Exhibitions

Tiina Itkonen | Ice Has a Memory: Greenland's Vanishing Song Lines

Tiina Itkonen | Ice Has a Memory: Greenland's Vanishing Song Lines

Opening: Friday, 1 July 2022, 6 – 8 pm
Exhibition: 2 July – 3 September 2022
Venue: Persons Projects, Lindenstr. 35, 10969 Berlin

"Now the ice is gone. When I was a child, there was always ice for hunting.”
– Quote from Inuit Hunter

Persons Projects is proud to present Tiina Itkonen’s solo exhibition, Ice Has a Memory: Greenland’s Vanishing Song Lines, which centers around her "Piniartoq1 project on Greenland’s Inuit community, which is indigenous to the region. It captures the effects of climate change on the broader Inuit community, its hunters, traditions, and the entire village’s way of life. The dire situations shown in her photographs reveal the various complexities involved, if there is to be any hope of reversing the negative effects of global warming. Her images remind all of us, wherever we live, that real change relies not only on working closely with these local communities, but respecting their cultural values and way of life as a mirror of our own.

By the Morning, the Butterfly Was Gone

Ilkka Halso | Sanna Kannisto | Sandra Kantanen | Mikko Rikala

Opening: Friday, 1 July 2022, 6 – 8 pm
Exhibition: 2 July – 3 September 2022
Venue: Persons Projects, Lindenstr. 34, 10969 Berlin

Persons Projects is proud to present four artists from The Helsinki School who challenge pressing questions concerning the fragility of our ecosystem. In a world that is facing rapid changes in industry and capitalism, how can one reconnect with nature? What does it mean to slow down, to focus on the unseen, and appreciate nature’s temporality? These artists are among those few who remain in dialogue with nature, making a radical decision to treat our ecosystem with respect and to strengthen the human connection to it. They see that nature is unpredictable, asking if anything is predetermined. Rather than trying to control and suppress our environment – much like the large corporations fuelling climate change – Halso, Kannisto, Kantanen, and Rikala work with the unreliability of the landscape, embracing it to further cement our relationship with it.
By the Morning, the Butterfly Was Gone
Grey Crawford | Chroma Figura 1978–84

Grey Crawford | Chroma Figura 1978–84

Opening: Friday, 29 April 2022, 6 – 9 pm
Book signing: Saturday, 30 April 2022, 3 pm
Exhibition: 28 April – 25 June 2022
Venue: Persons Projects, Lindenstr. 35, 10969 Berlin

During Gallery Weekend Berlin 2022.


Persons Projects is proud to present Grey Crawford’s solo exhibition, Chroma Figura, which focuses upon his previously unseen color works from 1978-1984.
The Southern California art scene of the 1970s and early 80s radiated with an energy that was unparalleled to any other time it had ever experienced. This cultural pulse could be felt in everything from ceramics to the Chicano art movement and this acute sense for creativity was never more evident than in the various art schools that surrounded the LA basin. Chasing an MFA in Southern California during the 1970s, whether it be at the Claremont Graduate University, where Grey Crawford attended, or any other Grad school in California, felt more like attending an event than being exposed to the rigors of academia. The Open Studio Concept, championed by Roland Reiss at Claremont Graduate University, and John Baldessari at CalArts reflected the creative spirit that was driving the times.
This exhibition introduces his Chroma Figura series and focuses upon his breakthrough, highly original color works. In seven years, the artist created over 200 works. This selection of photographs represents an extension of Crawford’s interest in using masked geometric basic shapes we first saw in his black and white Umbra series. These photographic images still reflect his painterly roots inspired by two of California’s hard-edge painters Karl Benjamin and John McLaughlin, yet Crawford’s experimentations add a new dimension to this ongoing dialogue. Most importantly, they now establish and give credit to Crawford’s uniqueness.

Milja Laurila | Untitled Women

Opening: Friday, 29 April 2022, 6 – 9 pm
Exhibition: 28 April – 25 June 2022
Venue: Persons Projects | Helsinki School, Lindenstr. 34, 10969 Berlin

During Gallery Weekend Berlin 2022.


Persons Projects is proud to present Milja Laurila’s Untitled Women series, which utilizes a present day feminist lens to understand how women have historically been viewed by men.

The 1930s book titled Woman. An Historical Gynæcological and Anthropological Compendium acts as a point of departure for Laurila’s work. Originally published in German in 1885 and written by three men, the book is illustrated with hundreds of photographs of naked women and children from all over the world, primarily colonized countries. This cross between anthropology, racism, and sexism, come together to create an uncomfortable viewing experience that claims to be ‘scientific’. The photographed women have no voice and they are presented as exotic specimens found in nature. The ethnographic pictorial style allowed the pretence of looking at women objectively and innocently. The exoticizing gaze, with its sexual desire, was hidden behind the veneer of legitimate scientific inquiry.

Milja Laurila | Untitled Women
Notes from a Seamstress’ Daughter

Notes from a Seamstress’ Daughter

Zofia Kulik | Anni Leppälä | Ragna Róbertsdóttir | Niina Vatanen

Opening: Friday, 11 March 2022, 6 – 8 pm
Exhibition: 12 March – 23 April 2022
Venue: Persons Projects, Lindenstr. 35, 10969 Berlin

Persons Projects is delighted to present a unique selection of female artists who share a common ground within their artistic practices as they all incorporate and draw from their own personal histories. Their work and overall creative development were influenced by a female presence that played a significant role in their upbringing. Under this aspect, this group exhibition intends to explore four different female perspectives and how they are joined together through the process of objectifying their own fears and doubts in their search for their own identity. Their artistic arsenal ranges from threads and pins to textile ornaments and patterns. Regardless of the materials used, the works collected in this exhibition reflect a tactile sensibility in the way the artists apply them.
Embroidery, sewing, and working with fabric are historically associated with women and ‘domestic tasks’, overlooking the intense skill and creativity required to create the artwork. But since the early days of Surrealism, these specific activities have been one of the tools used to characterize the feminist voice of discontent. Generations of female artists seeking to negate and escape society’s expectations consciously avoided this direction. Today, contemporary women artists are reusing these traditions in their artistic expression, referring to the repetition of daily activities as the basis of our existence.