October 06, 2019

Anatoly Serebrennikov, Музей-усадьбу “Улыбка”/Museum-Estate “Smile”


 pictures are screenprints from the video in the documentation
facade of the house (click to enlarge)

Nizhne-Ivkino, a small community with some 2000 inhabitants in the Kirov region in the central-eastern part of European Russia, is not only known as a health resort, but also because of one of its inhabitants, the self-taught artist Anatoly Anatolyevich Serebrennikov.

Life and works  

Born in 1948 in Mukhino, also a community located in the Kirov region, Serebrennikov had a difficult childhood because his father died at an early age and as a young boy and only child he had to help his mother with obtaining income. After his military service he studied at the Kirov Agricultural Institute and worked for 25 years as a director of one of the subsidiary companies.

When a project started to re-forestize the Nizhne-Ivkino area, he became involved because of his expertise and went to live with his wife in the village. Later he got a job at a health resort in the village where he took care of the gardens.

a detail of the picture above 
with an arrangement that depicts a domestic scene

From childhood on Serebrennikov had a love for the Russian countryside and the Russian culture, which manifested itself in various ways. such as a preference for reading Russian classics, but also in all his life collecting utensils that shaped peasant and country life, such as barrels, pods, spinning wheels, tumblers ......


Nowadays, many such attributes are attached to a side wall of his house, as in above picture.

The facade of the house has left and right a wooden caryatid and an atlantid, both made from one piece of wood. These two creations seem to support the scene right under the roof, a scene that depicts a domestic situation, with a mother sitting on a spinning wheel, a father working on a painting, a samovar in the middle and above that a basket/crib with a baby.


The space around the house is richly decorated with all kinds of sculptures and structures

There are various sculptures that refer to people who are known from Russian classical painting, such as Ivan Tsarevich on the gray wolf, after the painting from 1889 with the same name by Viktor Mikhailovich Vasnetsov.

There is also a reproduction of the noble lady Praskovya Morozova, depicted on Boyar Morozov, a famous painting created between 1884 and 1887 by Vasili Surikov.

Other creations refer to Russian classical literature, such as a mermaid, a goblin and a cat on a
chain -characters from the work of Pushkin- added to a tree near the entrance of the site.


Then there are ensembles, such as the one shown above. The two enlargements below give an idea of how Serebrennikov portrayed the characters.

Serebrennikov also became known for his monument to the potato, which he began to make around 2005.  It's an ensemble of a white stone with the words Make a deep bow to the nurse, a pot with baked potatoes and a branch connected with a shovel and a pitchfork. A man with a staff, in a padded jacket and bast shoes kneels in front of the ensemble. 

The monument is dedicated to the 60th anniversary of the Russian victory over Germany in World War II.

The news about this creation spread and Serebrennikov was invited to participate in a much-watched Russian television program about a healthy lifestyle. 

He traveled to the studio in Moscow with three kilos of potatoes, dressed in an old-fashioned peasant's shirt, which he had put together himself (Serebrennikov likes to make clothes with his own hand and without sewing machine, also special ones, such as a dress á la Pushkin, with a long black suede coat and a top hat).


Paintings of nails with a head

Around 2000 Serebrennikov saw a portrait of Leonardo da Vinci, made by a medieval master who used nails instead of paint. This inspired him to make such creations himself.

In the meantime, Serebrennikov has made a number of portraits of this kind, including one of Putin and another of the Patriarch of Moscow.

In January 2018 he showed in a local museum a nail portrait of the in Russia famous opera singer Fedor Chaliapin (1873-1938). The portrait includes 7465 nails, placed on a 2 m long and 95 cm wide panel of lime wood

In the video below (2'28", You Tube, March 2018), Serebrennikov shows and discusses this creation. The portrait of Putin can also be seen


Serebrennikov is currently working on a portrait of the Russian cosmonaut Viktor Savinykh who will turn eighty in March 2020

Documentation
* Evgeny Demikhov, Article (February 2019) in regional newspaper Komsomolka Pravda
Ekaterina Ponomareva, Article (February 2019) on Kirov News website, with info about Serebrennikov's making  of clothing
* Mikhail Smirnov, Article (undated) in Liga Press, with info about the monument to the Russian potato
* Larisa Yuzhanina, Article (March 2008) on website malahov-plus, especially about the TV performance
Videos
* Video by Russian TV 1 (3'40", You Tube, around 2014), with an impression of the creations in the garden around the house


Anatoly Serebrennikov
Museum-Estate “Smile”
Solnechnaya Street
Nizhne-Ivkino, Kirov region, Russia
can be seen from the road

September 23, 2019

Hrafn Gunnlaugsson, Hrafns hreiður/Raven's nest


this picture from  website Atlas Obscura
contributed by an unknown photographer
click to enlarge

The picture above shows an art environment facing the Atlantic Ocean, located in the Icelandic capital Reykjavik. This is Raven's Nest, a site created by Hrafn Gunnlaugsson.

