves us, our movements shape the world. A wolf shapes its environment. An animal is not an object, an image framed by the eye or the objective. It is not a lifeless frame of time in a medium, in material, or an interpretation, it is a force field that with its movements, with the cooperation of the pack shapes its environment. The new portraits try to break the limits of a static portrait, to break themselves to the other side of the human time perspective, into a broader landscape. The wolf tracks in the bottom of the ditch are running on the tracks of elks fleeing. The satellite measures the tracks and the movements of the wolf. During three months the wolf is drawn as a member of its pack into a regular shape between the nest, the hunting routes and carcasses. Three thousand pixels create an image of a power that shapes the landscape, avoiding human traces, the roads and lakes. Eventually this flame, this power will be extinguished; another wolf will be walking on its territory and route in its own style. What remain are a digital shadow, and the future generations.
The animals and the environments have been photographed under authentic conditions from 2007 to 2014 in the regions of Northern Ostrobothnia and Lapland, in the border areas of Kuhmo and in the Urho Kekkonen National Park.
JÄLESTÄÄ TRACING is produced with support from TAIKE and Oulu Town
Word of the artist
This revolutionary change that we are living with the technologies and inside them is already changing our way of observing and producing experiences and information, the digital, technological and biological materials of our environment. This era opens an unprecedented palette for artistic expression. How do we construct the reality, an interpretation based on our own experiences, from our own perspective? Language and visual communication, technology, science and art are part of the diversity of nature. Do we need a polyphonic, multilingual ecological and cultural dialogue which creates deep evolutionary information – a language needed to survive in a changing world?
Tenetz’s works and cooperation projects have been exhibited in Finland and internationally for example at the Venice Biennale 2013, Lumipalloefekti exhibitions 2011 - 2013, X-Border 2013, ISEA2011 Istanbul, Science Gallery 2009, Pan-Barentz 2009, e-mobil art 2009-2010. He has also won three national snow sculpting competitions.
[ANTTI TENETZ ] is a visual artist and an experimental documentarist. Tenetz’s works are situated on the interface between media arts, bio arts and urban art. In his works he combines and fearlessly uses different forms of expression, different media, different technological platforms and materials, even nature. His focus is on multi-disciplinary and multi-artistic cooperation between art and science. He has worked with international artist groups such as Subzero, The Finnish Society of Bioart and Grafting Parlour and also in cooperation with research units, such as the MIT, Natural Resources Institute Finland, Arctic Centre, Thule Institute and Aalto University. In his works he concentrates on studying the relationship between man and nature, with themes changing from the Siberian bear cult to the digital representation of animal sensory systems. He often uses modern technologies, such as drones and satellite tracking. In the hybrid reality of instrumentalized and robotized technological culture intertwined with nature he uses his art to bring new themes to the discussion between arts and science concerning experience, relationship with nature, privacy, law, landscape and natural values as well as other species and the forming of our living space, respect and survival.
In cooperation with
Metsähallitus,senior researcher, Sakari Kankaanpää
Natural Resources Institute Finland, large carnivores, research professor Ilpo Kojola
Natural Resources Institute Finland, fish research, researcher Panu Orell