Dalsbruk Center Map

1: Bio Pony movie theater
2: The garden of the book shop Kojan
3: Park next to the Dals Inn
4: The Fountain in the park
5: Glashytta museum building
6: The parking lot
7: One of the old kilns
8: Factory area / D-Marin

A Sea Views Google Map is also available.

Anna Fríða Jónsdóttir

Blue of the Distance

Posters, 50x70cm, a set of 5


Blue is the light that got lost. A light that scatters and can never fully be obtained. The blue of the distance. The purer the water, the deeper the blue. Our quest for the deepest purest blue is a futile one but yet we never seem to stop seeking. Like reaching into the depths of our soul only to find it is infinite, like blue scattered atoms of light. Our desires lead the way, empowering us to live fully but at the same time they constantly get manipulated by the dichotomy of need versus want. Our waters are tainted by our confused quest. Virtue is the only deepest purest blue, keeping the water pure.




海報, 50x70cm, 一組五件




Chih-Chung Chang

Fabricating Mandarin Duck

Video installation

This artwork interweaves 2 narratives of both the military history of an isolated island Wangan in Taiwan, as a Japanese naval base during the World War II, and a ridiculous misuse of a famous waterfowl name “mandarin duck” which led to a totally false official history in Chinese literature. While the naval base was named after “Mandarin Duck”, it seems to also go through the same fate nowadays.


Digital printing on printer paper, 456x456cm & 334x264cm

By collecting a great number of rubbings from the natural and artificial landscapes and objects which reflect the eventful and complex historical background of Örö. Those rubbings are turned into patterns and constituted to create 2 images of butterfly and weapon known as features of this island, in a similar form of Rorschach inkdot test. The symbolic form not only represents the perfect symmetry out of both nature and artificial engineering, but also indicates the ambiguous, multifaceted facts of this former fortress island where nature and civilization keep on invading each other for centuries.







數位列印於列印紙,456x456cm, 334x264cm


Jen-Pei Cheng

One____story on the table

Inkjet print on synthetic poster paper, 65x95cm each


A___story on the table is an art project initiated when Cheng Jen-Pei was invited to host a participatory workshop by Hong-gah Museum in Taiwan in February 2019. During the workshop, the local participants created personal food sculptures by assembling the memories of the meal and dishes on the table. The artist then photographed of the food sculpture. In August, Cheng continued this workshop in Dalsbruk (Taalintehdas), Finland. She invited three local Finnish people from community to be part of the creative process. They talked about the meals in their daily life and the artist created three different food sculptures based on their memory of the dishes they made, life experience and connection to Dalsbruk.

After carefully assembling the precious personal collection of food and objects from daily life the artist took a photographic portrait of each creation. Each food portrait is closely connected with a personal life story. The participant’s food-staging and imaginative choices illustrate a straight forward perspective and highlights the social importance of communal eating. Through the semiotics of food and seductive colour choices, the artist offers a visual feast that has been meticulously prepared to remind the viewer of the taste and aroma of food and to recreate the memories of the dining table.

Project participants:
Taiwan: CHEN DAI Yu-Feng, HUANG ZHANG You-Mei, YE A-Xue
Finland: Kristina Hakola-Wass, Jarl Hohenthal, Holmbergs Fisk & Café Four C







台灣:CHEN DAI Yu-Feng, HUANG ZHANG You-Mei, YE A-Xue
芬蘭:Kristina Hakola-Wass, Jarl Hohenthal, Holmbergs Fisk & Café Four C

Jo Kjaergaard &
Leydi Giney Uyaban

La Casa de Carbon, Amazonia, en llamas
(The house of the rising sun)

Six channel sound installation


The work is a comment to the current forest fires in the Amazon, incended for expanding mining and agricultural interests. The world and it’s ecosystems are all connected, from Amazonas to Örö, suffering from the pressure of consumerism and neoliberal mode of production. The unique houses in Dalsbruk represent pre-industrial coal production, and this dark room with it’s strong scent of tar, sharpens the senses for the sounds of field recordings from Örö mixed with the sounds of fire, peoples and species. The call from nature, for urgent reconsideration of our lifestyle and connection to nature, as our house the lungs of the planet are burning.

Technique & materials:
The work is a Site specific Sound installation with 6 speakers, 5.1 ambisonics. The sound montage is composed with field recordings from Örö, Taalintehdas, Helsinki and Bogota. The sound montage will be spatialized using multichannel ambisonics and Impulse response from Örös bunkers.



<芬蘭·煤炭·窯 亞馬遜·燃燒>





Kuen-Lin Tsai

Keelung Harbour Stage

Video, 4’45”


Stage is a series of video work and aims to focus on the frame, also “frame” as regulation and ethics in the human society. People normally observe and understand the sourrounding through eyes and the interactions between their own memories and experiences. But memories always create a picture of the world prior the world which we experience at present. In the comparison, the environment at present seems past. Therefore, Kuen-Lin Tsai intens to present a new viewing frame through the work in order to break the stereotype of ways of viewing and how people conceive about the environment. Through the work, people experice new method of viewing and may proactively change the environment and themselves.




