KONE FOUNDATION ANNUAL REPORT 2020
2020
1 OSIO
Established in 1956, Kone Foundation is cally sustainable and socially equal Fin- an independent and unaffiliated organi- land. They are valuable in themselves and sation. Its aim is to make the world better constantly challenge prevailing percep- by advancing free and diverse research and tions. Research outputs are part of public the arts. The Foundation awards grants for debate and influence decision-making. academic research, culture and art, and for Kone Foundation is a vigilant, bold and popularisation of research. The Founda- flexible organisation that cares about tion also maintains the Saari Residence its grantees and works towards building in Mynämäki for artists and researchers, a healthy work community. and the Lauttasaari Manor Residence in Helsinki. Our vision is for free research, art and culture to flourish in an ecologi- koneensaatio.fi/en
Otavantie 10 | 00200 Helsinki www.koneensaatio.fi Editor: Joel Haapamäki / Kone Foundation facebook.com/koneensaatio Graphic design: Dog Design twitter.com/KoneenSaatio Printed by: Grano Oy instagram.com/koneensaatio Cover photo: Daniel Schreiber 2 INDEX
Review to 2020: Hanna Nurminen 6 Review to 2020: Anna Talasniemi 8 Review to 2020: Leena Kela 12 The year 2020 in numbers 16
Support for research and arts: the highlights of 2020 18 A new strategy leads the way for vigilant funding of research and arts 20 Over 40 million euros for research and arts 30 At-home residency with Noah Kin 38 Language programme supported multilingualism in Finland in many ways 40 Vuoden Tiedekynä academic writing award: What can the Moomins teach us about the loneliness? 42 Is money enough on its own? We now know what grantees expect from the Foundation 46 The coronavirus pandemic changed how Saari Manor residencies work 52 REVIEW Ecologically sustainable residency programme started in Saari Residence 56 Sustainable Lifestyles Accelerator in Mynämäki 58 Extensive renovation of the main building started at the Saari Residence 60 Two new communication initiatives helped make research projects visible 62 TO Linguist Ulla Tuomarla appointed acting director of Kone Foundation 64 Finances 66 2020 REVIEW TO 2020 KONE FOUNDATION ANNUAL REPORT 2020
den with colleagues and friends in the the year under review appears to be work- autumn and winter, and, in recent weeks, ing superbly. Ulla Tuomarla, who recent- the sight of drifted snow glittering in ly began deputising for Anna Talasniemi the spring sunshine and the cold of the when her period of study leave began, has late-winter air have given me moments quickly found her feet as the Foundation’s of encouragement to look forward to a Director, bringing some fresh new per- brighter future. My discussions have some- spectives on the Foundation’s activities. times touched upon the central values of A new ecological residency programme is the Foundation’s new strategy: scientific in the works at the Saari Residence, and and artistic freedom. the aim is to make the Saari Residence a Scientific and artistic freedom are at pioneer of sustainable operating models in Hanna Nurminen, Chairperson of the Board. issue in the recent demands by universi- the international residency field. Photo: Otto-Ville Väätäinen ty students for equality to be integrated With a new strategy in place, Kone more thoroughly into university studies Foundation is seeking to tackle the many and the other activities of educational challenges of the future on a stronger foot- HANNA NURMINEN: institutions and for structural discrimi- ing. The pace of change in the world is nation to be broken down. The media has accelerating, and the changes are becom- TALKS IN THE GARDEN framed these demands as a threat to sci- ing less and less predictable, so we will entific and artistic freedom. Of course, it continuously assess whether our strategy must be possible to broach difficult, -un is appropriate and update it regularly. comfortable topics in both science and the arts. However, these young people have grown up in a global society plagued by The year 2020 will go down in history as June among the blossoming burnet roses, racism, inequality and disinformation, and the time that made us come to terms with is particularly memorable. I take optimism from their endeavours to the vulnerability of our global society. As Thus, despite the ongoing crisis, the overhaul the status quo. Some of the de- the year went by, we learned to work in Kone Foundation’s strategy for 2021–2025 mands put forth have undoubtedly gone new ways and got used to living farther was prepared as planned in 2020. I would some way past the mark, and, at times, the away from each other. The pandemic gave like to thank the Foundation’s Board and rhetoric has recalled the language used by rise to a feeling of detachment that made staff, the Advisory Board of the Saari Resi- protestors who were active back when we every face-to-face encounter feel excep- dence and our stakeholders for their com- studied in the 1970s, but the world will tionally valuable. For that reason, the mitted and insightful contribution to our not improve unless the young demand it! strategy meeting with the Board of Trus- strategy. Once again, it has been a pleas- Kone Foundation’s prospects also give tees and the managing committee, which ure to work with this team. cause for optimism. The new organisation- we held in my garden on a sunny day in Since then, I have held talks in my gar- al structure that was introduced during 6 7 REVIEW TO 2020 KONE FOUNDATION ANNUAL REPORT 2020
through the home residency period, we long-planned series of events under the asked our residents how they were doing, moniker “Totuuden rakennuspalikat” was and we were delighted to learn that the moved online, as were many other events. opportunities to share and work alongside Fortunately, we just had time to publish others – defining characteristics of resi- the evaluation of the Foundation’s lan- dency working – had also come to fruition guage programme at a packed seminar with the help of remote working tools: a held at the Paasitorni conference centre. sense of community, discussions and feed- Communality remains one of the Foun- back from others were among the most dation’s core values in line with the new common responses, and the importance of strategy, which was completed in the year peer support and taking inspiration from under review. The Foundation also con- Anna Talasniemi, Executive Director. others were later confirmed in the final tinues to use the water-well metaphor. Al- Photo: Ilkka Saastamoinen reports submitted by people involved in though we continued operating while the the home residency. The home residency pandemic unfolded around us, it is clear experiment showed that people also had that there was less contact with grantees ANNA TALASNIEMI: wells in their own homes. and less of a community spirit among The pandemic coloured the year, but we grantees than before. This challenges us WELL AT HOME continued operating: We made progress to develop remote forms of communality on the development of our strategy and in addition to meetings in person, home Grants+ activities, and we renewed our or- wells instead of and alongside interactions ganisational structure. Sanna Tirkkonen at the manor. The experience we gained won the 2020 Vuoden Tiedekynä academ- running home residencies will help us in In March, just about everything changed. ists, and we responded to this need with a ic writing award for her timely article on this development – in fact, it has already On Thursday, 12 March 2020, a group of home residency beginning on 27 March. feelings of loneliness. Renovation work proven its worth as the Saari Residence practitioners in the field of art convened Looking back, it is amazing how quickly began in the main building of the Saari periods took place in hybrid form. Some at Lauttasaari Manor for the Smart Art everything happened. Residence, and the development of the of the artists and researchers worked Funding meeting over coffee. Later that At the Foundation, we use the wa- ecological residency programme received from home, and some worked at the Saari day, Finland’s government announced its ter-well as a metaphor to describe the a boost when a new coordinator was re- Residence. recommendations to curb the spread of encounters, sharing and interaction cruited. In conjunction with the autumn The pandemic is profoundly affecting coronavirus. The following week, we con- between people in different fields. Our application round, the final theme-based our lives – and also the arts and scienc- ducted a survey to find out how scientists home residency plan made use of the application round was organised under es, which the Foundation is tasked with and artists would like to be supported practices we have created at the Saari the Changing “Neighbournesses” of Fin- promoting. Above all, the performing during the pandemic. A substantial pro- Residence, such as weekly meetings to land programme, and the Foundation’s arts are now in a more precarious posi- portion of the respondents proposed an give artists the opportunity to talk to grantees had the opportunity to apply for tion, and the pandemic has accentuated expedited grant application round for art- each other about their work. Mid-way supplementary coronavirus support. A the weak structures and inequality in art. 8 9 REVIEW TO 2020 KONE FOUNDATION ANNUAL REPORT 2020
There has been much debate in the field of science over whether the pandemic will cause funding to be directed towards more solution-based work in the future. The Foundation’s new strategy emphasis- es scientific and artistic freedom, which means – among other things – that science and art should be allowed to develop on their own terms rather than being driven by financial, political or other interests. Researchers and artists play a significant role in tackling and solving the world’s problems, but in order to improve the world, we also need art and research to come about for reasons other than resolv- ing specific needs. I will be on study leave until summer 2022. I would like to wish my deputy, Ulla Tuomarla, and all my colleagues and the Foundation’s trustees all the wisdom and strength they need to guide them through these turbulent times on the course set by our brand-new strategy!
