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ÁÁVU — Joy, Ecstasy, and a Shared Sky ÁÁVU, in Inari Sámi, translates as joy and ecstasy. From the very beginning, the work invited the audience to step into that state, not only as spectators, but as participants. Upon arrival, everyone was encouraged to dress themselves with golden scarves, worn freely and without instruction. A small gesture, but one that immediately softened the atmosphere. Smiles appeared. The audience became visible to one another. After an initial introduction, the journey began. The audience moved through the Siida Museum landscape alongside the performers, sometimes together, sometimes along slightly different paths, gradually making their way toward the snow theatre. There, the snow screen, normally used as a projection surface, was temporarily veiled with a golden fabric. ÁÁVU claimed the space in its own way. Working with a snow screen demands exceptional planning. The material itself is fragile and alive, responding constantly to temperature and humidity. Suspending the golden fabric required careful design and precise execution, ensuring that it never touched the snow surface beneath it. The solution had to be light, accurate, and respectful of the space. Inside the snow theatre, the audience sat on reindeer skins. The performance unfolded both on the designated stage area and among the audience itself, dissolving the usual boundaries between performer and viewer. In the final moments, the audience was gently encouraged to dance, not as an instruction, but as an invitation into a shared state of joy and collective ecstasy. As the performers guided the audience through the landscape, they carried Astera Hyperion LED tubes. I controlled the lights remotely via smartphone, shaping the movement of light across distance and darkness. Nearby, in a laavu, a fire burned steadily. A small group of spectators gathered there, warmed by the flames, drinking blackcurrant juice and listening to an intimate, almost secret concert within the larger experience. The final scenes took place in the Skábmagovat Film Festival snow theatre, a place where films are traditionally projected directly onto a screen made of snow. Under the open sky, ÁÁVU became part of a long tradition of Arctic storytelling, while also bending it into something distinctly its own. Lapin Kansa wrote in their review: “In the end, at least one thing united the audience for certain: their position beneath the same celestial canopy. Jukka Huitila’s lighting design was excellent throughout, but the magical, even astonishingly rust-colored, wildly dancing northern lights stole the show. The staggering timing of the exuberant auroras, appearing right at the premiere, makes one believe that Ahola’s directing connections reach all the way into other spheres.” Anu Jormalainen Perhaps that was the most beautiful reminder of all: that no matter how carefully light is designed, sometimes the nature itself insists on joining the performance. ÁÁVU continues its journey next in Kirkenes, as part of the Barents Spectacle Festival, on February 20–21, 2026.  Sami Saikkonen: Scene for a man and a woman - the third encounter
Sami Saikkonen and Minna Tervamäki danced Saikkonen’s piece Kohtaus miehelle ja naiselle (Encounter for a Man and a Woman) in Houston over 20 years ago. The work, combining dialogue and movement, dealt with two young adults falling in love and the early stage of their relationship. Young faces, dreams, beliefs, hopes, assumptions. Now both dancers have retired from the National Ballet, rebuilt their identities, and faced death: Saikkonen in a plane crash and Tervamäki in a tsunami. Encounter for a Man and a Woman – The Third Encounter draws on the life experiences of Saikkonen and Tervamäki, while simultaneously reflecting on the original 1997 piece. How do you tell the story of two people in their fifties, when it is still unfinished? The work explores the complexity of reunion, memories, and the passage of time. It is a story tinged with nostalgia and introspection about the chance meeting of two people in their fifties, who once shared a significant connection. Concept and choreography: Sami Saikkonen | Dance: Sami Saikkonen, Minna Tervamäki | Composer: Ofelia Adrastea | Light Design: Jukka Huitila | Production: JoJo – Oulu Dance Centre | Duration: 1h 20 min (includes intermission) Performances: Valvesali, Oulu Wed 26.11., Premiere | Thu 27.11., Audience Discussion | Fri 28.11. | Sat 29.11. all at 19 | Sun 30.11. at 15 KokoTheatre, Helsinki 3.12. | 5.12. | 10.12. | 12.12. | 13.12. at 19  Huipulla Hehkuu! (At the Summit, It Glows!) – concert series brings high-quality musical art to Levi Summit’s panoramic space as multidisciplinary concert experiences. During the concerts, guests can enjoy restaurant services, which will also be part of future events. For the first time, Silence will present its activities in Levi by organizing the first At the Summit, It Glows!concert series event at Levi Summit on October 10, 2025.
