新的文档“ Maija Isela，色彩和形式大师”有望超越Marimekko
New Doc ‘Maija Isola, Master of Color and Form’ Promises to Go Beyond Marimekko
Maija Isela于2001年去世，是印刷纺织品的芬兰设计师。她创建了500多种图案，包括家具和时装公司Marimekko最具标志性的印刷品“ Unikko”（“罂粟”），这是1964年 - 具有讽刺意味的是，在该公司的创始人Armi Ratia宣布禁止花朵图案之后。但是，新的芬兰 - 德国人的作品试图超越使她出名的事物，表现出伊利亚（Isela）作为一个人，而不仅仅是艺术家。电影将在赫尔辛基电影节上首映 - 9月的《爱与无政府状态》，以及该公司的另一个联合制作“河的另一侧”。它也将作为芬兰电影恋情阵容的一部分展示，绿化作品将两个新项目带入了活动，包括心理惊悚片《 Lex Julia》，目前正在开发中，以及纪录片《人民的力量》，由Mervi Enqvist，Mervi Enqvist，Mervi Enqvist，Mervi Enqvist，Mervi Enqvist，Mervi Enqvist，Mervi Enqvist，Mervi Enqvist，Merki of Power of Peroven of People设置to在2022年春天的首映式。试图认识标志性设计背后的女人，她曾经回避新闻报道，基尔佩利宁（Kilpeläinen）从她的来信和日记开始，在艾拉（Isela）的女儿克里斯蒂娜（Kristina）的帮助下，也是纺织品设计师。在以自学成才的乌克兰乡村民间艺术家玛丽亚·普里马克森（Maria Prymachenko）为特色的窃争议之后，她的作品在克里斯蒂娜·伊斯兰（Kristina Isela）的设计“梅特萨维基（Metsänväki）”（“森林居民”）中得到认可，她不再与该公司合作，在2013年发表了公共道歉。关于Maija Isela，她的女儿合着了“ Maija Isela：Life，Art，Marimekko”，于2005年出版，对导演很有用。但是，当我阅读时，我发现它很有趣。我只是想了解更多。克里斯蒂娜（Kristina）房屋的一半是她母亲作品的档案：有一些图案，绘画，就像一个博物馆。她说：“我提到Armi Ratia是因为她是[Marimekko]的创始人，他们有着密切的关系，但我专注于一个人，而不是这项大型业务。”他称伊利亚为“真正的国际大都会”，也因为她对孤独的旅程的偏爱，基尔佩莱宁对设计师的想象力印象深刻，发现了与她自己的个性相似的许多相似之处。她小时候已经有了它。人们以后会失去的东西，但他们长大了，但没有艺术家。他们一生都坚持自己的想象力。”她说。“我想我也是如此，也许这就是为什么她的故事中有这么多事情使我深深地感动了我的原因。当她的姐姐离开家时，她正在通过那些信件“与她说话”，当我读它们时，我觉得她也在和我说话。我有这种感觉，我现在一直和她一起旅行，拍这部电影。那就是我对她的女儿说的：‘我想让Maija重生。”Kilpeläinen决定也展示Isela的画作，终于将它们介绍给更广泛的观众。“我想找到她的作品并在电影中使用它们，以便人们可以看到她是她说：“还不仅是马里姆科（Marimekko）的设计师，”她说，找到了一些与穆林创作者托夫·詹森（Tove Jansson）的职业相似之处，最近在Zaida Bergroth主演的AlmaPöysti主演的传记片中饰演。一旦她开始画穆林，她就再说了。Maija的模式总是与她的绘画或生活中发生的其他事情有关。她只是遵循了自己的兴趣，他们找到了自己的工作。”
Maija Isola, who died in 2001, was a Finnish designer of printed textiles. She created more than 500 patterns, including home furnishings and fashion company Marimekko’s most iconic print, “Unikko” (“Poppy”), in 1964 – ironically enough, right after the company’s founder Armi Ratia declared a ban on flower patterns. But a new Finnish-German production tries to look beyond the things that made her famous, showing Isola as a person and not just an artist, says director Leena Kilpeläinen.
Produced by Merja Ritola of Greenlit Productions, with sales handled by New Docs, the film will premiere at the Helsinki Film Festival – Love & Anarchy in September, alongside the company’s other co-production “The Other Side of the River.” It will be also shown as a part of the Finnish Film Affair lineup, with Greenlit Productions bringing two new projects to the event, including psychological thriller “Lex Julia,” currently in development, and documentary “Power of the People” by Mervi Enqvist, set to premiere in the spring of 2022.
Trying to get to know the woman behind the iconic designs, who used to shy away from press coverage, Kilpeläinen started from her letters and diaries, helped by Isola’s daughter Kristina – also a textile designer. Following a plagiarism controversy featuring self-taught Ukrainian village folk artist Maria Prymachenko, whose work was recognised in Kristina Isola's design “Metsänväki” (“Forest Dwellers”), she no longer collaborates with the company, issuing a public apology in 2013.
A book about Maija Isola her daughter co-authored, “Maija Isola: Life, Art, Marimekko,” published in 2005, proved useful to the director, however.
“When I read it, I found it so interesting. I just wanted to find out more. Half of Kristina’s house serves as an archive of her mother’s work: there are patterns, paintings, it’s like a museum," says Kilpeläinen, who decided to focus on Isola’s life outside of Marimekko, mentioning her childhood and interests.
"I am mentioning Armi Ratia because she was the founder [of Marimekko] and they had a close relationship, but instead of this big business I focused on one person,” she says.
Calling Isola “a real cosmopolitan,” also because of her penchant for lonely journeys, Kilpeläinen was impressed with the designer’s imagination, discovering many similarities to her own personality along the way.
“When I started to read these letters and diaries, it became clear she had it already as a child. It’s something people lose later on, when they grow older, but not the artists. They hold onto their imagination their whole lives,” she says.
“I think I have been this way too and maybe that’s why so many things in her story touched me so deeply. When her sister left home, she was 'talking' to her through those letters and when I was reading them, I felt like she was talking to me, too. I have this sensation that I have been travelling with her now, making this movie. That’s what I said to her daughter: ‘I want to bring Maija back to life.’ ”
Kilpeläinen decided to show Isola’s paintings as well, finally introducing them to the wider audience.
“I wanted to find her works and use them in the film, so that people can see that she was a painter as well, not just the Marimekko designer,” she says, finding some parallels to the career of Moomin creator Tove Jansson, recently portrayed in Zaida Bergroth’s biopic starring Alma Pöysti.
“She really wanted to be a painter too, but nobody would call her that anymore once she started to draw the Moomins. Maija’s patterns always had something to do with her paintings or whatever else was going on in her life. She just followed her interests and they found their way into her work.”
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发表于 2022-7-5 05:04:27
发表于 2022-9-15 00:23:56