Life and works

Gunnlaugsson, born in Reykjavik on June 17, 1948, after his primary education studied in Stockholm, Sweden, both at its university and at its Dramatic Institute where he qualified in film making and directing. 

In the 1970s he became a well known film maker, who made the Icelandic film industry internationally known by his films, some set in the Viking era, others in modern Iceland.

this picture and the next two by Kirill Voenbrand, Instazu

Gunnlaugsson married Edda Kristjánsdóttir and the couple would get four children.

In 1977 he bought the house and the surrounding terrain that he in the course of the years would transform, into an art environment. The property is located on Reykjavik's edge, a spot with a lot of history, as it once housed a hospital, a cemetery and the barracks of the British Army during World War II.

Due to the purchase, the municipality's plan to demolish the building was canceled.


Gunnlaugsson likes to collect all kind of things. In an interview he said: “I was given the name Hrafn. That means raven, I think it goes with the name: Ravens like to collect things. Maybe I can blame the habit on my name.

So, this art environment is a multifaceted collection of all kinds of collected items. 

A rusty Viking warrior, standing on a corner, greets the visitor, a raven on the roof keeps an eye on things, there are Norse gods, Christian deities, and Buddhist icons, there are also sculptures made from old ship parts, some 160 massive stones from various regions in Iceland lay around, iron installations with large round balls stand between the plants and decorate the roof and a balcony ......

It is a collection which is constantly evolving and changing in composition, difficult to describe thematically. but one in which each item indeed has its own place and is part of all those things with which Gunnlaugsson has a trusted relationship.


The residential home is in the center of the site. Its outer walls are decorated with tribal masks and religious talismans.

The ground floor of the house has no interior walls that divide the space, a remnant from earlier times that has remained unchanged. 

So kitchen, dining room and sitting area are all located in one space, which of course also includes various collections, such as an an array of antique collectibles in the kitchen, canvas paintings of ravens, reproductions of French painters, all sorts of things made by the children in their early years, and lots of books and films.


The two images above (left some wooden sculptures, right the Viking Warrior) and the two below were made in September 2019 by Tiramisu Bootfighter, a Frenchman who traveled through the United Kingdom and Iceland with a Galerie Ambulante (that is, his suitcase) for a many weeks in search of unusual places.



Every year the site attracts a variety of visitors. A side road of the main road Laugarnestangi leads to  the house along the coast.

Documentation
* Gabriele R. Guðbjartsson “For Hrafn Gunnlaugsson There Really is No Place like Home” The Reykjavik Grapevine, Sept 7 2007
* Photos op Atlas Obscura
* Lauren Razavi, article,Vice Motherboard, aug 2015 
* Wikipedia

Hrafn Gunnlaugsson 
Ravens nest 
along a side road of main road Laugarnestangi 
Reykjavik, Iceland
can be seen from the road
streetview


September 16, 2019

Juris Audzijonis, Dieva dārzs "Jūras" / God's Garden "Jūras"


entry gate of the park
this picture and the next one from Facebook

Vecumnieki is a community in Latvia of around 2100 inhabitants, located some 50 km south of the country's capital Riga. In the rural area north-west of the community a collection of wooden creations catches the eye. This is Juris Audzijonis' art environment generally known as Jūras, God's Garden, a park with a variety of single handedly made wooden and metal creations.


Life and works

When he was in his early fifties the life of Jūris Audzijonis, who was born in 1942 or 1943, took a special turn. During a cardiac arrest that had hit him, he had a beautiful vision that he experienced as the divine light that brought him back to life.

Prior to this experience he was not a believer, but now he was converted to the Christian faith, and moreover, he also felt inspired to propagate that belief by making and installing creations that reflected that belief.