PROGRAM: JEAN SIBELIUS: The Crane Scene (Music from the play Death) JEAN SIBELIUS: Romance, Op. 24 No. 2 ANDREA TARRODI: Tarot Garden PYOTR TCHAIKOVSKY: Serenade ORCHESTRA Lapland Chamber Orchestra MOVEMENT Karita Tikka LIGHT Jukka Huitila Tickets Artwork: Reidar Särestöniemi, Ruskan rippeet (Remnants of Autumn Colors), 1960s, oil and tempera. Collection of the Särestöniemi Museum. Photo: Katri Alatalo / Särestöniemi Museum. How do you define a step? Is it by its length, its spatial breadth? Or is it by time, the time a step takes? How do you define the direction of the step? Is it by the relationship between space and the one who moves? Or can a step be directed in thought towards an as yet undefined final destination? If the will is the starting point, what is the direction? Do I take the steps I really want to take, or does my route turn out to be completely different from the one I first imagined? Who influences my route, the speed at which I walk? Am I going faster or slower than I think? Am I walking at a different pace to my body or my mind? Where would I go if I were true to my intuition? When I see others walking, I hear music. It is a sharp and clear rhythm. But when I look closely, the deafening steps are uncertain, the rhythm unsteady and the directions unknown. (Carl Knif 2025) WORKING GROUP AND MORE LOCATION: Almi Hall, Finnish National Opera and Ballet TICKETS PHOTO: Cata Portin  The Silence Festival´s 15th time in the village of Kaukonen, Lapland 5th to 8th June, 2025. The Silence Festival brings some of the most internationally intriguing performances and artists to Lapland. The festival provides a platform for unexpected encounters—between people, the nature of Lapland, and different forms of art. At the heart of the Silence Festival are new Finnish contemporary circus and sound art, along with the beautiful village scenery of Kaukonen, with its cottages and village roads. The unique atmosphere of the event is created by the one-of-a-kind performances and, above all, the people who gather in the village of Kaukonen. All photos Cristoffer Collina Concerto for Clarinet, Lights, and Circus Artist The composer Sebastian Hill has been commissioned to create the multidisciplinary work Cupido in celebration of the 100th anniversary of artist Reidar Särestöniemi's birth on May 14, 2025. Inspired by Särestöniemi’s life and art, the piece has been developed as a collaborative project between the arts organisation Hiljaisuus and the Lapland Chamber Orchestra. The premiere will take place at the Korundi House of Culture in Rovaniemi on May 15, 2025, as part of the Chamber Symphony Concert V – Reidar Särestöniemi 100 Years! This collaboration has been supported by the New Classics Fund and is part of the official program for the Reidar Särestöniemi centenary celebrations. COMPOSER SEBASTIAN HILLI ORCHESTRA LAPLAND CHAMBER ORCHESTRA CONDUCTOR JOHN STORGÅRDS CLARINET LAURI SALLINEN MOVEMENT KARITA TIKKA LIGHT JUKKA HUITILA All photos Tuoman Tenkanen / @tuupics  Spring is bringing with it a number of exciting premieres, and I’ve had the pleasure of contributing as a designer light artist to several upcoming performances. Here are the highlights where light and movement meet in meaningful ways.
¡Lorca! – Compañía Kaari & Roni Martin Tanssin talo, Helsinki April 25–26, 2025 Kaari and Roni Martin company’s latest production, ¡Lorca!, draws inspiration from the life and poetry of Federico García Lorca. The work blends flamenco dance, live music, and visual elements into a raw and captivating experience. As the lighting designer, it is a privilege to explore Lorca’s symbolism and create a world of light that both plays and tears. Flamenco converse through light—projects like this challenge and inspire the intuition of visual storytelling. More about the performance → Chamber Symphony Concert V: Reidar Särestöniemi 100 Years Korundi House of Culture, Rovaniemi May 15–16, 2025 This concert by the Lapland Chamber Orchestra celebrates the 100th anniversary of painter Reidar Särestöniemi. Here, music meets the visual arts in a shared space of resonance. Light plays a special role in shaping the layers of atmosphere. Särestöniemi’s vivid and expressive visual language served as inspiration for the lighting design, which aims to echo the mysticism of northern light and the rhythm of Reidar’s brushstrokes. More about the concert → Silence Festival 2025 Kaukonen, Kittilä June 5–8, 2025 Early summer brings us back to the village of Kaukonen. The Silence Festival is a space where sound, space, and time are allowed to breathe. Once again, I’ll be taking part with light-based installations and scenographic concepts. The festival allows for an intimate and experimental approach—light is not so much about revealing, but inviting new ways of seeing. Festival website → These spring and summer premieres open up new perspectives on the dialogue between light and performing arts. You’re warmly welcome to experience them! The magic of silence, the midnight sun, and the unique power of art – last summer’s Silence Festival once again delivered unforgettable experiences in the heart of Kaukonen Village. Now, we can relive these moments through a brand-new after movie that beautifully captures the essence of the summer and offers a glimpse into what’s to come. The aftermovie is more than just a memory – it’s a promise of what’s ahead! Through the video, you can revisit the festival’s intimate atmosphere, enchanting performances, and the sense of community that emerges when people gather to celebrate art and nature. Looking Ahead to Next Year, the Silence Festival will return during its traditional time, the second week of June, 5–8 June 2025. Once again, a diverse program will combine performing arts, music, and local cultural heritage in a truly unique way. The excitement is building, as the first program announcements will be released as early as next week! Stay tuned and follow festival's channels so you won’t miss the first taste of summer 2025.
