Amanda Ripatti lives and works in Helsinki, Finland. Ripatti is an editor of ANTE Nouveau Magazine, a magazine for visual culture and contemporary art, founded in 2018.
Ripatti has worked with curatorial projects of which the most recent was a co-curated group exhibition as a part of a larger collective managed project titled ‘(Un)seen: In the Dazzle of Infrastructure’, at gallery Aarni, Espoo, Finland in April 2021.
Alongside curatorial and editorial projects, Ripatti works as a costume designer for tv and media productions but also for artistic projects, such as Homo Homo Sapiens- artistic laboratory, shown at gallery Rankka as a part of Helsinki Fest 2020.
Bachelor of Arts, Fashion, Aalto University School of Arts, Design and Architecture
Master of Arts, Visual Cultures, Curating & Contemporary Art, Aalto University School of Arts, Design and Architecture 2019–
I work primarily with curatorial and editorial projects. Aside from those, I also identify artistic productions, especially those to do with costume making and soft installation making as essential to my practice.
I find strength in collective work; it allows different perspectives, specialties, and knowledges to organize in a way that is individually not possible. Care, collectivity, accessibility, and radical communication are important methods in how I work. Theoretical and conceptual thinking is significant to my practice – I find importance in conceptual approaches and collective imagining – but I am continually looking for ways to actualize ideas that appear to remain merely academic, exclusive, and intangible.
The idea to set up an event where labor issues are discussed derived from a short e-mail communication with an artist regarding their pay in which we exchanged quick thoughts relating to questions of labor.
There, I realized that these conversations about labor rights and working conditions are rarely happening outside of academic settings. And yet, these issues affect not only our professional lives, from inside and outside of academia, but are also deeply intertwined with our personal lives.
Imagining alternatives is great, and necessary too; it can grant a much-needed moment of escapism and a chance for utopian thinking. But what if we, either playfully or in all seriousness, instead think of ways to improve the precarious working conditions of art workers by utilizing the already existing structures such as trade unions, starting with easy access and no program, without expectations of in-debt knowledge, by sharing knowledges and experiences in a casual and familiar situation?