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SV Pihalla är ett projekt som växer på Pro Artibus residens Villa Snäcksunds gård. För sitt sista halvår på Snäcksund har residenskonstnär Corinna Helenelund och hennes partner Lukas Malte Hoffmann bjudit in kollegor att besöka Snäcksund, dela tankar och arbetsprocesser, och skapa verk för gården. Det finska uttrycket pihalla (bokstavligen ”på gården”) har i dagligt tal betydelsen att vara vilse, att inte hänga med. Att vara vilse eller inte förstå, kan i perioder vara en vardaglig del av det konstnärliga arbetet och locka till att gräva djupare, förstå på nya sätt, eller ibland låta sig gå ännu mer vilse. Denna sida är en logg som digitalt följer med vad som utspelar sig på gården.

FI ”Pihalla” on projekti, joka kasvaa Pro Artibuksen Villa Snäcksund-residenssin pihaympäristössä. Residenssitaiteilija Corinna Helenelund ja hänen kumppaninsa Lukas Malte Hoffmann ovat kutsuneet Snäcksundiin kollegoja jakamaan ajatuksia ja työskentelyprosesseja sekä luomaan pihalle teoksia. Projektin nimi viittaa paitsi sijaintiin myös sanan puhekieliseen merkitykseen: ymmällä olemiseen. Pihalla tai eksyksissä oleminen voi toisinaan olla osa taiteilijan arkea. Se saattaa houkutella kaivautumaan syvemmälle, ymmärtämään asioita uudella tapaa tai antamaan itselle luvan eksyä vieläkin enemmän. Tämä sivu on loki, joka seuraa pihan tapahtumia digitaalisesti.

EN Pihalla is a project that grows in the yard of Villa Snäcksund, Pro Artibus’ 3 year residency in Ekenäs. During their last 6 months in residence, resident Corinna Helenelund and her partner Lukas Malte Hoffmann have invited fellow colleagues to visit Snäcksund, to share thoughts and work processes, and to make works for the yard.In Finnish common use the expression ‘pihalla’ (literally ‘in the yard’) means being lost or not following. In artistic work this condition of being lost or not to understand can at times be very present, tickling wishes to dig deeper, understand in new ways, or to get even more lost. This page accompanies the project digitally, logging what is happening in the yard.

List of Participants


by Susan Kooi
mixed textiles, 230 x 120 cm

This is my second time in Tammisaari. The first time it was full-on winter, with temperatures dropping to -20 and the amount of snow where you lose your shoes in. Lukas and I worked on a project called ‘Midsummer Rose’ back then, where we recreated the summer of 2020 by growing the green-white juhannusruusu with the help of growing lights. Now I am back here during the actual midsummer. This time working on a flag for the pole in the garden. The flag is composed of fabrics found in flea markets in Amsterdam, where I live, and in Tammisaari, where I am visiting. This season is giving it her all too, with lush green and endless sunny days. Lukas asked me the grande question: which season is better? Now it seems summer, but in the winter it seemed winter. The grass is the greenest here, and the whitest there.



”The flower bloomed and faded.
The sun rose and sank.
The lover loved and went.
And what the poets said in rhyme, the young translated into practice.”
– Virginia Woolf, Orlando



by Livio Casanova, Polly Wright and Lukas Malte Hoffmann

Reeds, hemp cord, cheesecloth, turmeric, ink, poems. Variable dimensions

Livio and Polly had bought tickets to Snäcksund for April 2020. That was, of course, before we knew that the world would turn itself upside down. We said, in good hope, that we’ll meet soon; possibly later in summer they would be here. Then summer came and of course they weren’t able to be here; the world was going to shits. However, it also seemed as if they didn’t remain ‘there’ either. For me, it felt that they were on their way here the whole time, for two and something years. Straight connection turned into jiggly lines, being pushed and pulled by time.
In the fullest sunsets, I would be walking down to the jetty in my crocs, a wait ing .




by Æpis (Espen Melin Hagedorn and Alice Peragine)
Installation and Activation

For the performance Walking lightly on the Earth* (2022), at Villa Snäcksund, Æpis gathered found materials from the grounds around the Villa and by the water, constructing provisional wearables made out of reeds, wood, thread and wires. These wearable objects are meant to remain as traces from their activation ceremony, held on Thursday August 4th 2022 as installations in the hut by the water and the green house in the garden until the end of the year 2022. During the activation, Æpis carried themselves lightly from the bridge by the water towards the garden swaying their bodies in the wind like reeds, singing and imitating the sounds of the motorboats passing by. A Seaweed animal crawled along the bridge to the greenhouse to gather and serve smashed cucumber fragments as a light meal.

Sounds and vocals performed by Alice Peragine and mixed by Lukas Malte Hoffmann
Imitating Motorboats, Wind Recording and parts from Protection by Massive Attack (written by Andrew Vowles, Robert Del Naja, Grantley Marshall, Tracey Thorn) 




In the loppis in Karis there lived two homemade moomin plushies: one chonky white moominmama, and a baby blue moomin. We don’t know anything about their lives before the thrift store. We do know they got taken to Tammisaari, to live the dream moomin lifestyle. Hanging out on rocks, sleeping in the sun, going to sauna. But at some point they got bored, feeling mökki fatigue, so they packed their bags and got ready for their next adventure: moving to … Amsterdam! They are active on instagram, being popular in the #plushcommunity. 




Midsummer portrait
We’re on a glamping trip
Hope you all have a good summertime! Safety first! 
Sauna time!
Who is this on my nose?
New adventures ahead
Back in Amsterdam, having some drinks after shopping
We have a relative here, bit of a weirdo

List of Participants

Æpis started working together since 2018 while exploring what it means to live a healthy and loving relationship. They consist of Espen Melin Hagedorn, Alice Peragine, a lot of patience, experiment, improvisation and embracing failure as part of their process as they go along.
A beginning was marked through their piece for Folgendes at HFBK, Hamburg, called Potential Dwelling Situation (2018) as a suggested space for gathering in the installation blurring the lines between audience and performers. Alongside numerous collaborations developing performances and installations together for Translucent (2018) at VIS, Hamburg, Please hold the Line- Thank you (for holding) (2021), at Lothringer 13 Halle and Soft Roader (2021) at Haus der Kunst, they are entering a new phase of collaboration navigating a precarious life as freelance artists in a committed relationship confronting subjects of death and loss and what it means to be a living species on a damaged planet trying to negotiate an artistic practice coming from a place of fragility and humility.


Livio Casanova is a swiss artist working with and on textile. Livio’s studio practice is informed by his reading research which is propelled by personal interests and curiosity. Recent exhibitions include Dorset Place, Brighton CCA, 8. Salon (Hamburg), Württembergischer Kunstverein (Stuttgart), Institute For Provocation (Beijing), Yellow Brick (Athens) and Kunsthalle Bern (Bern), among others. Livio is part of the Artist-Run Space Milieu (Bern).




Susan Kooi, born 1988 in Leeuwarden in the Netherlands, graduated in fine arts from the Gerrit Rietveld Academie in 2012, with an exchange in visual arts at Emily Carr University for Art and Design in Vancouver. Next to her individual practice she is part of the collective Samet Yilmaz and the music duo echo+seashell. In her installations Kooi combines the tactile objects she produces in ceramics, textile and plastics with their specific narratives in video, text and performance.




Polly Wright is a Brighton (UK) based curator and researcher. Polly is currently Programme Producer at Brighton CCA and Programme Co-ordinator of Incidental Unit, the third iteration of Artist Placement Group.