This neon light artwork now graces the museum’s entrance, creating a strong visual experience even before stepping into the gallery. Inspired by northern waterfalls, Kurkkio symbolizes a sense of constant flow, change, and movement, bridging nature with art.
The name, Kurkkio, comes from a local term meaning "waterfall." This reference is woven into the piece's form and structure. Rather than just representing a falling stream, Kurkkio plays with our perception, creating an illusion of movement within its static form. Curved and zigzag patterns suggest flowing water, and as our eyes meet contrasting colors and repeated patterns, the piece evokes a sense of perpetual motion. The piece invites you to pause and reflect on how often we interpret our world through movement and change, even when things are not as they seem. This effect relies on our brain's tendency to "complete" what we see – it responds to the repetitive shapes and vivid neon hues by constructing an impression of flowing continuity. In this way, Kurkkio reveals how our brains shape dynamic interpretations, even from still imagery. Kurkkio is a call to slow down, to observe, and to immerse yourself in the art of perception. It merges the wild beauty of the North with the timelessness of light and color, creating a unique experience for all who encounter it. I invite you to take a moment, let your eyes wander across its surface, and allow your own interpretations to unfold. From LED to Neon: The Dialogue of Light and Space Light has an exceptional ability to transform space and atmosphere, and I’ve aimed to bring this experience to both my art projects and performing arts productions. The use of neon and LED technology has opened up new possibilities for expression in my work, but the differences between these two light sources also matter. The sharp, directional light of LEDs and the soft, diffused glow of neon not only change the quality of light but also how viewers perceive my works. The dialogue between these lighting technologies has become a key part of my creative process, and with each project, I strive to explore what light can express and how it can alter space. Over time, neon has become increasingly important to me. It’s not just a light source but an independent form of expression through which I can create soft, organic shapes that seem to merge with their surroundings. My first significant step into the world of neon came two years ago when I was commissioned to create a piece for the entrance of the Rovaniemi Art Museum, Korundi. This project marked the beginning of my exploration of neon, and since then, I’ve found myself noticing neon lights wherever I go. Working on the lighting for the Stockholm Opera allowed me to see how neon was used in diverse ways in our neighboring country. With Osram LED tubes, I’ve long been able to create graphic, linear works, or media pieces like Vuolas Vuo, where pixelation and color gradients are central. However, working with neon offers a different approach. Neon can be bent into zigzags or rounded shapes, offering a freer form of expression compared to the linearity of LED tubes. In public spaces, neon and LED lights create their own spatial experiences, and advertisements, often seen as purely commercial, are actually a significant part of urban life. The soft quality of neon light blends into its surroundings and brings a certain atmosphere. Meanwhile, the brightness and sharpness of LEDs can sometimes be too intrusive, causing light pollution and disturbing both natural darkness and people’s experience of space. This distinction has become evident in my work, where neon has become a softer medium for creating aesthetic spatial experiences. The images here show examples of my work, where I’ve used neon and LED lights in different ways. For instance, in the Night Town performance, neon lights were shaped into letters and bent to play with the corners of the space, while in the Green Meadows immersive performance, the Olympic rings took form through neon. Each piece seeks to harness the unique properties of light and highlight its role in shaping space and experience. I’ve been a huge fan of science fiction all my life, and having the opportunity to create the scenography for Harry Martinson's Aniara at Skånes Dansteatern feels like a dream come true. The chance to design the scenography for such a profound sci-fi story, which explores themes of isolation and hope, is the perfect extension of my artistic journey. Sci-fi has always been a major part of my life—my first encounter with the genre was through Frank Herbert’s works, and later, I became a big fan of aesthetics of the Dune movies. For the Aniara production, I wanted to push the boundaries of sci-fi and bring it to the stage in a new way. We are using four video projectors to create a dynamic, projection-mapped environment that evolves with the dancers’ movements. The projections form a vast, ever-changing cosmos that reflects the characters’ journey—both physically through space and emotionally as they search for