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plan, the personnel will be able to move thoughts the time and space they crave back to their offices in the main building and the opportunity to work in a new in 2022. environment free from pressure? Or is it The renovation alone would have been the new social community that the artists quite enough of a whirlwind in our idyllic and scientists in residence create, each residence, but shortly after the decision of them making their own contribution? was taken to start the renovation, the glob- Or is it the experience of a certain special al coronavirus pandemic began. We were place and the effect this has on work? facing something unprecedented. In the In the field of residencies, remote resi- March–April period, there were artists dencies and – in our case – home residen- from four continents in residencies, in ad- cies have challenged the fundamental con- Leena Kela, Executive Director in Saari Residence. dition to Finnish artists and researchers. cept of residencies and posed questions Photo: Ilkka Saastamoinen As countries closed their borders one by about what it really means to work in a one, the international artists had no choice residency. What is the residency experi- but to suspend their residency periods at ence like if the artists and scientists are LEENA KELA: the Saari Residence and resume their work working in their own homes surrounded in home residencies. We were able to en- by normal, everyday life and the residency RESIDENCY ACTIVITIES IN sure the continuation of work and inter- community as a whole is dispersed across action thanks to remote connections. The many different countries while some peo- A TIME OF CHANGE home residency concept, which had only ple spend their residency periods at the been mentioned in passing the previous Saari Residence? year, was implemented within one week, Luckily, most artists and researchers and development work remains ongoing. are highly agile and flexible in the face However, changes – no matter how of change. They quickly adopted new "Change" is the word that best describes building of the Saari Residence, kick-start- challenging and distressing they may be remote working tools and adjusted to the Saari Residence in 2020. Although ing a large-scale indoor air renovation. As – also represent a new opportunity. This the new normal in which colleagues are change and adaptation are the topics on the year comes to an end, the archaeolo- year, we have probably learned more about two-dimensional characters on a comput- everyone’s lips now, and change can be gists have just finished their work in the our work and our residency activities than er screen, but it is nonetheless possible highly emotive, raising feelings from en- main building of the Saari Residence. in any year before. When an organisation to get to know them and take inspiration thusiasm to fear, I simply cannot think The intermediate floor on the first floor undergoes a fundamental upheaval, it is from their thoughts and ideas. But, as one of a more fitting description of the year has been dug up, including the mediae- presented with the opportunity to examine of our home residents stated rather di- of upheaval that just passed. So let’s say val vaulted cellars, shedding new light on its activities in a new light and identify rectly in our feedback discussion: “Home change, with all that comes with it. some previously unknown layers of history what is relevant and important. Which fac- residencies are not a patch on ordinary At the start of 2020, indoor air quali- in the Saari Residence. Construction work tors go into creating a rewarding residency residencies, but they are definitely better ty problems were confirmed in the main will soon begin, and if everything goes to experience? Is it the chance to give one’s than no residencies at all.” 12 13 REVIEW TO 2020 KONE FOUNDATION ANNUAL REPORT 2020
Although the coronavirus pandemic still dominates the headlines, we should not forget the ongoing ecological crisis, which we intend to address in the form of our plans for ecologically sustainable res- idency activities, which are due to begin in the spring. We are lucky to have Jaana Eskola as our programme coordinator and to be able to tackle this theme in earnest. However, introducing an ecologically sustainable programme will also lead to changes, which we must be prepared to implement on many different levels, in our mindsets and practices. It is under- standable that this could also give rise to negative emotions and tensions, although the change seeks to enable a better future for us all. In the midst of major upheaval, it is important to remember why we exist as a residency: to support art and science by offering practitioners the time, space and encounters to thrive. The coronavirus pan- demic will loosen its grip on society in the coming years, and the renovations will be completed, but the ecological crisis will cause new flurries of change. Change is permanent, but we must hold on to hope.
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THE YEAR 2020 IN NUMBERS IN A SURVEY,
79 % KONE FOUNDATION AWARDED OF THE RESPONDENTS CONSIDERED BY THE TURN OF THE YEAR, GRANTS, PRIZES AND DONATIONS THE GRANTS+ SERVICES EITHER THE FIRST DIFFERENT ROUTES USEFUL OR EXTREMELY USEFUL. ARTICLE HAD TOTALLING EUR
TOTUUDEN RAKENNUSPALIKAT 8,832 READERS. SERIES DISCUSSED 42.1 THE NATURE OF TRUTH IN MILLION. 3 EPISODES. PEOPLE FROM A RECORD
71 32 COUNTRIES APPLIED FOR ARTICLES WERE PUBLISHED A RESIDENCY AT ON THE GRANTEES’ OWN SAARI RESIDENCE. 14,564 BOLDNESS BLOG. PARTICIPANTS IN 185 FOUNDATION’S SHORT- AND LONG-DISTANCE ARTISTS GOT AWARDED VUODEN TIEDEKYNÄ EVENTS. A HOME RESIDENCY ACADEMIC WRITING IN THE SPRING. AWARD OF EUR KONE FOUNDATION’S SOCIAL MEDIA ACCOUNTS 25,000 REACHED OVER WENT TO PHILOSOPHER SANNA TIRKKONEN. 30,000 THE TRAFFIC ON FOLLOWERS. KONE FOUNDATION’S KONE FOUNDATION’S WEBSITE INCREASED NEW STRATEGY RUNS UNTIL YEAR 52% FROM THE PREVIOUS YEAR. 2025.
16 17 HIGHLIGHTS OF 2020 OF HIGHLIGHTS ARTS: AND RESEARCH and public debate. depth in order to foster new information, new thinking is to explore topics of importance to the Foundation in long-term thematic frameworks the purpose of which are These programmes. funding into grouped been ResidenceandLauttasaariManor. Saari maintains residences for artists and researchers at the organises various events to bring people together and Finnish, in writing academic for prize award writing research, gives out the ‘Vuoden Tiedekynä’ academic and arts for grants Foundationawards The arts. the and research diverse and free advancing by place ter Kone Foundation’s mission is to make the world a bet SUPPORT FOR FOR SUPPORT In recent years, the Foundation’shave the areas years, focus recent In 1 pp. 18–65
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Kuva: Annukka Pakarinen HIGHLIGHTS OF 2020 KONE FOUNDATION ANNUAL REPORT 2020
HANNA NURMINEN: A NEW STRATEGY ARTISTS AND RESEARCHERS LEADS THE WAY HOPE FOR CONTINUITY FOR VIGILANT AND PEACE IN WORK FUNDING OF Throughout 2020 we drafted a new strat- a few young artists working with a grant egy for Kone Foundation in order to meet from the Foundation and a group of mostly RESEARCH the great challenges of the future in the recently graduated artists suggested by the best possible and most natural way for former were invited to the lunch. At the us. The drafting of the strategy was not, table where I sat, the first thing that came AND ARTS as is most often the case today, the sole up was the young artists’ experience of the responsibility of the Foundation’s Board, injustice in the world and their concern but the Foundation’s staff and especially about ecological, social and cultural ex- The Board of the Foundation, the Advisory Board its managing committee were more closely ploitation. Instead of goal-oriented and involved in the strategy process than be- short-term projects, my tablemates hoped of the Saari Residence and the personnel and fore. We also received assistance from the for peace to work and continuity, a chance stakeholders of the Foundation worked jointly for future-oriented Saari Residence Adviso- to try and fail. To support their own art the beginning of the year on a new strategy for ry Board, which has creative expertise making, they longed for discussion and 2021–2025. The new strategy elevates the fostering and a good feel for the research and art community, as well as spaces for multi- of academic and artistic freedom as the fields. We also surveyed the views of our disciplinary encounters. most important mission of the Foundation. most important stakeholders, research- The young researchers shared the art- ers and artists about the future of their ists’ concerns about the world’s injustice Here, the texts from the Chairperson of the Board fields, as well as what they expect from and their hopes also include community, of Kone Foundation Hanna Nurminen and the the foundation. continuity and peace in work as well as Foundation’s Head of Communications Heljä In February 2020, we organised a lunch being allowed to try and fail. The need Franssila shed some light on the strategy work. event on the future of art at Lauttasaari for safe work and work environment and Manor with the aim of outlining the views a supportive community is very under- of young artists about the future of making standable in our turbulent world, and the art for the purpose of strategy work. Both message is clear to the Foundation: we
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will continue to provide long-term grants to artists and researchers as well as offer HELJÄ FRANSSILA: spaces and opportunities for encounters. We are also considering whether we could INFURIATING BOLDNESS focus more on supporting the work of art- ists and artist groups instead of, or along- Kone Foundation is known for its bold initiatives. side, funding individual projects. During the drafting of the new strategy, we pondered With the new strategy our understand- whether should we abandon the infuriating rhetoric about ing of our core values has been clarified boldness. The Foundation’s Head of Communications and our goals defined. We at Kone Foun- dation, too, are concerned about the deep- Heljä Franssila reflects on the pros and cons of boldness. ening ecological crisis and the increasing A longer version of the text was published on the economic, social and cultural inequality Foundation's website in February 2020. in Finland and worldwide. Therefore we continue to make the world a better place, and our most important means of doing so will undoubtedly continue to be support- When Kone Foundation’s strategy was up- things in a different way, appreciating di- ing research and artistic work. dated in 2012, its vision was crystallised versity and multidisciplinary approaches, This text was originally published on the Kone into the concept of making the world a encouraging people to cross the bounda- Foundation's website in March 2020. better place by facilitating bold initiatives ries between art and research, and trusting in art and research. This vision was turned in experimentation, incompleteness and a into the Foundation’s mission in the cur- future that is not predetermined. rent strategy, which has been implement- In this way, Kone Foundation has ver- ed since 2016. balised its profile as a supporter of art and In the Finnish Language Office’s dic- research, with a special focus for its finan- tionary, boldness is defined as fearless- cial activities. First and foremost, boldness ness, bravery, courage and sisu, i.e., per- has helped Kone Foundation attract more severance in the face of difficulties. In of the kinds of applications for art and re- addition to these meanings, the Founda- search that it wants to fund. In addition, tion’s strategy seeks to encapsulate a slew it has unquestionably contributed to the of other values the Foundation holds dear Foundation’s visibility and helped it to in the definition of the word ‘boldness’. build a recognisable, strong brand. These include looking at and listening to In less than a decade, bold initiatives
