Kevin Bellò: Reflections during the Helsinki International Curatorial Programme

I recently had the transformative experience of participating in the Helsinki International Curatorial Programme (HICP), a residency hosted by Frame Contemporary Art Finland in collaboration with HIAP (Helsinki International Artist Programme). The residency took place on the complex of islands of Suomenlinna, a UNESCO World Heritage site surrounded by the Baltic Sea, and it allowed me to spend a month in direct contact with Helsinki’s art scene, as well as Finnish socio-environmental debate. This opportunity was both professionally rewarding and personally enriching, allowing me to research topics close to my heart, such as food culture, environmentalism, and contemporary food art.

In addition to my time on Suomenlinna and Helsinki, I explored other parts of Finland, including the small eastern town of Loviisa (also home of an impressive sea fortress) and Sideby on the western coast. Such expeditions, always guided by newly met artists, allowed me to delve deeply into foraging practices, visit art institutions, exchange culinary experiments and further develop my art practice.

The residency on Suomenlinna provided a unique backdrop for my research. This archipelago, famous for its historical fortress, is among the most visited tourist areas in the country, and some even suggest the existence of a man-made erosion process given by the continuous flow of pedestrians. In August, the island was covered with yarrow flowers – an otherwise generally edible plant that, in this case, contained toxic heavy metals because of Suomenlinna’s military history. This place became, for me, an extremely interesting topos to inhabit, where the layering of past governmental decisions and geopolitical controversies still reflect the current political and environmental context with poignancy. Such reflections prove particularly relevant in a time in which dangerous nationalistic discourse grows globally, including in Finland and my country of origin, Italy.

Broadly speaking, my research focussed on three subjects: beginning to understand local food culture and how that is explored in contemporary art; constructing a network of ecologically aware institutions and cultural practitioners around Helsinki to build from my upcoming presence in Saari Residence; and research practices of site-specific storytelling.

Finnish food culture is rich in exciting stories, from the forced introduction of potatoes into the diet (which have now become a staple in Finnish cooking) to the fact that Finland is the last Nordic Country to use bark bread during periods of famine. Also, locally caught fish and wild game hold relevance in local diets, while globalisation has introduced food traditions from all corners of the globe given Finland’s financial possibilities. Additionally, Helsinki-based companies like Solar Foods (dedicated to making protein-rich food out of thin air) are at the forefront of food innovation. Another important aspect of the Finnish foodscape is the widely common practice of foraging, both for plants and for mushrooms, which grew in large quantities during the time of the residency. I joined Mexican artist and experimental cook Alejandra Alarcón in a foraging session around Mustikkamaa island to discuss generational understandings, cultural specificities and environmental meaning of such practice. Looking into food-art practices, I have encountered IHME director Paula Toppila, who was in the process of commissioning the internationally acclaimed art duo Cooking Sections a food-related research project dealing with food and environmentalism. Under the artists’ long-term project Climovore, this commission takes the name of Maaleipä Challenge and it invites artists, bakers, researchers and amateurs to propose bread recipes which can reflect on the importance of soil, sea, people and climate. I have also met artist and Ferment Radio host Aga Pokrywka, with which I discussed the importance of alternative and interdisciplinary modes of education to acquire more nuanced (and at the same time holistic) understandings of the crosway between food, art and politics. Meanwhile, rich dialogues about power, decolonisation and founding structures connected to hosting and cooking for others were at the core of my dialogues with artist and curator Farbod Fakharzadeh. My stay also gave me time to study, discuss, and acquire references for the development of new and exciting courses for my food art research organisation, The Gramounce.

My collective Sympoietic Society and I have been invited to take part in Saari Residence in the Summer of 2025. Such residency offers us the opportunity to exchange and test our practice in the wonderful foresty landscape of southern Finland. Since our ecological transport is already included in the budget for such a project, I am coordinating and planning the development of an exhibition following the residency. ‘Troubled Waters: An ever-expanding archive of stories grieving the land’ will be an exhibition and public programme by the pan-European collective Sympoietic Society. Our collective focuses on the intersections of shifting icescapes, storytelling within fragile ecosystems, and mourning practices in response to ecological grief. The exhibition will expand on two multidisciplinary research projects: ICE * In Case of Emergency, addressing the melting of glaciers and the loss of related folklore in Sideby (FI), Val Camonica (IT), and UNESCO Biosphere Großes Walsertal (AT), and Water Tales, our upcoming group residency at Saari (FI) that will explore communal practices of ecological reverence. As we expand our interdisciplinary network of communities and stories, Troubled Waters will mark the first exhibition of our collective work. The show will present a diverse archive of materials, ranging from objects and tools to documentation of our explorations in ecological co-creation. Accompanied by a participatory public program, the exhibition will reflect on the artistic methodologies and public interventions we have developed since our inception—such as workshops, performances, hikes, symposia, micropublications, and communal meals. My stay in Suomenlinna as part of HICP helped me to write down a plan, engage with local actors and begin to construct a network of collaborations for such a project. At the current stage, we have confirmation from the director of HIAP, Emma Beverley, that we’ll be able to exhibit our work in Galleria Augusta. We are also in conversation with the several organisations and practitioners regarding the development of a public programme, round tables, events and walks.

As mentioned above, I have also looked into storytelling practices. In Finland, storytelling is deeply woven into the cultural fabric, with myth and legend offering a powerful lens through which to understand the local worldview. My research on this subject delved into how Finnish mythology, shaped by the country’s dramatic landscapes and seasonal extremes, reflects a reverence for nature and a deep connection to the land. Central to Finnish myth is the Kalevala, a 19th-century epic poem compiled from ancient oral folklore. This collection of stories speaks to the local communities in different ways, chronicling the adventures of heroes, gods, and magical creatures across forested landscapes, icy waters, and otherworldly realms. In the Kalevala and other folk tales, one senses the awe Finns hold for the natural world and the elements that govern it, from rivers and forests to the endless winter night. These stories carry wisdom about resilience, humility, and respect for nature, values that still resonate with Finnish society today. While researching this theme, I found that contemporary Finnish artists and storytellers often draw upon these ancient myths, using them to engage with modern environmental concerns and social issues. This cultural continuity reveals how myths are not simply remnants of the past but evolving narratives that provide a framework for contemporary expression and reflection. For instance, artists today may reference the mythic väki, or spirit force believed to inhabit everything in nature, to discuss concepts of ecological balance and respect for biodiversity. Finland’s storytelling tradition serves as a conduit between generations, reinforcing shared values and offering fresh perspectives on environmentalism and identity. Through myth and storytelling, Finnish culture fosters a unique approach to understanding the self and the world, balancing age-old wisdom with modern creativity and insight. Such research is not only of personal interest but could prove crucial in both the activities I am designing for Saari Residence (including bedtime stories and poems) and the curatorial approach I am taking in imagining the exhibition ‘Troubled Waters’.

Reflecting on my time with the Helsinki International Curatorial Programme, I realise how profoundly this residency has enriched my perspective and supported my practice. Immersing myself in the cultural, ecological, and artistic layers of Finland—from Suomenlinna’s military past to Helsinki’s art scene, to the forests of Loviisa and coastal heritage of Sideby—has allowed me to weave together research in food culture, foraging, and myth with the critical environmental narratives that shape Finland today. These experiences were invaluable not only for my ongoing work with The Gramounce and the courses I’m developing but also for the Sympoietic Society’s upcoming projects at Saari Residence and with the exhibition ‘Troubled Waters.’ Ultimately, the residency has strengthened my commitment to fostering communal dialogues around ecologies and foodscape and a profoundly site-sensitive approach to curating.