meaning in a universe that feels overwhelming. One of the most exciting aspects of the project is the chance to play with scale. We work with miniatures, creating spaceships and celestial bodies in both small and large scales to emphasize the vastness of space. During the performance, the actors carry lanterns, symbolizing planets—this was a particularly fun element, as it feels like I am creating my own miniature universe. These elements help to highlight the fragility of human life in the vastness of the universe. The scenography is also honoring the Bauhaus movement, which emphasized simple, functional forms and the fusion of art and technology. I wanted to bring a similar sense of grandeur and abstraction to the stage while still grounding the story in something intimate and human. Throughout the performance, the spaceship appears both as a miniature and a large set piece, depending on how the action unfolds. This duality adds to the immersive experience, where reality and infinity blend together. As the premiere on October 18th approaches, I feel a deep sense of satisfaction. Designing the scenography for Aniara has given me the opportunity to combine my love of science fiction with my passion for stage design, and I hope the visual experience resonates with the audience as much as it has with me. Choreography & Direction Carl Knif Music Ville Leppilahti Costumes Karoliina Koiso-Kanttila Set design, projections & Lighting design by me All photos Tilo Stengel October 2024 is a month of milestones for me, and I’m excited to invite you to experience two art projects that have been close to my heart and have taken two years to finalise. Sci-Fi Scenography: Aniara Premieres on October 18th in Malmö First, on October 18th, my scenography for Harry Martinson’s Aniara will premiere at Skånes Dansteatern in Malmö. This production, directed by Carl Knif (marking our 19th collaboration!), brings to life the epic journey of Aniara through the cosmos. Using four video projectors, we’ve created an immersive, ever-changing space where the projections respond to the dancers’ and actors movements, reflecting the human search for meaning in a vast, indifferent universe. If you’re into sci-fi and avant-garde theatre, this is something you won’t want to miss. You can get your tickets www.skanesdansteater.se/en/aniara.  Kurkkio: A Neon Light art Installation Unveiling on October 24th in Rovaniemi
Just a few days later, on October 24th, I’ll be unveiling my new permanent neon light installation Kurkkio at the Korundi House of Culture in Rovaniemi. The word Kurkkio means "water drop" in the Sámi language, and this idea flows through the entire structure of the piece. Though stationary, the curved and zigzag neon patterns create the illusion of water in motion, tricking the brain into seeing continuous movement. It’s a playful interaction of light, perception, and nature—something that connects deeply with my Northern feels. You can join the Kurkkio publication event: korundi.fi/fi/kavijalle/tapahtumakalenteri/julkistamistilaisuus-jukka-huitila-kurkkio The 14th Edition of Multi-Disciplinary Silence Festival The 14th Edition of the Multi-Disciplinary Silence Festival was held in the village of Kaukonen, Kittilä, from the 6th to the 9th of June 2024. We are privileged to create a safe and professional atmosphere for making premieres, concerts, and performances in Kaukonen. Though we are all guests, the warmth of the welcome makes us feel at home. This year's festival featured eight exclusive premieres commissioned specifically for the event. These works beautifully integrated spatial design with music and circus, showcasing the festival’s unique blend of art forms. The festival’s charm lies in its site-specific nature, offering audiences the joy of artistic spontaneity in characterful spaces, truly making the Silence Festival a paradise for both artists and audiences. All photos by Jouni Porsanger An immersive mystery play, 360 degrees audiovisual experience around you in an old two storey school building in Oulu, through which you can take your own path. Tickets and more info oulunteatteri.fi/naytelma/vihreat-niityt/ All photos JP Manninen                 I address you is a personal and societal solo that Carl Knif has created for himself. Drawing on his own personal experiences, Knif’s performance alternates memories and past events with more recent phenomena that put self-esteem, inviolability and empathy to the test. Tickets and more info www.carlknifcompany.com/en/works/i-address-you-2024/#pid=8 All photos Yoshi Omori  Compañía Kaari & Roni Martin's Spanish-Romani-Jewish-Finnish flamenco orchestra and Helsinki City Theater's dance group invite you to Veren häät. The Blood Wedding is contemporary dance and flamenco at its deepest, with lyrics by the Spanish national poet, Federico García Lorca. A blood wedding is like our union with overeating and self-deception, wanton consumption and indifference. It is an autopsy of the animal's humanity and man's animality. Avant-gardists like Lorca, Dalí and Buñuel