In 1996 Audzijonis started a project that has kept him busy until now (2019) and that has resulted in a park-like art environment that includes single-handedly crafted wooden sculptures, metal assemblies and singular architecture in various forms.

a sculpture of Our Lady
this picture an the next ones screenprints from the video 
referred to in the documentation

As the picture of the entrance (at the top of this text) shows, Jūras is the original name of the site. However, after a journalist, with the approval of Audzijonis, designated the site as God's garden, this name was widely used in addition to the original name.

The most pronounced reference to the Christian faith in this art environment is the life-sized sculpture of Jesus on the cross, placed directly next to the main entrance of the site.

Then there is a wooden sculpture of the Virgin Mary, also life-sized, about which the story goes that a miracle happened with this sculpture when two holes in the wood near the heart opened and resin began to flow out of those holes.


The Christian character of the site is also expressed in the built structures Audzijonis created, first of all a number of churches or other places of worship, such as the one as in above picture with towers at the front- and backside, that are covered with hexagonal spires.

One of the built structures is a small wooden prayer house where at most one visitor can sit on a chair (that turns around three times) to pray or meditate.

One day a number of students came to visit the garden, waiting patiently in a row at this prayer house. Audzijonis wondered what happened, but it turned out that the students had to take an exam the next day and came to ask for a blessing.


Among the buildings in the capacity of a church there are large ones such as the aforementioned church with the four towers, but also small ones, such as the one in the picture above built by  Audzijonis for his granddaughter Freya on the occasion of her fifth birthday.

Freya lives in Vienna and does not speak Latvian, just as Audzijonis does not speak German, so her mother, Audzijonis' daughter, has to assist as interpreter.


Other striking wooden constructions in this art environment are an above pictured elongated bridge that crosses a pond ........


..... and a large-scale seesaw pictured above, suitable not just for two children, but also for two adults, a device that when used exerts a calming effect on the participating persons.


Above picture shows the spire of the tower of the large wooden church with four towers crowned with an installation formed by rotating metal items, typically assembled by using leftovers, in this case metal pans

The site has a variety of such mobile items. For example, there is a high rising towery structure with an immobile pedestal and an upper part - provided with metal protrusions in the form of blades - that can rotate in its entirety.

And there is a wooden gazebo that also can turn around in its entirety.


Above picture of an all metal windmill with blades that turn in the wind, shows that Audzijonis who in reviews is mostly presented as a woodcrafter, also knows about handling metal parts.

Documentation
* Account of the site on Facebook 
* Article (August 2016) by Antra Gabre on website NRA.LV
Video
Video (September 2017, 3'19", You Tube) by Latvian Time 


Juris Audzijonis  
God's Garden "Jūras"
on the P89 road, just outside the community
Vecumnieki, Latvia
streetview
the site can be visited on appointment (see FB account)
donation welcome

August 27, 2019

David and Mary Foley, Shell cottage


the entrance of the house in 1966
this screenprint and the one of Mary (below) are stills  
from the video shot by Ireland TV in 1966

The photo above shows the entrance to the Shell Cottage, a residential home in the coastal town and harbour Dungarvan in County Waterford on the south coast of Ireland. transformed by its inhabitants Mary and David Foley into an art environment.

The Shell Cottage is a simple rectangular house with a hipped roof. At the front there is a central door with bay windows on both sides and the small yard around the house is surrounded by a low wall with an entrance gate in the middle.

Captain David Foley
picture from weblog Abbeyside Heritage Archive

Life and works

David Foley was born in Dungarvan, in 1894 or 1893. It has been reported that in 1915 at age 21 he had his first voyage at sea with the schooner Catherine Ellen. Later he would become captain of a ship named Harvey. The Dungarvan fleet in those years was mainly engaged in transporting merchandise such as coal and agricultural products.

The internet does not state in which year David Foley married Mary, but if this happened when both were in their twenties, they would have been married for some thirty or forty years when in 1954 the couple started to decorate their house.

Mary Foley (screenprint 1966)

David Foley meanwhile was retired and the couple initially had the intention just to create a shrine in honor of Our Lady. But as so often happens in the field of art environments, once started they could not stop and so it became a project that kept them busy for many years to come.

David Foley has been active in decorating most exterior walls of the property with shell decorations until he died in 1962. After his death Mary Foley has continued the project in the following years. A film about the site made in 1966 by Ireland TV shows that in that year the project had reached its final size and mainly required maintenance.

Mary Foley died in July 1970.

