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30.1.-25.4.2021 TOGETHER – Old photographs of communities in Salo area
In January 2021 Salo Art Museum Veturitalli presents a followup to its exhibition from 2014, Salo in Old Photographs. The exhibition showcases photographs taken in the centre of Salo, aswell as in the neighbouring villages and towns which are now part of the same joint municipal authority. The photographs depict villages and communities of people working and spending time together, celebrating their special days and living their everyday life. The old photographs tell stories about the daily chores in the fields and forests during the early decades of last century, work communities, mills and factories, but also about leisure time activities, such as sports competitions and communal singing. In other words, the photographs depict events and gatherings bringing people together.

15.5.-5.9.2021 REAL OR NOT?
This exhibition explores the multifaceted works of art situated between original artworks and forgeries, such as copies, pastiches, reproductions and replicas. Consisting of a rich compilation of both older and contemporary art, this exhibition raises questions on what the originality of an artwork essentially means, and how important it is. In addition, the exhibition offers new and interesting visual perspectives into Finnish art history.
Not all copies are forgeries, and imitation is not always an act of copying. The history of Western art is inundated with artworks which have been copied in artistic education. In addition to making copies as part of their training, artists have copied their own work, repeating the same characters, details or entire subjects in their work. Artists have always been influenced by each other. They have borrowed subjects, studied them from new perspectives, and transferred them to the current day. Art is always based on tradition in some way or another. Group Ö: The Fighting Capercaillies from the series Money! 1981. Photo@Harri Larjosto

24.9.2021–9.1.2022 PETRI ALA-MAUNUS
Petri Ala-Maunus (b.1979) is well-known for his landscape paintings, which, at a first glance, look like romantic pastoral scenes from the 19th century. In his paintings, the majestic scenes have become larger and more impressive than reality. Executed with great attention to detail, the artworks look photographic. Sometimes the colour palette looks as though it was limited to three or four tones with an image editing programme, sometimes even just black and white.

These paintings depict nature as something untouched, almost heavenly, showing no people or signs of destruction caused by human beings. Or do they? In some of the works, Ala-Maunus breaks the illusion by adding drips or areas of garish colour that stand out from the rest of the painting, or leaves parts of the surface unpainted.

In addition to his most recent work, this large solo exhibition of Petri Ala-Maunus showcases artwork from public and private collections retrospectively from the past ten years or so.

Petri Ala-Maunus, Re-imagining Rurality, 2020. Photo Jefunne Gimpel