lived in Europe at a time when poetry was a weapon and when artists were persecuted. Together, they created surrealist art, whose images crystallized the present time and which already foreshadowed the coming world fire. Dali and Buñuel escaped and Lorca was executed, a prelude to the Spanish Civil War. The Blood Wedding is dedicated to those artists who plunge into the bull's horns. https://hkt.fi/esitykset/veren-haat/  All photos Stefan Bremer The Raekallio Corp. dance group invites you to join us in celebrating ten years of its existence! The Credo party performance is a shameless reaching towards the inexplicable dimensions of humanity through the means of art. In a performance that combines movement, live music and contemporary poetry, the artists of Raekallio Corp. lead the audience to the questions of love, death, beauty and all temporality. In addition to the group's dancers, mezzo-soprano Tuija Knihtilä, pianist Matti Raekallio and poet Eino Santanen will be seen and heard as performers. The gala performance, which will be organized in Tanssi talos Pannuhalli on Tuesday 5 December 2023 at 19:00, deepens the artistic, ethical and aesthetic ideas with which we have been working for the past 10 years. It is built around new scenes created for it, as well as scenes borrowed from the group's older works, following the dramaturgy of jubilant bodyguards rather than a traditional dance performance. One show, one night, one life! All Photos Minna Hatinen Do you dare enter a world of nightly visions and hallucination, surrealism and decadence? lumo.ouka.fi/en/programme/nighttown/  Photo: JP Manninen  Photo: JP Manninen La Familia performances in Espoo and Oulu Espoo 7.-9.9. tickets and more Oulu @Oudance festival 16.9. tickets and more  Photo: Nauska THE 13TH EDITION OF MULTI-DISCIPLINARY SILENCE FESTIVAL WAS HELD IN THE VILLAGE OF KAUKONEN, KITTILÄ ON 8 TO 11 JUNE 2023. The festival program, organized by the Silence Artists' Association, brought together the creators and creations of contemporary circus and classical music. More than 20 performances took place in the Kaukonen village: the Community House, Kaukonen Sports Hall, Kaukonen greenhouse, Ojanperä hall as well as local homes and buildings in the village. This year's festival featured four premieres that were commissioned especially for the event. Many works combined spatial design with music and circus. Experiencing artistic spontaneity in characterful spaces is what makes Silence Festival unique. --- Artistic directors: Karita Tikka for cirkus program and Lauri Sallinen for classical music program Managing directors: Jonna Leppänen and Joonas Martikainen Visual designer and the head of the technical team: Jukka Huitila All photos: Jouni Porsanger My festival was a blast! I designed all four premieres and on top of that three totally different concerts. To keep it short, be there next year! Where's the sandwich? is a reality-based story about how it's okay to be just the way you are, signed by one of the Sweden´s most loved children's book author, Pija Lindenbaum, and the composer Niklas Brommare. Meeting Pija and Niklas and working with them has been a great experience. Making an opera for a child audience is ambitious and when I read the first graders' feedback I am impressed and at the same time convinced of the importance of cultural education. This is Carl's first opera direction, although it doesn't show in any way from his work. The performers dance and sing opera comfortably, i.e. out of breath and listening to the orchestra. It is not a given. Carl knows how to create an atmosphere in the work group where everyone dares to throw themselves. For us, this is the 17th collaboration and let the work continue. Var är smörgåsen is performed in Swedish and is intended for children aged 5 and up and their adults. MUSIK: Niklas Brommare TEXT: Pija Lindenbaum REGI & KOREOGRAFI: Carl Knif SCENOGRAFI & KOSTYM: Pija Lindenbaum LJUS: Jukka Huitila Tickets and more
A truly magical feel at the concert in Särestöniemi´s studio. I wanted Reida´s colour pigments and painting tools for the background of the concert to create a dialogue between lights, music, paintings and projections.  Concert lighting for accordion is my second design of many upcoming collaborations with Hiljaisuus.  Photo: Juho Aittokallio Harri Kuusijärvi's Phoenix concert features a series of songs composed for an electronically extended accordion. The parts of the series are named after their places of birth: Vitsaniemi, Jokkmokk, Helsinki, Gothenburg, Kalix, Rovaniemi. Here are projection sketches for Vitsaniemi, Jokkmokk, Helsinki, Gothenburg, Kalix, Rovaniemi.
Ooppera Skaala, Raekallio corp. & CHANGE Ensemble collaboration: Barabbas dialogues "Even though it is an opera where singing plays a central role, the most powerful part of the viewing experience is the whole of the stage events, where all the different elements, from music to dance and from visuals to stage expression, are perfectly balanced." Annikki Alku, Demokraatti 28.1.2023 All photos: Kai Kuusisto |