Some features of Shell Cottage

The way in which the decorations of the Shell Cottage are processed has some specific characteristics.

the schooner Catherine Ellen
this picture and the next four are screen prints
from the video made in 2015 (see documentation)

So there are some distinctly realistic representations of ships that have played an important role in Foley's life, namely the schooner Catherine Ellen on which he started his career as a young man .....



...... and the ship named Harvey from which he was the captain.


Then this art environment has a large number of wall decorations that are encased in similar, almost square frames.

The shells may have been arranged into a figurative or realistic scene (such as a vase or a bird)  against a dark background as in the picture above.


But there are also many parts where the shells are arranged against a light background, brightened up with countless colorful small items, as in above picture.

The fact that the decorations are set in almost uniform frames is due to the method of preparation. The designs would be drawn on paper and then transferred to a standard sized cardboard that was used as a template for the decoration to be applied.

antique statuettes

Arrangements of antique statuettes are a final feature of this art environment.

These statuettes are particularly placed (and firmly anchored) on the low walls to the left and the right of the house that surrounds the yard.

Actual situation of this art environment

It is not known whether, after Mary Foley died, there were heirs and the property remained within the family. Anyway the videos from 2007 and 2015 show that the site has continued to exist in almost the same capacity as in the 1960s and 1970s.

picture (2019) courtesy of Tiramisu Bootfighter

There is also photo material on Facebook from August 2019 by Tiramisu Bootfighter (La Valise, Galerie Ambulante), that shows that the site was extant at the time this post was published,

Documentation
* Ireland TV in 1966 interviewed Mary Foley, but the video in B/W -on this website-  cannot be embedded here, which is a pity because it has shots of the decorations as in 1966, just as the website has a short description of the site
* Abbeyside Heritage Archive weblog, december 2011, has a short referral to David Foley
* The website Friends of Purton has the story of the ship Catherine Ellen and its crew, including David Foley (the Shell Cottage is also referred to)

Videos
* Video (March 2007) by papsey no 1 (You Tube, 5'03", relevant part starts at 2'40")


* Video (April 2015) by airborne 118 Behind Camera (You Tube, 10'20", relevant part starts at 2'02")\


David and Mary Foley 
Shell cottage
Sarsfield St, Abbeyside, Dungarvan, Co. Waterford, Ireland
can be seen from the street


August 21, 2019

Václav Tomášek, Kaplica Czaszek/Skull chapel


the interior of the chapel seen towards the altar
picture from Wikimedia Commons 

Among the various ossuaries that Europe knows, there are some with such an arrangement of skulls and bones that one can speak of an art environment. This weblog already has a post about the ossuary in Sedlec, Czech Republic, a site that could rank as the most decorative in its genre

The following post is dedicated to the ossuary in Czermna, which was originally on Czech territory, but -due to border corrections- is now in Poland.

exterior of the chapel
this picture (by Merlin) also from Wikimedia Commons

Eighteen years of creative labor by a priest and a grave digger

When in the mid 1770's Bohemian local parish priest Václav Tomášek (? - 1804) made a walk in the fields around Czermna on some spot he stumbled upon the bones of a buried person and he found out that this spot contained a mass grave. 

And this was not the only one in the area. Wars had raged there, such as the Thirty Years War (1618–1648) and three Silesian Wars (1740–1763). The fallen soldiers were buried collectively in mass graves, as well as victims of cholera epidemics and massive food shortages among the local population.

Priest Tomášek came up with the idea that the remains should be cleared and housed in an ossuary in a small chapel to be built between the existing St Bartholomew's village church and the tower standing apart from it.

With the financial support of the local benefactor Leopold von Leslie, the chapel could be built. In 1776 the building was ready and Tomášek, together with grave digger J. Langer. started the design of the ossuary. a project that would last until 1794.

this picture and the next one by the 
Polish department of foreign affairs

The decorative aspects of this ossuary are much less pronounced than those of the site in Sedlec, but it can be recognized that Tomášek has tried to make specific decorative arrangements when adding the around 3000 skulls to the ossuary.

As can be seen in the first picture of this post, the standing wall behind the altar is largely filled with skulls in a coherent uniform whole. This picture also shows that the top of the display of skeleton parts almost exclusively consists of an arrangement of crossing bones. The picture below shows the crossing bones in more detail.

A skull with two long bones crossed below it manifests a typical symbol of death (and can have a strong warning character, as in a pirate flag). Unlike the ossuary in Sedlec, the photos of the ossuary in Czaszek.hardly show this arrangement.