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have become a concept that most actors itiatives are not just a communications This spring, Kone Foundation’s Board involve reducing the scale and focusing on in the fields of art and research associate gimmick but a real strategic objective, of Trustees and staff will be working on qualitative instead of quantitative evalua- specifically with Kone Foundation. While eliminating them simply because they do the Foundation’s new strategy, which is tion criteria. this can be seen as successful commu- not appeal to everyone is out of the ques- why this is a great time to have this de- “I have been working with artists over nication, boldness is also criticised to tion. To us, questioning boldness signifies bate about boldness. a long period, observing processes that such an extent that it is pertinent to ask a greater question about how worthwhile This is a great opportunity for us to find their form slowly and that are some- whether we have, after all, failed to com- the Foundation’s work is, and we have nev- ponder and thoroughly dissect this ques- times hard to recognise as art. Often, the municate what we mean by the word. Is it er had any doubts about our basic purpose. tion. Should we abandon the concept of requirements they set on the curator are possible that boldness is misunderstood By deliberately looking at the fringe areas boldness? Should we simply communi- something completely different than the so completely or that people find it so of art and research that remain unnoticed cate about it better? Should we hold on performance of expertise, authority or irritating for one reason or another that it by others, the Foundation has been able to to boldness as the Foundation’s own mag- control. I have been learning tenderness actually hinders the Foundation’s reputa- support diverse and multi-faceted art and nifying glass, through which it views the and care, and have failed often,” Nurmen- tion and its achievement of its purpose? research in Finland. world? If we abandon the concept, what niemi writes. In criticising boldness, similar ar- It is true that in their application form will happen to the Foundation’s profile; Transferring Nurmenniemi’s approach guments are repeated over and over. It the grant applicant is required to de- will it lose its focus? – tenderness and care – to the Founda- makes some people anxious to have to fine their project’s relationship with the This is also an excellent opportunity tion’s framework is a radical, compelling swathe their project in the wrappings of Foundation’s funding profile, i.e. bold- to reflect on the Foundation’s role and idea. How could the Foundation take care boldness instead of feeling like they can ness. At the Foundation, we have sought status in Finnish art and research com- of researchers and artists? What could we simply apply for a grant for their artis- to communicate that boldness has more munities. How can Kone Foundation re- do to rebuild well-being and financial se- tic or research work (sic! Yes, you can). meanings than just those given by the spond to wish for foundations to prevent curity in art and research communities? Seeking and presenting boldness is con- Foundation and that the applicant is free the division of communities? sidered an artificial configuration which to interpret the word as they see fit. For One solution for building strong com- the grant applicants are forced to submit the Foundation, boldness stands for the munities might be to found in the con- to in order to ensure their work, their attributes manifested in its values, but it cepts of care and nurture. This is not my livelihood. Boldness is also interpreted may stand for something entirely differ- idea; I am borrowing it from Curator Jen- as the Foundation’s compulsive need to ent in the applicant’s work. Not all the art ni Nurmenniemi, who recently wrote an seek something new, which in reality is and research funded by the Foundation article contemplating the changes she an impossibility for long-term research are about crossing borders and looking at has implemented in her curatorial work and artistic work. things differently, far from it. Instead, they while practising post-fossil methods of At the Foundation, we have listened include a great deal of basic research and work. Nurmenniemi describes how she carefully to the criticism. Since bold in- other high-quality investigation and art. fumbled towards forms of curating that
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KONE OUR VALUES
• Freedom of research and the arts mentation, incompleteness and non-pre- FOUNDATION’S • Ecosocial culture and education determination. We value multidisciplinary • Diversity approaches and bringing together unex- STRATEGY FOR pected perspectives. Alternative view- • Boldness points and the challenging of norms help • Perseverance us to understand the world better. 2021–2025 • Sense of community We encourage researchers and artists to cross the boundaries between art and research and between various areas of art We foster the freedom of research and and research, as well as national borders. It is our mission to make the world a better place the arts. Research and the arts must be Crossing boundaries also refers to cross- allowed to develop and operate from their ing the Foundation’s own boundaries and by creating the conditions for free and own starting points. Free, responsible and exceeding its competences, doing things multi-voiced art and research. multi-voiced art and research are the pre- better, open-mindedness and openness requisites of civilisation. in the face of new experiences, and the Our vision is for free research, art and culture to To us, ecosocial culture and education readiness to take risks. flourish in an ecologically sustainable and socially means social, cultural and ecological re- We appreciate persevering, unhurried equal Finland. They are valuable in themselves sponsibility for the human race, other spe- and in-depth work. Jonimatti Joutsijärvi’s cies and the environment. Our approach aphorism “no hatching, no hatchling” is and constantly challenge prevailing perceptions. relies on the humanist quest to understand an important metaphor for us, because it Research data is part of public debate and humans and the world and to think criti- describes the time it takes for an in-depth influences decision-making. Kone Foundation cally, but at the same time we see humans understanding to take root. is a vigilant, bold and flexible organisation that as part of the earth’s diverse life and as Boldness is powered by encounters, di- cares about its grantees and works towards dependent on its biodiversity. alogue and a sense of community. This building a healthy community. We value diversity per se and in differ- is symbolised by the metaphor of a well. ent contexts, such as in nature, language, People gather around a well to share ide- society and people. We listen carefully to as, listen and talk. A sense of community, debates with multiple voices. hospitality and equality characterise our Our idea of boldness includes experi- organisational culture.
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OUR OPERATIONS
The Foundation’s core operations include the strategy period, we will focus on the The number one purpose of our com- funding the work of researchers and art- issues of democracy, diversity and sustain- munications is to provide visibility for ists. We support free and multi-voiced art able financial structures. grantees’ work. We reinforce influenc- and research. The Foundation supports The Saari Residence’s international ing through information; in other words, humanistic, sociological, artistic and en- residency provides artists and research- we make decision-makers and influenc- vironmental research, artistic work and ers with the opportunity to focus on their ers aware of projects and make projects work that combines or is based on multi- work and meet each other. The key words available to them. Our communication is disciplinary research and art. We also are slowness, insight and change. interactive, dialogic, curious and alert. monitor the effectiveness of our support. Saari Residence is a test platform for The Foundation operates specifically in the future. The residence’s long-term ac- Finland and its neighbouring countries. tivities and thinking are underpinned by We fund Finns’ research and artistic work an ecological approach, which also covers in Finland and abroad. Regardless of na- social and mental sustainability. The res- tionality, we support the work of research- idence provides a place and context for ers and artists in Finland and abroad when finding and sharing sustainable working the work in question has a connection to methods and for eliminating structural Finland. inequalities that make artists’ work more The Foundation develops ways to iden- difficult. The goal is to be a forerunner in tify artists and researchers of interest sustainable operating models within the through, for example, investigative foun- international residency sector. dation work. The Foundation works not In addition to funding, the Foundation only as a brainstorming partner and men- supports the expertise, resources and men- tor, but also as a creator of connections tal well-being of researchers and artists, as and networks for applicants. well as their networking. This support is Funding programmes, themed calls for called Grants+. The metaphor of the well is applications and other focused funding at the heart of the Grants+ work: encounters are ways of directing attention on issues are important. We continue to develop the the Foundation considers important and Grants+ system using service design meth- increasing understanding of them. During ods in interaction with grantees.
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THE AMOUNT OF GENERAL GRANT CALL 42,127,990 EURO OVER INCLUDES THE A total of EUR 33,493,184 and 296 grants FOLLOWING FUNDING: were awarded through the general grant 40 MILLION call in 2020. Decisions on grants were taken by the Board of Trustees on 27 No- • General grant call, 33,493,184 EUR vember 2020. • Thematic grant call for 2020: Sustainable EUROS A total of 6,310 applications were sub- Development, Russia, and Finland, 3,186,250 EUR mitted for the application round that ran FOR • Supplementary COVID-19 Funding from 1–15 September. A total of 296 grant for Grantees, 1,265,299 EUR recipients; individuals, work groups, or or- • Home residency grants, 1,478,700 EUR ganisations were awarded grants. Over 600 RESEARCH • Saari Residence grants, 180,157 EUR people work in the projects funded. • Lauttasaari Manor residence grants, Of the EUR 33,5 million granted, 50.2 % 24,700 EUR were awarded for scholarly projects, 19.4 % AND ARTS • Awards, donations and other grants in 2020, 2,499,700 EUR for art projects, 30.2 % for projects linking research and art, and 0.2 % for other cul- tural projects. In 2020 Kone Foundation awarded grants, prizes and donations in total of EUR 42.1 million. A total of 296 grant recipients; individuals, work groups, or organisations were awarded grants.
