A Dream in Four Colours, Kiasma

A Dream in Four Colors is Kiasma’s new collection exhibition, which will be on display until January 2027. The world of dreams and the subconscious feels like a very timely theme. Sinebrychoff, which belongs to the same Finnish National Gallery museum family as Kiasma, already opened its excellent Night exhibition in February

At Sinebrychoff, the exhibition spans only a few rooms and the approach is more narrative. There, the poet Henriikka Tavi also plays a significant role. Both exhibitions are perhaps united by a stronger sense of curation than many previously seen shows. The exhibition architecture—the presentation with its colors and material choices—rises alongside the art to shape the visitor’s experience.

You can read more on Sinebrychoff exhibition from here

The intro to the Four-Color Dream exhibition states that visitors are encouraged to explore the works without striving to explain them. According to the museum, an encounter with contemporary art can be meaningful even when the experience cannot be put into words. However, the wall texts still provide quite a lot of information about the artists and the works. Of course, one is not forced to read the labels, but personally, I am interested in seeing how they open up the artist and the choice of the work.

At Kiasma, the title is taken from Olli Lyytikäinen. The name of the exhibition is a reference to Lyytikäinen’s painting, a self-portrait. The exhibition text explains the choice by noting that Lyytikäinen’s self-portraits are a kind of fantasy or vision, but at the same time, they deal with artistic identity. In the drawings and paintings, dream images and the waking state overlap.

The title could just as well have been picked from the works of Elina Merenmies. One of them, Snake Full of Sighs (2023–2024), was chosen for the exhibition banner, and Merenmies’ art opens the exhibition with excellent impact. 

Merenmies, Elina. A Snake Full of Sighs (2023–2024), tempera and oil on canvas. Finnish National Gallery Collection, Kiasma | Acquisition 2025

The exhibition text notes that the recurring snake in the artist's production is a symbol of a new beginning. In the artist's own words, a painting is a miracle that reveals things that cannot be planned or explained in words. Cindy Sherman’s work from the Fairy Tales series in the same hall is also powerful.

Sherman, Cindy. Untitled #147 from the series Fairy Tales (1985), chromogenic print. Finnish National Gallery Collection, Kiasma | Acquisition 1994

The exhibition has invested more than usual in exhibition architecture. The result is not quite as polished and sculptural as Kiasma’s museum architecture itself. Curtains are used extensively. I suspect they will evoke opinions both for and against. In any case, it is an interesting experiment, and the curtains soften the museum’s hard architecture in their own way. Hanging curtains is never very pleasant work, but in Kiasma’s varied exhibition spaces, the task must have been particularly challenging. Hopefully, the (presumably fire-rated) curtains will find further use later.

The exhibition is a collection exhibition. The displayed compilation from the Finnish National Gallery’s collection of over 40,000 objects shows that the museum's collection work has been successful.

The exhibition is extensive, but alongside the opening hall, I would highlight two exceptionally successful high points. The first choice is the gallery space opening toward the Mannerheim equestrian statue. Its theme is Stone and Time.

Valtonen, Osmo. Circulograph (1983), wooden box, sand, metallic drawing instrument. Finnish National Gallery Collection, Ateneum | Acquisition 1983

The sculptures are united by stone as a material. Riikka Anttonen’s sculpture, resembling a medallion or a cabinet, opens toward the window. In the work of Osmo Valtonen, a pioneer of kinetic art in Finland, the focus of the Sand Tracer is movement—a repeating mark in the sand. Also on display is a sculpture by Henry Moore made of travertine: a suggestive human figure in a semi-reclining position.

Anttonen, Riikka. My Little Locker (2023), marble, bolts, wood. Finnish National Gallery Collection, Kiasma | Acquisition 2024 / Moore, Henry. Reclining Figure: Bunched (1961–1969), travertine. Finnish National Gallery Collection, Kiasma, The Kouri Collection | Acquisition 1998

During Kiasma’s construction phase, there was debate about the suitability of Aimo Tukiainen’s statue (unveiled in 1960) in the immediate vicinity of Kiasma—or Kiasma’s suitability near it. Fortunately, the work remained in place, as the view toward Mannerheim has been utilized so many times in the museum's exhibitions.

This is the case now as well. The works open toward the window. Marshal Mannerheim (b. June 4, 1867) himself brings a perspective of time to the view. The pedestal under the horse, made of solid Balmoral Red granite (formed in the soil about 1570 million years ago), seems to relate to the theme, and perhaps the bronze horse's hoof also traces kinetic movement in the air, much like the artwork in the exhibition room. Granite—this time Kalanti granite from Uusikaupunki—is also found in the Parliament House visible in the distance.

Then to the third floor. There, I lost my focus a bit amidst the flood of images, especially regarding the presentation of video art classics, which are meritorious in their own right.

However, the large-scale neo-expressionist paintings by Leena Luostarinen (1949–2013) and Marika Mäkelä wake the visitor up. The strong female artists of 1980s painting shine in the fine exhibition space, and the display also highlights the friendship between the artists.

Mäkelä, Marika. Leena's Head (1988), oil and leaf gold on canvas. Finnish National Gallery Collection, Kiasma

Luostarinen, Leena Cave and Waterfall (1988), oil on canvas. Finnish National Gallery Collection, Kiasma | Acquisition 1988

Overall, the exhibition is a very extensive and high-quality cross-section of the Finnish National Gallery’s collections. Although one can certainly ponder the scope of the theme and the thematic relevance of the work choices, as is usual with collection exhibitions, the end result is recommended and well worth experiencing.

Lyytikäinen, Olli. 4-Colored Dream (1978), watercolour on paper. Finnish National Gallery Collection, Ateneum | Acquisition 2020

The exhibition is curated by Satu Oksanen with Saara Hacklin and Saara Karhunen from Kiasma.

Photos from the exhibition taken by the author on Thu, Mar 5, 2026 

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