Full HD 彩色有聲錄像,4分45秒


Lesley-Anne Cao

Golds (Arrangement)



By the time Spanish colonizers arrived in 1521 in the archipelago they would name the Philippines, my ancestors had already been wearing and trading gold for more than 500 years. “Oro” means “gold” in Spanish; unfamiliar with its Swedish meaning, “Örö” reminded me of the element when I first read its name.

I learned there is gold in the ocean, suspended, diluted in seawater, 13 billionths of a gram per liter, only a grain per hundred million metric tons, but it is there, an estimated 20 million pounds in total, and so many have tried to mine it since the 1872 discovery, but we can’t, it’s still far beyond our capabilities, like an absurd joke, except it’s really just nature indifferent, and beautiful, beautiful. There and nowhere.

Found frames, tarpaulin, eyelets, framed poster borrowed from the Dalsbruks bibliotek /Taalintehtaan kirjasto, work glove, round bells, dragon egg by Lisa Roberts, book (“Gold” by Susan La Niece, The British Museum Press, 2009), video (“Golds”, 11 minutes 44 seconds, no audio)

Special Thanks to Eija Sjöblom, Paula Puikko-Laakso and Susanna Aarva






我得知在海洋中蘊涵著黃金,懸浮、稀釋在海水之中,每公升130億分之一克,每億噸僅有一粒穀物般大小,但它就在那裡。以地球海水的總量估算共有2000萬磅,而且自從1872年被發現之後有無數的人試圖想要出海水裡的金子,但是我們不能,它仍舊在人類能力所及之外,就像一個荒誕的笑話,除了它實際上只是大自然的漠然,和美麗,美麗。 那裡和沒有任何一處。

媒材:二手相框、防水布、銅釦、裝裱海報(Dalsbruks bibliotek圖書館借出)、工作手套、圓形鈴鐺、龍蛋(Lisa Roberts作品)、書(黃金,Susan La Niece,大英博物館出版,2009)、錄像(黃金,11分44秒,無聲)

特別感謝: Eija Sjöblom,Paula Puikko-Laakso以及Susanna Aarva

Mauritz Tistelö

I can see the sea from here

poetry, sculpture, text, installation

Two pair of boots on two different roofs in Dalsbruk meet two stories – one from Keelung in Taiwan and the other from Umeå in Sweden. Mauritz Tistelö in a collaboration with the glass artist Jarl Hohenthal from Dalsbruk.

With a fantasy wheel between the parking area and the sea

Poetry performance

We meet two different spaces through a wheel of fantasy. The story meet the action meet the sea.

The military, the butterflies and the sea

Video, 12’00”

How do our bodies become soldiers, butterflies, sea creatures? Performance actions on Örö are mixed with poems that are based on my next book “Fejk poesi” and “Peace on earth” with John Coltrane .

“Peace is a constant struggle to find the conditions where the uniforms fade down so that liberation, chaos, and freedom becomes possible.”





兩雙雨靴在在兩個不同的屋頂在Dalsbruk遇見兩個故事:一個在台灣的基隆,另一個在瑞典的Umeå。此作品由莫里茨.提斯特樂爾和Dalsbruk的玻璃藝術家Jarl Hohenthal合作。







在Örö島上的表演動作與詩作混合在一起,這些詩作是根據我的下一本書《 偽詩》和約翰科川的《地球上的和平》。和平是一個持續不斷的奮鬥,尋找使得制服褪色的條件,以使解放、混亂和自由皆成為可能。

Nayab Ikram

Whoa Whoa The Waves Said

Sound Installation
2019, ongoing

Listen to the sound of the waves from Örö Island and their hidden messages that has been translated into English in the sound installation ‘Whoa whoa The Waves Said’. The sound installation is an ongoing project created by Nayab Ikram in collaboration with developer Benji.



<Whoa Whoa The Waves Said>

2019 – 進行中

聆聽來自Örö島的海潮之聲以及在底下所蘊含的訊息,這些海潮之聲被轉譯成英語在聲音裝置<Whoa Whoa The Waves Said>之中。此一聲音裝置是一個正在進行中的計畫,由娜亞博.伊克朗姆和工程師班傑共同合作。

Nuutti Koskinen


Video, 12’30”

Granular is a fictional video work, a reconstructed travel documentary. Footage and local stories from the archipelagos in Finland and Taiwan are intertwined with other semantic granules of the contemporary world. In the work a visit into a post-human island world is haunted by broken memories of the past. Beyond the fragmented stories, many of which seem to be universal, the work deals with the onthology of language, memories and consciousness.






Rain Wu

The Sea Rises and Totally Still

Fabric, boiled seawater, salt, chalk, 79x700cm


Maps, as cultural artefacts, consist of ever-shifting sediments deposited by human desire, imagination and expectation. Their deceptive air of stability rests, for the most part, on the specific language of map making.

Positioning itself on the expanse of Finnish archipelagos, The Sea Rises and Totally Still reflects on the idea that when the world is ‘fully codified and collated… a sense of loss arises.’ (Alistair Bonnett) and allows the precise representation- a trick of the trade- to dissolve and to reconcile with its surroundings.






置身於遼闊的芬蘭群島之間,作品<海升之地.海止之處>反映了一個概念,當世界「完整地被編纂和校對…隨之而起的是失落感」 (阿拉史泰爾.邦尼特,2014)並且允許精確的標示法–一種職業技巧–­­­­去溶解並與它所身處的環境調和。