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AWARD RATES IN THEMATIC GRANT CALL FOR 2020: KONE FOUNDATION GRANTS, AWARDS THE GENERAL CALL SUSTAINABLE DEVELOPMENT, RUSSIA, AND FINLAND AND DONATIONS, 2020 (EURO) • 4.7 % of the applications received a grant in the general grant application round. Alongside the Kone Foundation general ap- • The award rate for research projects was 6.2 %. plication call, a thematic grant call of “Sus- • The award rate for art projects was 3.2 %. tainable Development, Russia, and Finland” • The award rate for projects linking research was organised as the last round of funding and art was 8.1 %. calls in the Changing “neighbournessess” • The award rate for other cultural work was 0.5 %. of Finland funding programme. In this call, altogether 3 186 250 euros were awarded to 10 initiatives. Decisions on grants to be SAARI RESIDENCE awarded were taken by the Board of Trus- tees on 27th November 2020. A total of 29 artists and four working groups were selected for the Saari Resi- dence in 2020. A total of 691 applications were made from 71 different countries. SUPPLEMENTARY COVID-19 The award rate for residency places is 3,9 FUNDING FOR GRANTEES per cent of the number of applicants. De- Alongside the Kone Foundation general cisions on residencies to be awarded were application call, a supplementary funding € % taken by the Kone Foundation Board of call was organized for for projects already Annual general call, autumn 2020 33 493 184 79,4 Trustees on 12 June 2020. funded by the foundation whose work had Thematic funding call: been impaired by the COVID-19 pandem- Sustainable Development, Russia and Finland 3 186 250 7,6 ic. In this call, altogether 1 265 299 euros Lauttasaari Manor residencies 24 700 0,1 LAUTTASAARI MANOR RESIDENCE were awarded to 101 initiatives. Supplementary COVID-19 funding for grantees 1 265 299 3,0 Home residencies 1 478 700 3,6 In total, 12 applications were made for the Saari Manor residencies 180 157 0,4 Lauttasaari Manor Residence and grants Awards, donations, other grants 2 499 700 5,9 were awarded for two of these, altogeth- Total 42 127 990 100 er 24,700 EUR. Decisions on grants to be awarded were taken by the Board of Trus- tees on 27th November 2020.
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help us as we aim for an energy transi- Cultural journalism doesn’t sufficiently STOP AND LISTEN TO tion, i.e. when we try to replace fossil listen to the art scene, and the art scene’s energy with renewables.” discussions tend to often take place in THE FOUNDATION’S Besides Tynkkynen, also involved in the small circles at exhibition openings – and NEW GRANT RECIPIENTS project are: doctoral researchers Elena not in the media, where anyone can take Gorbacheva, Sakari Höysniemi, Sohvi part. All that is left of an exhibition re- Kangasluoma and Teemu Oivo, along quiring months of work is a post on social The Foundation's grant recipients told us in December 2020 with postdoc researchers Olga Dovbysh media, which vanishes within a day. who and what signals they have the been listening to, and and Dmitry Yagodin. Providing the ar- Listening to the art scene means intending to listen to as their work advances. tistic-journalistic component are pho- sharing not just observations, but also tojournalist Touko Hujanen, journalist challenging it. In order for the art scene Johannes Roviomaa and documentary to remain intellectually alive we have film director Niko Väistö. to ask: How does it work? Who are the MAKING PRACTICES VISIBLE BY and Russia are examples of what, from agents and authors shaping it? How will LISTENING TO PETROCULTURES a European viewpoint, are often seen as it change in the future? At present, Fin- petrocultures. And yet 75% of EU energy LISTENING TO THE ART SCENE land does not have an English-language In the Changing “Neighbournesses” of consumption involves fossil fuels, i.e. is publication focused on contemporary art, Finland funding programme’s last the- based on oil, gas and coal. According to the curator-artist duo either. The need for a publication like NO matic grant call, Sustainable Development, In energy-poor countries such as Fin- Elham Rahmati and Vidha Saumya, NIIN has emerged in discussions and, be- Russia, and Finland, the biggest grant land imported energy is not visible in the Finnish cultural journalism does not ad- ing in English, the publication plays an went to Associate Professor in Russian same way as it is, for example, in Russia, equately engage in discussion with con- important role in introducing the artists Environmental Studies Veli-Pekka Tyn- where fossil-fuel energy is indigenous temporary art and its various phenomena. in Finland to a worldwide audience, help- kkynen and the FLOWISION consorti- and where oil in many senses greases the To fill this void they are founding a new ing them expand their practice and gain um’s project. The project’s researchers, wheels of society. Energy-related mate- monthly, English-language, online mag- more work opportunities international- journalists and documentary filmmakers rialities are more visible there than in azine: NO NIIN. With this platform, they ly. This will serve art audiences, but also aim to make the flow of energy and waste Finland, and it is thus possible to view also want to try out new ways of sharing support artists’ work. visible. In so doing, they say, it is possible them from the perspective of political ideas and conducting discussions: be- We want to position the publication at to reveal the political dimension of re- power, too. sides more established forms of cultural the cusp of art, criticality and love. The source flowage and to compare practices Once the project has begun, we will journalism, such as essays, exhibition re- themes we intend to focus on have also in Finland, Russia and elsewhere. carry one trying to listen to these posi- views and interviews, the website pub- emerged through listening to insights “In the project we want to listen intent- tive signals in what is generally considered lishes poetry, memes, visual essays and and different perspectives on topics that ly to petrocultures that are seen as detri- the ‘dark side’ of the energy sector. Such podcasts. art writers, artists and curators in Finland mental for mitigating climate change, i.e. listening offers a possibility for making “Since our time in Finland, we have find urgent to address, such as art edu- to the ways that using oil is part of socie- the dark side of petroculture brighter. We sensed a major gap in media coverage cation, representation, love, and artistic ty and of our way of living. Trump’s USA believe that listening to these signals can around the activities of contemporary art. labour amongst others. 34 35 HIGHLIGHTS OF 2020 KONE FOUNDATION ANNUAL REPORT 2020
Additionally, we want to create a artists in front of the TV cameras,” says space where members of different mi- the folklorist finalising her PhD thesis on nority groups feel free to write and folklore studies Viliina Silvonen. share their insights on what they find Silvonen joins docent in ethnomusi- important. This is a significant aspect of cology, Elina Hytönen-Ng, PhD, and the our work, as we have observed, through Kyynelkanavat (Tear Ducts) workgroup in our personal experiences, how minori- a project in which artist-researcher work- ty groups are often pigeonholed by art ing duos ask what needs do laments fulfil institutions and cultural projects to in today’s world. The project approaches express their thoughts and ideas only the lamenting tradition from the view- when it comes to matters related to point of the body, religiosity, community, their minority status. It is thoroughly and emotions. frustrating to be made to feel that in- “When we were devising the project, dividuals belonging to minority groups we were already listening to lamenters’ have nothing more to offer beyond their archived experiences of the tradition trauma and struggles. NO NIIN is the and practices of weeping aloud, and the space where individuals can perform any laments, memories and thoughts about aspect of their multifaceted identities as laments of the generation of evacuee they choose.” lamenters. On the other hand, we have also lis- tened to contemporary laments: to the IN CONTEMPORARY LAMENTS musicians, artists and amateurs who per- WE HEAR A LONGING FOR form them. At the same time, we have COMMUNAL GRIEVING heard the present-day pulse of longing for traditions, for cultural roots, that Karelian laments were originally a ritual strengthen community. Underlying this Part of the FLOWISION-group. From left to right Sakari Höysniemi, Teemu Oivo, Olga Dovbysh, Elena Gorbacheva and Veli-Pekka Tynkkynen. Photo: Mitro Härkönen tradition expressing sadness and caring. can be heard today’s difficulty in admit- At the core of traditional laments, apart ting to and facing grief. As the project from the lamenter’s own experiences begins, we also intend to listen to new the project are the musicians specializing and emotions, is a sense of communi- possibilities for lamenting.” in the lament tradition Emilia Kallonen, ty. The lamenter channels the feelings Also joining in the project, besides Liisa Matveinen and Emmi Kuittinen. of an entire community. “Longing for Hytönen-Ng and Silvonen, is researcher In addition to research, the project will community, for shared feelings can be in Orthodox church music and culture, also produce events for the public: open recognized nowadays, for example, in doctoral student Riikka Patrikainen. seminars, public-participation workshops, the public, shared tears shed by celebrity The researchers’ working partners in and artistic performances.’ 36 37 HIGHLIGHTS OF 2020 KONE FOUNDATION ANNUAL REPORT 2020
