景点
Anna Estarriola: Staged Circumstances and Piles of Things
An acrobat stands on their hair, various elements that have arrived from different parts of the universe give speeches at a long table, and multiple whispers are heard from inside a giant beanie hat. The boundaries between the impossible and the possible are blurred, and our ways of perceiving reality are examined from numerous different angles. Staged Circumstances and Piles of Things is Anna Estarriola’s largest solo show to date.
In Amos Rex’s spring–summer 2025 exhibition by a Catalonia-born, Helsinki-based artist Anna Estarriola (b. 1980), the scales and distances vary from one artwork to the next, with different senses activated as our perspective changes. The gradually revealed layers and nested views of the installations are like scenes from a never-ending play. These multidimensional works depict a striving for communication, understanding and cooperation, as well as the inextricably linked moments of uncertainty and failure.
Anna Estarriola’s working process begins with small, imaginative sketch drawings. Their practical realisation requires extensive technical and theoretical knowledge, which is why she often creates her works in close collaboration with professionals from different fields – for example, a textile designer, choir singer, doctor, or dancer might participate in the production of an installation.
Estarriola frequently draws influences from the sciences and different belief systems, while also broadening her own understanding of how people and things function and exist. The illusions conjured up before our eyes are thus based on careful background research and on a working method in which encounters and dialogue between people are of great value during the process itself.
Amid these works filled with significant details, there is an emphasis on life – and death – as well as a kind of relentless attempt to explore individual and communal behaviours and different ways of communicating.
The exhibition is curated by Katariina Timonen.