Along the walls the skulls predominantly have been placed in horizontal rows amidst larger rows consisting of smaller parts of the skeletons.

In all arrangements the repetitive aspect is clearly present, and for the rest the total presentation is mainly characterized by simplicity, which can also be an aversion to excess.


This simplicity also applies to the other elements in the interior. There is a simple altar, with some skulls on it, including that of Václav Tomášek. There are also two wooden sculptures of angels, one with the Latin inscription Arise from the dead, the other with the inscription Go to the judgment.

In addition to the 3000 skulls and associated bones that have been incorporated into the interior, a room beneath the chapel accommodates 21000 other remains.

Once a year, at midnight from 14 to 15 August, a mass is served in the chapel for those whose remains have found their last rest in this chapel.

Documentation
* A lot of websites approach the chapel from a touristic point of view and mostly repeat the same texts, so here are just some informative sources:
* Article on Wikipedia
* Article on the website Henryk Tramp
* Article on the website Agaunews
Videos\
* Video by geobeats (1'18", November 2013, You Tube)


* Video by Radio Wroclaw (4'28". June 2019, You Tube)


Václav Tomášek 
Chapel of Skulls 
Czermna, Kłodzko County, Lower Silesia, Poland
can be visited

August 16, 2019

Sean McKeown, Fairytale Houses Littleworld


 this picture and the next three courtesy of
La Valise, Galerie Ambulante

In the summer of 2019 when traveling through Northern Ireland with his galerie ambulante in the context of his project Grande Bretagne Insolite ¹, the Frenchman known as Tiramisu Bootfighter unexpectedly encountered an art environment in the capacity of an ensemble of life-size fairytale houses.

Life and works

This site, which taps into Ireland's heritage of myths and legends, was installed by Sean McKeown in the backyard of his house in the village of  Newtown-Crommelin, which is part of the Borough of Ballymena in County Antrim, Northern Ireland. 

McKeown was a bricklayer, who in 2015, at that time being unemployed, stumbled upon a large tree stump in his garden and felt inspired to pick up his tools to turn that stump into something magical and fairytale-like. 

He constructed a large scale fairytale house and liked doing this so much that he began a project that would keep him busy the following years and that resulted in the transformation of his backyard of about six and a half acres (some 20.000 m²) into an art environment with a series of wooden fairytale houses. 

He named his garden with fairytale houses Littleworld, opened it to the public, got publicity and soon the site became known as an attraction for school classes, families with children, tourists and other interested people.

McKeown in front of a full-sized fairytale house

The largest fairytale house, sometimes considered as the largest in the world, was made from a Red Sequoia tree. It has a little rounded door and small, quaint windows. Inside four adults can stay.

Using tree stumps from oak, beech or silver birch and unused remains of woodworking companies, up till now (2019) McKeown has constructed houses with a height of 9 to 15 feet (2,7 - 4,5 meters)

These fairytale houses are designed in such a way and provided with such small details that on the spot a fairytale-like atmosphere is evoked that appeals to the imagination, just as also often appears in the illustrations of fairytale books, for example as in the work of the english illustrator Arthur Rackham (1867-1939).

 



















The pictures left and right above and especially the details in the picture below give an an idea of McKeon's working method to express the specific fairytale atmosphere.

this picture and the next two from Facebook
click to enlarge

McKeown is full of ideas, like at the time this post was published  (summer 2019) he is working out a plan to add a tunnel that starts at the main fairytale house plus some three more, one for each season, an arrangement that would become kind of a Disney World underground.

His plans include that the underground complex also has a sensory tunnel for disabled children and all together the new complex of  fairytale tunnels should rank as the largest in the whole of Ireland.


McKeown also manufactures miniature fairytale houses that visitors to the site can purchase, an offer that some visitors enthusiastically use to come into possession of a handmade fairytale house to decorate their own house or garden.


Documentation
* Littleworld on Facebook
* Regional journal Irish News (October 2016) with an article and separate a series of pictures
Videos
* Video (October 2016) by Irish News on Instagram
* Video (2'54", July 2019) by Brilliant Trails (a Northern Irish company designing clue based walking trails) and BBC Northern Ireland
  


note
¹ reports of the trip are published on Facebook, while photos taken during the trip can be found on Instagram via #grandebretagneinsolite 

Sean McKeown 
Fairytale Houses Littleworld
25 Old Cushendun Road
Newton-Crommelin
Ballymena BT43 6RJ, Antrim County, Northern Ireland, UK
visitors welcome

August 11, 2019

Johannes Ivakko, Veistoksia Radiomäen puistossa/Sculptures at Radiomäki Park


unless otherwise indicated 
pictures are courtesy of Raija Kallioinen

In the field of art environments it is not uncommon that after the death of the creator of a site, the creations get lost due to neglect of the site or sale of the property that houses it.

But luckily there are  exceptions. Art environments can retain their appearance in various ways, sometimes in part, as is apparent from the way Johannes Ivakko’s sculptures have been saved.


Life and works

Born in 1914 in Salmi on the Lunkula Island in the area of the Gulf of Finland, Johannes Ivakko as a young man became a fisherman who lived in Lunkula, a small village located in the north of the Lunkula Island.

In the 1930s there was much disagreement between Finland and the USSR over the course of the border between the two countries and at the beginning of 1939 the situation was so tense that Finand started building defenses in the area of the Gulf and evacuated residents of some islands, also the one where Ivakko lived.

On November 30, 1939, the Soviet Union did invade Finland indeed. In the following Winter War the Finns offered much resistance. but in March 1940 they had to surrender. The island where Ivakko lived would eventually become part of the Soviet Union.

Johannes Ivakko belonged to the evacuees who established themselves in the Päijät-Häme region. He settled in Lahti, a city some 100 km north of Helsinki. Here he would live for the rest of his life, working in various jobs, such as carrying out work for New Valamo monastery, working as a repair/service man, taking care of the maintenance of forests, doing the management of a campsite, and then he was also active as a fishing man.

a miniature wooden ensemble (Instagram)

In Lahti he also became active as a self-taught artist. First of all, he focused on making miniature wooden sculptures depicting objects, personalities and activities that reminded him of the Lunkula Isle where he was born and raised, for example a scene of a family seated around a table or a series of boats, both small ones and large fishing boats.

A selection of these creations has been exposed in 2005 in the Kiasma museum in Helsinki at the exposition In another world, the first major exposition of outsider art in Finland. Recently (in 2018) these small sculptures could be seen during an exposition at the Kokkola outsider art museum.

In 2013 a book has been published about the miniature sculptures: Niilo Kuikka, Kui ennen elettih Salmis, Johannes Ivakon pienoisteistokset kertovat (The way people used to live in Salmi, Johannes Ivakko's mini-sculptures tell).

the cover of Kuikka's book (Värtsi website)

Lifesize sculptures from concrete

Later Ivakko also began making lifesize sculptures from concrete, mainly portraying animals and personalities.

He had a workplace near his house in Myllypohja, one of Lahti’s neighbourhoods. The sculptures, once finished, would be displayed in the yard of the house.

It also has been reported on the internet that some of Ivakko’s sculptures have been displayed on several locations in the public area, like spots on the roadside and in markets. And some sculptures have got a place in the courtyard of the New Valamo Monastery in Heinävesi.


But currently the most important location, where the majority of Ivakko’s legacy of sculptures has been displayed, is the Radiomäki Park in Lahti.

It is a green, partly wooded area in the city where a sports accommodation is located, but also buildings and installations that traditionally are related to Finnish radio and television, such as the radio and television museum and a yard with a hill where dishes for telecommunications are installed.

At the foot of that hill a variety of Ivakko’s concrete sculptures has been exposed, as the photos in this post show.





















One can see life- size sculptures of cows, horses, reindeer, elk, but also of smaller animals such as a dog, a fox or a cock.

There are also sculptures that depict personalities such as the farmer couple (close ups above) and a hunter confronting a bear and the farmers couple (pictures below).




When after Ivakko’s death it was not possible to preserve the arrangement of stone sculptures around Ivakko's house, the Lahti City Museum (which also has a lot of Ivakko’s mini-sculptures in their collection) took care of the concrete sculptures and found an excellent solution to expose them at the grounds of the Radiomäki Park, which can serve as an example for other communities in Europe.

Documentation
* Entry on Facebook (#visitlahti)
* Pictures on Instagram (#johannesivakko)
* Article (November 2017) in weblog Tellun Tuulet
* Article (March 2014) on website Värtsi by Jouko Varonen about the book by Niilo Kuikka

Johannes Ivakko
Sculptures at Radiomäki Park
Radiomäenkatu 43
15100 Lahti, Päijät-Häme region, Southern Finland, Finland
can be visited