finalise my compositions at the studio. the home residency is the attention on the AT-HOME RESIDENCY Now that going to the studio hasn’t felt fact that my identity matters, and I’m not like the responsible thing to do due to the going to remain silent about it anymore, WITH NOAH KIN pandemic, I’ve had plenty of time to polish not in my daily life or in my art.” up my ideas before I finally get back to the In April 2020, Kone Foundation awarded a three-month work studio to finish the album. The call for home residency applications was grant to 185 professional artists for a home residency that takes Maintaining my social life takes place preceded by a survey implemented by the Founda- tion, which was taken by almost 600 professionals. almost completely on social media these place in the grantee’s own home. Through the home residency The results support the view that paying work grant, the Foundation aimed to support artists whose job days. I only have a handful of people I’m opportunities for artists specialising in performing close to who I talk to every day. In that re- opportunities have disappeared with the corona pandemic. arts in particular have been reduced or completely spect, the situation hasn’t changed much. lost due to the pandemic. The residency call ended During his residency, artist and composer Noah Kin worked On the other hand, I’ve had the oppor- on 5 April with 3,467 applications. on his album When My Darkness Came To Light, which draws from tunity to contact people who are impor- Kin’s experiences as a racialised artist in a field where people tant to me but who I haven’t talked to in who look like him are few and far between. This text a long time. I only leave the house to buy was published in the Foundation’s website on June 2020. groceries and to fight for human rights, #blacklivesmatter. During the home residency, a calmer pace has taken over and I’ve realised that I “I’m Noah Kin, a 25-year-old multidisci- has always seemed important, but in the don’t always have to hurry to finish things. plinary artist and composer. I make ex- current circumstances its importance is I let art emerge when the time is right. perimental electronic music under the emphasised in an indescribable way. At the same time, it can be challenging pseudonym Exploited Body. I also run While working in the home residency, I because it feels like I have ‘permission’ to a record label called Changeless, which have tried to wake up as early as possible postpone things and then I work on other seeks to promote Finnish creators of ex- and to stay up as late as possible. I feel projects instead. That’s why I try to create perimental music. I’m at my most creative at night, so I often something new all the time, explore my During the home residency, I have been stay up into the early hours, working on own artistic practices or advance various working on Exploited Body’s first full- my compositions. In the morning, I’m bet- projects as efficiently as possible. length album that bears the name When ter equipped to make decisions about the The home residency came about be- My Darkness Came To Light. The album arrangements and sound choices for my cause of the pandemic, but at the same deals with my experiences as a black artist compositions. I spend most of my day sit- time, world events have made racism a in an industry and an environment where ting at the computer. I usually leave home burning issue. In a worst-case scenario, there aren’t many people who look like to get some lunch, then bring it home and racism is a much more deadly disease for During his residency, artist and composer Noah Kin worked on his album When My Darkness Came To me and the influence of these experiences let my brain rest while I eat. racialised and especially black people than Light under the pseudonym Exploited Body. on my mental health. Making the album I generally work from home a lot and COVID-19. The best thing for me about Photo: Silja Pasila 38 39 HIGHLIGHTS OF 2020 KONE FOUNDATION ANNUAL REPORT 2020
LANGUAGE PROGRAMME SUPPORTED MULTILINGUALISM IN FINLAND IN MANY WAYS
The Kone Foundation language programme sought to promote the position of Finnish, small Finno-Ugric languages, and other minority languages in Finland. Between 2012 and 2016 the Foundation granted a total of EUR 19.7 million to approximately 250 projects, the last of which continued until the end of the 2010s. The language programme culminated in January 2020 when over 120 people took part in the Kalle Korhonen and Ulla Tillilä in the Language, Power and Inclusivity seminar held in Paasitorni. Language, Power and Inclusivity seminar held in Paasitorni. Photo: Annukka Pakarinen
The programme included, in one way or ers funded by the language programme A large amount of Finno-Ugric materials innovations. Instead, research results grad- another, at least 60 languages, dialects, created many new linguistic corpora to be from the early 20th century was digitised ually change the conceptions of university or language varieties. The language pro- used both by academics and the relevant at the National Library of Finland, a public students, the general public and, ultimately, gramme progressed on many fronts: it language communities. In addition, profes- dictionary of sign language was created by society. The same applies to the language included linguistic documentation and sionals working with language were con- the Finnish Association of the Deaf, and programme: its long-term impact cannot research, language instruction efforts, nected with the surrounding society. For considerable progress was made with the be evaluated until years later,” says Kalle production of teaching materials, and example, a project in the schools of Eastern dictionary of Old Standard Finnish at the Korhonen, Director of Research Funding making art. The programme was oriented Helsinki was able to support teachers at the Institute for the Languages of Finland. at Kone Foundation. towards language policies. It influenced right moment in their bold efforts in a mul- The impact evaluation of the language The language programme culminated the role of languages by highlighting the tilingual environment. programme was carried out in two phases on January 28th when over 120 people importance of minority languages to their In other ways too, the programme promot- between 2017 and 2019 and was based on took part in the Language, Power and speaker communities and by improving the ed the understanding that individual multi- a qualitative analysis of content. Inclusivity seminar held in Paasitorni. documentation, language technology and lingualism is an important part of human “Kone Foundation always considers its The seminar included discussions on the teaching of poorly documented languages. culture. Numerous research projects at the impact on many levels and focuses on qual- central role language plays in building Languages were supported both separately universities in Finland and other countries itative impact analysis, while taking into the power relations between people and and together, as support for multilingual- strengthened the description and research account the long term in its research and communities and in the achievement of ism was one of the programme’s values. traditions of the Finno-Ugric languages and art funding. The impact of research funding political objectives, such as equality and The impact evaluation made PhD Finnish minority languages, such as Romany, tends to be slow, and humanistic research, the experience of inclusion. Ulla Tiililä revealed that the research- covered by the language programme. in particular, does not usually lead to rapid 40 41 HIGHLIGHTS OF 2020 KONE FOUNDATION ANNUAL REPORT 2020
VUODEN TIEDEKYNÄ ACADEMIC WRITING AWARD: WHAT CAN THE MOOMINS TEACH US ABOUT LONELINESS?
In 2020 the Vuoden Tiedekynä Academic Writing Award of EUR 25,000, granted by Kone Foundation, went to philosopher Sanna Tirkkonen for her article exploring loneliness in Tove Jansson’s book Moominpappa at Sea. The article was published in the journal Psykoterapia 3/2019.
Kone Foundation presents the Vuoden it changed, and I found myself thinking Tiedekynä Award annually for academic about it for many years after, because it’s a writing that makes particularly outstand- touching work that is easy to identify with ing use of the Finnish language. In 2020 and, at the same time, it has an oppressive the Vuoden Tiedekynä prize was award- atmosphere. In my article, I conceptual- ed to Sanna Tirkkonen for her article Yk- ise different forms of loneliness by means sinäisyyden tunteet Tove Janssonin teoksessa of this literary work, loneliness research Muumipappa ja meri (Feelings of Loneliness and philosophy”, said Tirkkonen in May in Tove Jansson’s novel Moominpappa at 2020 when the winner of the award was Sea). In the article, Tirkkonen examines announced. Tove Jansson’s novel as a story about a The theoretical framework of this win- fairly wealthy family that finds itself in a ning article combines phenomenological crisis and the loneliness the family mem- analysis and the philosophy of psychiatry. bers experience. Tirkkonen examines the feelings of loneli- “Jansson’s novel is a classic and im- ness as interactive processes and explores portant to many readers, and I remember the emotional atmosphere in which dif- reading it as a child too. After reread- ferent forms of loneliness are expressed Philosopher Sanna Tirkkonen, Vuoden Tiedekynä winner of 2020. ing it as an adult, my relationship with in Jansson’s work. Her analysis is based Photo: Daniel Schreiber 42 43 HIGHLIGHTS OF 2020 KONE FOUNDATION ANNUAL REPORT 2020
on the philosophies of feelings developed MYRIAD FORMS OF LONELINESS state or merely an individual’s problem”, by Martin Heidegger and the psychiat- Tirkkonen explained. ric philosophers Matthew Ratcliffe and First published in 1965, Moominpappa at In her article, Tirkkonen also discussed Thomas Fuchs. Sea was one of Tove Jansson’s last Moom- the conventions of treating loneliness. “In her article, Tirkkonen has succeed- in books. It has a tense atmosphere and She explains that in ordinary everyday ed in illustrating the concepts of existen- is primarily directed at adults. The char- life where things are as they should be tial philosophy and the philosophy of acters share a similar situation: a sudden and follow a customary pattern, we don’t psychiatry in everyday interactions. The change in their lives and their attempt to stop to reflect on the fundamental ways article examines the underlying atmos- adapt to a new environment. The connec- in which we are always tuned into other phere that triggers observations and the tions between the family members are in people and our environment. physicality of the memory in a way that is one way or another broken. They are lone- “Loneliness that has become chronic easy for everyone to understand, not just ly in different ways, and their methods of shapes the way we see other people and philosophers and psychiatrists. The study seeking a way out of loneliness vary. whether we feel it’s possible to create rewards its readers by giving them several Moominpappa’s loneliness is based on meaningful relationships. For this reason, insights,” explained Professor of Finnish his feeling of having no purpose. Moom- it’s not enough to instruct people suffering History, Juha Siltala, who chose the win- inmamma tends to her malaise by mak- from loneliness to change their attitude ner from among 11 candidates. ing art. She also manages to make friends and demand less from their relationships. “Right now, loneliness is a problem we with a socially isolated fisherman broken The treatment of loneliness is ultimately all share to some extent due to the isola- down by his situation. Moomintroll tries about enabling meaningful relationships, tion necessitated by the coronavirus pan- to improve the emotional atmosphere of about the way our society is organised and demic. HelsinkiMission, for example, has the family both through his actions and the way we interact with people suffering reminded everyone this spring that the by encountering the Groke, a symbol of from loneliness.” end of this state of emergency will mean loneliness. the end of loneliness to some people, but “In my article, I make conceptual dis- Sanna Tirkkonen is a postdoctoral researcher not all. Tirkkonen’s analysis will certain- tinctions, for example, between loneliness, in philosophy at the Universities of Jyväskylä and Helsinki. She is currently a visiting ly give us something to think about even pleasurable loneliness, social isolation, researcher at Heidelberg University Hospital after the crisis,” said Kalle Korhonen, existential loneliness and involuntary in Germany in a unit where the experiential Director of Research Funding at Kone loneliness. My intention is to challenge nature, social dimensions and bodily aspects Foundation. the assumption that loneliness is a passive of physical symptoms are being studied.
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ple, communication training in coopera- IS MONEY ENOUGH ON ITS OWN? tion with the Nessling Foundation, peer mentoring and creativity incubators and WE NOW KNOW WHAT have produced Bold Makers events at the GRANTEES EXPECT FROM Lauttasaari Manor together with grantees. THE FOUNDATION HELSINKI RESIDENTS BORN IN THE 80S Who are the grantees of the Kone Foundation and what do they need from the Foundation? We found the answers to Are people satisfied with the Grants+ ser- these questions in developing our Grants+ services. vices? As a rule, yes; at least if you look at the feedback we have received and which we have rigorously collected from all our events. However, we have to admit that we haven’t really included our grantees in the In spring 2020, when the coronavirus foundations’ overall funding has also been development of our services and, in fact, pandemic swept away the majority of the explored in the United States. Capacity we didn’t know what kinds of services they events we had planned, my colleagues and building can take many forms: for exam- wanted the Foundation to provide. Actu- Illustrations: Ilona Partanen I realised it was a great time to work on ple, the peer learning of various organisa- ally, we realised that if we were asked who projects for which we usually have very tions, the strengthening of leadership or our grantees were, we wouldn’t be able members who assembled to determine the little time. funding capacity, networking or compre- to give a very detailed answer. They are concrete objectives the Foundation should One such project is the development of hensive sustainability development. researchers and artists, of course, and in set for itself for implementing its services. the services for grantees. Grants+ (“Grants Kone Foundation has been carrying out some cases journalists and activists, but We continued this collaboration with plus”) is a service designed to support the Grants+ activities for several years. The what else do we know about them? Kenno Consulting with the goal of fig- skills, resources and work of our grant- work is characterised by its experimental All in all, it was an opportune moment uring out who our grantees are and what ees within their projects. This is known and small-scale nature. The planning of to start developing the service more sys- they need and expect from the Foundation. as capacity building and was introduced services has been based on an understand- tematically. Shortly before the pandemic In service design, such work is often per- to the Foundation by my colleagues Anna ing of the needs of grantees, accumulated began, we had organised two workshops formed by building personas of users or Talasniemi and Kalle Korhonen after through everyday encounters. Our most in collaboration with Kenno Consulting, customers, i.e. profiles that typify various their travels to meetings of the European popular service by far is the possibility to a company that specialises in ethnograph- groups of customers and describe their Foundation Centre. book the Chamber facilities (Kamari in ic customer understanding. In the first background, situation in life, behaviour and Many European and US foundations Finnish) located on Tehtaankatu, Helsin- workshop, our grantees told us about their needs. In order to create these personas, you have been working on capacity building ki for workshops and other small events. needs and brainstormed potential services. need information about the customers – in for a long time, and its growth as part of In addition, we have organised, for exam- The second one was for Foundation staff this case, about the Foundation’s grantees. 46 47 HIGHLIGHTS OF 2020 KONE FOUNDATION ANNUAL REPORT 2020
We compiled information from our search projects represent the humanities, and we named them Silmu and Pyry. The to make some choices about who we want grant system about the people we have 30% social sciences, 25% environmental other three personas are the empathetic to serve and who we are able to serve in funded. Apart from the statistics related science, and 5% artistic research. In arts networker Leimu, the independent and the best way possible. We decided that to grants awarded, Kone Foundation does projects, the majority of the grantees are ideological Paju and the experienced over the coming years we will focus espe- not have a similar tradition of compiling performing arts professionals. Varma. cially on supporting grantees who are just thorough statistics as, for example, the We first made use of these personas starting their careers and will emphasise Finnish Cultural Foundation has, and in when planning the Grants+ services for the realisation of needs related to visibility fact we have never previously explored our SOME PEOPLE ONLY this year. These personas have very dif- and a sense of community. grantees – that’s you! – in terms of age, NEED MONEY ferent needs, depending on their situa- place of residence, communication lan- tion in life and the stage of their career. guage, level of education, experience, etc. Based on this data, we selected a repre- One will contact the Foundation with- We now know the following: the ma- sentative sample of grantees to interview. out hesitation to ask practical questions, jority of the people involved in projects We wanted to hear more about their ex- while another one will find the informa- between 2018 and 2019 were born in the pectations and needs as grantees. Before tion independently on our website. One 1980s (46%) and 57% of them applied for the pandemic, we mostly encountered will actively seek to join discussions the lowest level grant. Of the grantees, 27% grantees who live in the Helsinki metro- about their field, while another already live in Helsinki and the majority of those politan area and who have participated in has all the networks they need. Then in the eastern city centre. Only about 5% our events. During the interviews we or- there’s the persona who doesn’t need an- of grantees live abroad. 89% of grantees ganised, we were able to talk for the first ything from anyone. For one person, the communicate with us in Finnish. Approx- time to grantees who don’t know Kone grant is not a merit, while for another it’s imately 40 % of the people involved in re- Foundation particularly well and don’t an important form of recognition. For all use the Foundation’s services. They may of them, the grant is an important source not have any need for them. Understand- of livelihood, and many of the personas ing this reality was eye-opening for us in also share the aim of creating visibility itself! and building networks. In addition to the interviews and sta- tistical data, my colleagues who serve our grantees have gained a deep understand- WE DECIDED TO FOCUS ON ing of the kinds of issues grantees need GRANTEES AT THE BEGINNING the Foundation to help them with. All this OF THEIR CAREERS work resulted in a comprehensive package of materials to help us work out grantee Serving the needs of all the personas personas. Of the five personas, two are would be an impossible goal for us, grantees at the beginning of their careers, which is why we realised that we have 48 49 HIGHLIGHTS OF 2020 KONE FOUNDATION ANNUAL REPORT 2020
By the way, if you are a Kone Foundation WHAT DID THE SURVEY REVEAL? ACCORDING TO THE SURVEY, grantee, based on the limited information THE MOST IMPORTANT THINGS provided, you may already recognise your- • 45% of the respondents didn’t think they FOR OUR GRANTEES ARE: self in one of the personas described here, had used the Grants+ service at all. or you may feel that none of them describe • Nevertheless, 79% of the respondents considered • The opportunity to use free meeting rooms you. Obviously, these personas won’t cover the services either useful or extremely useful. and workspaces all of our grantees. However, using them in • One third of the respondents felt that, in addition • Gaining visibility for their projects our internal planning helps us to see the to funding, the Foundation should provide • Occupational health care grantees with a lot or very much support – big picture better. the majority (62%) believed that the Foundation • The opportunity to network with decision-makers, should provide some services. opinion-leaders and cooperation partners • The will to use the services is therefore high, as is people’s opinion of them: 92% of the respondents NO NEED FOR AN EXCESSIVE graded the services “good” or “excellent”. We will bear this wish list in mind. Some complex issue that is linked, in particular, NUMBER OF SERVICES – THE MAIN • However, people don’t have a lot of time to use THING IS TO GIVE EVERYONE the services: only 9% of the respondents said they of the issues on the list are easier to resolve to the role of grant researchers at univer- ACCESS want to use the services several times a year, while than others. In our opinion, the best way to sities. There are signs that the position once or a few times a year is enough for others. approach visibility for a project is through of researchers who have received funding At the end of the year, we began to won- • 54% of the respondents consider it important skill development, i.e. capacity building: from foundations and who work at univer- that the services can be accessed also outside der: did our development work really pro- the Helsinki metropolitan area. by providing communication training, we sities may be slowly improving, and this vide us with a comprehensive view of what give our grantees permanent tools to talk may lead to occupational health care being our grantees need from the Foundation? about their work and make it visible. This made available to them in the future. At To answer this question, we carried out an is partly because the Foundation doesn’t the same time, university reforms will not open survey for all our grantees in Novem- have sufficient communication channels benefit artists. The Finnish Cultural Foun- ber and December to confirm our findings or resources to make hundreds of projects dation and some other foundations offer and we received 213 responses. It was a visible. What we can offer effectually and their grantees health insurance which relief to find out that the methods used in methodically are networking opportuni- makes occupational health care possible, our service design had worked: the results ties for a portion of our grantees. The past meaning that a functional model for the of the survey provided strong support for year has shown that we can carry out most service already exists. However, we cannot the observations we had made when cre- of our activities online, which makes our promise a service like this at this stage. ating the personas. services more accessible also outside the We will announce Kone Foundation’s Helsinki metropolitan area. new strategy in April. What we can say now In addition to the Chamber, we may is that the new strategy will ensure that we be able to offer meeting rooms by rent- will continue supporting grantees’ work and ing them from a cooperation partner and to develop our services. The Foundation then making them available to our grant- and its staff will continue to care about its ees. Occupational health care is a more grantees comprehensively also in the future. 50 51 HIGHLIGHTS OF 2020 KONE FOUNDATION ANNUAL REPORT 2020
THE CORONAVIRUS PANDEMIC CHANGED HOW SAARI MANOR RESIDENCIES WORK
The coronavirus challenged the Saari Residence to rethink the fundamentals of international artist-in-residence activities.
At the same time that information about turned into a pandemic and its effects the epidemic in the Wuhan region reached began to appear also in the safety of the the Saari Residence, five artists and one Saari Residence and the surrounding researcher working under a grant from countryside. Kone Foundation arrived in Mynämäki in The coronavirus pandemic made it Southwest Finland. necessary to consider the safety of the The group about to start their two- artists on an entirely new level, as well month period at Saari Residence includ- as various options for safeguarding their ed dance artist Zden Brungot Svíteková; health. The staff followed announce- poet, translator and film-maker Jazra ments from the Finnish Institute for Khaleed; visual artist Ginta Tinte Vaser- Health and Welfare closely, as well as the mane; postdoctoral researcher Salome Government’s new measures and restric- Tuomaala-Özdemir and the working tions, and eventually, after the closure of partners, artist and producer Jennifer the Uusimaa region, those working at the Katanyoutanant and artist and architect Saari Residence were offered the oppor- Grace Wong. In addition, Essi Kausalain- tunity to return home early and continue en’s eight-month long period as the Saari their work at home. During this process, Invited Artist continued until the end of the idea of a home residence was born, April. and the group were offered the opportu- Just a few days after the arrival of the nity to complete their residency at home new residents, the coronavirus epidemic under a grant. Grace Wong in the Saari Residence. Photo: Jennifer Katanyoutanant 52 53 HIGHLIGHTS OF 2020 KONE FOUNDATION ANNUAL REPORT 2020
WHAT IS THE PURPOSE OF THE weekly presentations have been one of the ditions ever. Leaving the residency was ied food and its history, game theory and RESIDENCY most important opportunities for getting like experiencing an abortion, at least it Finnish food culture. Food has reached var- together at the Saari Residence. During felt like one. Being in a home residency ious corners of the world by travelling with The pandemic is challenging us to rethink these presentations, each person working altered the preliminary plans in one very people, and so-called traditional cuisine is the fundamentals of international resi- at the residence shares their progress and important way. I lost access to a gorgeous not always made of local ingredients. For dence activities and what they mean for their thoughts about their work with the studio, where my work started to enter example, pizza is the world-famous repre- artists, researchers and their work. At the others. At the same time, the presenter re- new territories. I trust my body would sentative of Italian cuisine, but the tomato heart of international residence activities ceives valuable feedback, new perspectives remember that state and will be able to comes from the Aztecs. This contradiction is the idea of travelling around the world and ideas from representatives of other re-connect to it even in spaces, which are and the idea of authenticity in traditional to work in a new environment where you fields of art and also science. These pres- far from what Saari offers. I am also grate- cooking fascinates the artists. can see your artistic processes in a new entations, which take place every Tuesday, ful for the regular weekly presentations we ”I think Jen and I responded to the light. Another basic idea related to resi- have been organised as Zoom video calls continue online, this is a beautiful way of pandemic by producing a lot of different dences for artists is getting away from it since March, and the residents have also keeping the Saari experience and connec- things. During my stay at Saari, I had in- all to make room for new things to emerge arranged meditation sessions and dinners tions alive and vibrant. “ tended to keep a recipe diary which selec- without the obligations of everyday life. via Zoom. Visual artist Ginta Tinte Vasermane tively documented what we cooked here, One of the Saari Residence’s special had planned to work in a community-ori- and it turned out to also document the how features is its concept of Well, which al- ented way near Saari Residence and in the news of pandemic shaped what we lows those working at Saari to encounter THE PLANS CHANGED Mynämäki, with the help of the Saari Res- cooked. Jen and I had hoped to spend more each other at the residence, both as indi- idence’s community artist Pia Bartsch’s time with local communities and learn/ viduals and within the framework of their In march 2020, almost all the artists who contacts. After the corona pandemic had cook with them as part of our process of artistic work. How could the Saari Resi- worked at the residence during the pan- started and brought along various restric- designing what to play. The physical aspect dence’s sense of community be replicated demic had to rethink their work and work- tions, she changed her plans and worked of creating a board game required a lot of in a home residence? How could we offer ing methods. The majority of them also in the immediate surroundings of the in-person communication, physicality of experiences of encountering each other returned to their homes as soon as suitable Saari Residence before returning home, playing, and testing. And knowing that we and sharing with each other? How could return trips became available. examining through the lens of a camera will have to leave early meant that we had the home residence provide multi-facet- During her stay at Saari, dance artist time and the landscape, as well as the daily to switch gears. We decided to move to a ed experiences with multiple voices and a Zden Brungot Svíteková planned to explore habits, rituals and movements of the few temporary medium of playing with food in sense of getting away from it all while at the role of the senses, especially touch, in people she encountered. She used these Zoom. Our first idea has been to play with home? How is it possible for a residence creative work together with the other resi- observations to create a video installation our friends this idea of eating raw garlic to leave its mark on the artist also as a dents. The coronavirus gave touch a whole during her home residence. together as a meditation,” Grace Wong told location without the physical experience? new and interesting perspective. From Artist and producer Jennifer Katanyout- us after getting back home. The concept of the home residence is her home residence, she told us about the anant and artist and architect Grace Wong Planning the future turned from precise aninteresting and important experiment changes the pandemic has brought and the came to the Saari Residence with the in- preparations to intuitive living-in-the-mo- in the planning of the Saari Residence’s feelings it has caused in her: tention of designing and implementing a ment with no room for final decisions. new ecologically sustainable activities. ”The COVID-19 has met me at a place, prototype of an edible board game called Right from the start of the operations, where I had one of the best working con- “Home” cooked. In their project, they stud- 54 55 HIGHLIGHTS OF 2020 KONE FOUNDATION ANNUAL REPORT 2020
ECOLOGICALLY SUSTAINABLE RESIDENCY PROGRAMME STARTED IN THE SAARI RESIDENCE
Jaana Eskola started as coordinator of ecological activities at the Saari Residence on April 2020. Eskola, who combines ecology and contemporary art in her career, believes that new ways of working and thinking in the context of both art and ecological sustainability can be developed at the residence.
Maintained by Kone Foundation, the Saari land and participated in the HIAP Frontiers Residence will be heading towards an eco- in Retreat project, which addressed ecolog- logically sustainable residency programme ical issues through contemporary art. For over the coming years. The focus in de- the last couple of years, Eskola has worked veloping the programme lies in promot- as the production coordinator for DocPoint, ing sustainability thinking in residence an association that organises documentary activities: in other words, to develop en- film events. vironmentally sustainable activities on “For the last fifteen years, ecology and Saari Manor’s coordinator of ecological activities, Jaana Eskola. Photo: Jussi Virkkumaa a long-term basis by testing and learning. contemporary art have walked hand in hand One of the first steps in promoting sus- in my life. The duties of the eco-coordinator tainable residence activities has been the at Saari Residence hit the sweet spot for me, too. Jaana Eskola explains that repairing mersion in one’s own work and, at the recruitment of a coordinator of ecological as they focus on the things I have always human beings’ relationship with other same time, the community created with activities. Jaana Eskola was selected for been passionate about,” Eskola explains. species lies at the core of this work. other artists create fertile ground for the the task and she started her new job at the “Maintaining the diversity of nature birth of something new. beginning of April 2020. requires us to rethink the ways we could “I look forward to encountering dif- Eskola has studied environmental pol- SAARI RESIDENCE CAN CREATE coexist peacefully with other species.” ferent kinds of people in my work and to itics at the University of Tampere and NEW WAYS OF OPERATING According to Eskola, this is also tied to learning new things and gaining new in- graduated as a visual artist from Art School a radical reduction in consumption and sights. I believe that new ways of working Maa. She has worked in environmental or- The ecological crisis will force all the sec- more sustainable use of natural resources. and thinking in the context of both art and ganisations, run the British Council’s art tors of society to rethink, reorganise and Saari Residence is a special place where ecological sustainability can be developed and culture programme at its office in Fin- rebuild their operations. This applies to art the local and the global meet. There, im- at Saari Residence”, Eskola says. 56 57 HIGHLIGHTS OF 2020 KONE FOUNDATION ANNUAL REPORT 2020
SUSTAINABLE LIFESTYLES ACCELERATOR IN MYNÄMÄKI
In September 2020, the first locally visible project of the Saari Residence’s ecologically sustainable residence activities, known as the Sustainable Lifestyles Accelerator, kicked off. Some thirty participants and representatives of local companies gathered at the premises of the former Mynämäki College of Crafts and Design.
Personal trainer Marika Virkkunen and participators of the Sustainable Lifestyles Accelerator. Photo: Pirre Naukkarinen
The Saari Residence’s ecologically sus- the basis for a calculation of their carbon companies in Mynämäki that support the along the roadmap and also a list of their tainable residence programme launched and material footprints. reduction of carbon footprints. The com- chosen actions to make it easier to follow locally in autumn 2020. The Sustainable At the workshop, they played a 1.5-de- panies and associations presented offer their progress. The list also makes it easy Lifestyles Accelerator was the first pro- gree lifestyle game, which prompted each heating, food, nutrition and ecological to continue making progress towards the ject in the ecology programme. It aimed to household to consider how they could re- services and products. 2030 target. highlight the key role played by consumer duce their carbon footprint to meet the The Mynämäki Accelerator ended in No- habits and lifestyle changes in mitigating 2030 climate targets. The game included a vember after a joint workshop focusing on climate change and preserving natural selection of activities, and the participants A MONTH-LONG TRIAL PERIOD the future, where the participants shared resources. chose the ones they felt suited their daily their experiences of the trial period and The 12 households that participated lives, such as buying wind power, install- The Accelerator’s next phase was a one- assessed their achievement of their goals. in the Mynämäki workshop committed ing an air source heat pump, adding veg- month trial period that took place in to reducing their carbon and material etarian days to their diet, or commuting October. This trial period was aided by The project is part of the international footprints in their everyday lives for a to work by bicycle instead of a car. They a roadmap created using the 1.5-degree Sustainable Lifestyles Accelerator with period of one month. During the Accel- arranged their selected actions on a time- lifestyles game, which contained the easy household participants also from Denmark, erator workshop, the participants looked line ranging from things that could be car- actions chosen by each household to im- Germany, Spain, Switzerland, Mexico and India. at ways to make lifestyle changes that are ried out already during the trial period and plement their carbon footprint reduction. In Finland, households from 14 localities have participated in the Accelerator. The Sustainable beneficial to the climate, while also being over a longer term. To support the participants during the tri- Lifestyles Accelerator is coordinated by the suited to their situation in life. Before the Participants in the workshop also had al period, they were given a calculation of German Wuppertal Instituteand D-Mat Oy, Kone workshop, each household had completed the opportunity to familiarise themselves the carbon footprint reduction they will Foundation’s Saari Residence in Mynämäki and a separate questionnaire, which formed with the services and products offered by achieve with the actions they have chosen the Mynämäki municipality in Finland. 58 59 HIGHLIGHTS OF 2020 KONE FOUNDATION ANNUAL REPORT 2020
The medieval basement of the main build- At its meeting in April 2020, Kone Foun- EXTENSIVE RENOVATION ing has been under restoration since 2015, dation’s Board of Trustees decided to start due to the water and moisture that finds the renovation of Saari Residence. The pur- OF THE MAIN BUILDING its way into the basement, along with some pose of the renovation is to improve the AT THE SAARI RESIDENCE other problems. The basement renovation building’s indoor air. The building’s venti- has involved dismantling the basement lation will be renewed, the microbial dam- floor and installing subsurface drains, heat- age in the floor and the old fungal decay of The main building of the Saari Residence for artists and ing, ventilation and a new brick floor. the walls will be repaired, and unhealthy researchers, maintained by Kone Foundation, will be renovated The observations made during the re- gaseous substances will be prevented from due to problems with the indoor air discovered during basement pairs and a condition survey showed that entering the interior. The damaged mate- repairs. Built in 1779, the main building of the Saari Manor in the building has, among other things, inade- rials of the intermediate floor will be re- Mietoinen, Mynämäki, has served as the office and event venue quate natural gravity ventilation, air leakages moved and a new floor will be built on the in its structures and some microbial damage first floor of the main building. In addition, of the Saari Residence for artists since 2008. here and there in the intermediate floor be- the renovation will involve improving the tween the basement and the first floor. building’s functionality and accessibility and constructing storage facilities and per- sonnel rooms for employees. THE RENOVATION WILL The renovation will take about two years. TAKE ABOUT TWO YEARS The Saari Manor is a site protected by the Finnish Heritage Agency, and the renova- Due to the problems discovered with the tion will be carried out showing care and indoor air, the Foundation established an respect for the old structures and in accord- Indoor Air Team consisting of staff mem- ance with protection regulations. bers and external experts from different “At Kone Foundation, we are committed fields. In accordance with the proposals to ensuring that the Saari Manor's archi- for action made by experts at the Finnish tecturally and culturally important main Institute of Occupational Health, a survey building will remain in good shape and of the exposure conditions carried out in will survive to serve future generations the main building in order to assess their too. The renovation will be extensive, but health effects on the basis of previous sur- we will continue our residence activities veys and new additional ones. According and will focus on providing the best pos- to the survey, it was unlikely that microbial sible working conditions for artists and impurities have found their way into the researchers at the Saari Residence,” says indoor air. However, the damaged interme- Leena Kela, Executive Director at the Saari The main building of Saari Residence. Photo: Otto-Ville Väätäinen diate floor requires comprehensive repairs. Residence. 60 61 HIGHLIGHTS OF 2020 KONE FOUNDATION ANNUAL REPORT 2020
TWO NEW COMMUNICATION INITIATIVES HELPED MAKE RESEARCH PROJECTS VISIBLE
In 2020, we launched two new initiatives that made research projects granted by Foundation visible: a series of long articles called Different Routes and the Totuuden rakennuspalikat ("Building blocks for truth") discussion series.
DIFFERENT ROUTES BEAMS LIGHT lence and melancholy, but also carnivalis- ON UNKNOWN RESEARCH tic madness. Riikka Rossi, Elise Nykänen and Antti Ahmala are part of a working In November 2020, a new series of long ar- group that has studied the myth of strange ticles called Different Routes was launched northern emotions. Ahead of winter sol- In the first Totuuden rakennuspalikat event Koko Hubara and Miika Tervonen on the Foundations website. The series, stice, journalist Jantso Jokelin explored discussed in the Päivälehti Museum. Photo: Ida Pimenoff produced by journalist Tuomo Tamminen, the topic. invites its readers to familiarise on recent Articles are available on the Founda- research projects. tion’s website: koneensaatio.fi. were pondered in the Totuuden rakennus- In the second event in March, research- In the first article of the series, journal- palikat ("Building blocks for truth") dis- er Minna Ruckenstein and journalist Olli ist Mikko Pelttari guided the readers on cussion series created by Kone Foundation Sulopuisto talked about the relationship a journey to the Karelia region, the land ”BUILDING BLOCKS FOR TRUTH” and Helsingin Sanomat Foundation. of truth and technology. In the third and of folk poetry. Finns have always looked EXPLAINED HOW THE TRUTH IS In the opening event of the series in last event in November, researcher Maarit to Karelia for a better understanding of CONSTRUCTED February writer Koko Hubara and a do- Leskelä-Kärki and journalist Iida Sofia nature. In the article, researchers Harri cent Miika Tervonen filled the Päivälehti Hirvonen had a discussion about truth Alenius, Sonja Koski and Tiina Seppä ex- How to give birth to new knowledge and museum with lively discussion about the from the point of view of esoteric and plain the lessons we can learn from Karelia what kind of work is research work? What nature of truth. spiritual knowledge. and other species today. happens in the mind of a truth-maker and Unfortunately, the coronavirus pandemic All of the discussions were recorded. The second part of the series was about what kind of feelings does the act of doing forced us to make some changes in the con- The streams can be watched on YouTube arctic hysteria, a concept that has been research awaken? cept of the series and the rest of the discus- or listened to on Spotify, Soundcloud and used in Finnish literature to justify vio- These were some of the questions that sions were broadcasted as video streams. Apple Podcast.
62 63 HIGHLIGHTS OF 2020 KONE FOUNDATION ANNUAL REPORT 2020
LINGUIST ULLA TUOMARLA APPOINTED ACTING DIRECTOR OF KONE FOUNDATION
Docent Ulla Tuomarla, PhD, was appointed Director of Kone Foundation while Director Anna Talasniemi is on study leave. Tuomarla has worked the Foundation's Acting Director from December 2020.
Kone Foundation's Acting Director Ulla co-edited with the historian Riikka-Maria Tuomarla is a linguist and lecturer in Rosenberg. French translation at the University of ”I am honoured and grateful for this op- Helsinki. Before starting at Kone Founda- portunity to take a look inside the world of tion, she was Vice Dean of the University's the foundations. As a former Foundation Faculty of Arts. grantee, I have long admired Kone Foun- