Old Devils and Senile Gods'
Jukka Korkeila's exhibition held at the gallery from november 18 till december 23, 2005.
see more works of the exhibition: <   >

In 2006 Korkeila made simular wallpainting at Moderna Museet Stockholm, Sweden
View in Quick-time a scrolling 360 degrees Photo of the installation in Moderna Museet.

View of the Exhibition in the Gallery
    View of the Exhibition in the Gallery
View of the Exhibition in the Gallery
    View of the Exhibition in the Gallery

Arjan Reinders has written the following text on Jukka Korkeila in Kunstbeeld's november issue:

Jukka Korkeila

The contemporary Finnish art scene is not the most exciting in the world. As the most exotic of the Scandinavian countries, Finland does have modernistic roots or at least signs of a premodernistic history, as can be seen in the Gemeentemuseum of The Hague, where an exhibition on early twentieth century Finnish art testifies to this, in the light of Gallen-Kallela, Schjerfbeck, Halonen, Enckell, Järnefelt and Theslef. The majority of the artworks are focused on landscape painting. (See article in Kunstbeeld 10, 2005, pp. 40-43). But what about successful contemporary artists? There are not many people who can name you more than a handful.
One of the rare young Finnish artists enjoying a reputation in Finland as well as abroad is the painter Jukka Korkeila (1968). His work has not remained unnoticed partly due to it’s daring content, what also could be the reason for a lesser degree of success in some parts of Europe. Korkeila is selling very well in his own country, as well as in Sweden and Italy, but the Dutch market is still hesitating. “Too pregnant” says his gallerist in Amsterdam, Ferdinand van Dieten. But here, we are used to such things (you would only have to think of Ronald Ophuis’ explicit concentration camp works). Thus, I don’t think, the ‘pregnancy’ is the cause – on the contrary the Dutch art-scene is used to and even finds appreciation for confronting imagery – more likely, this can be blamed to Dutch conservatism when it comes to the ‘unknown’. Because, again, it can’t be blamed to the work itself. His works can only be described as original and well-executed. The work shows that Korkeila finds his inspiration in German Neo-expressionism and today’s stressed-out image-culture, but the most pronounced influence is found in the gay-subculture. Central figure in his artistic imagery is ‘the fat man’, which the artist describes as “the Last Nigger in the western world”. This ‘Fat Man’, usually depicted with a stiff dick penetrating whatever is available, an ear, a teddy bear. They are used as symbols for the dark forces in today’s society, as his work is not free of anti-capitalistic tendencies. Korkeila’s aquarelles, oil paintings and for some time now his murals show an enormous variation in content as well as in style, which could be termed ‘expressive baroque’. The combination of his realistic and detailed civilised style with his raw and wild abstractness causes a strong visual spectacle.

Original text by Arjan Reinders published in Kunstbeeld, nr 29, # 11.2005, p. 69.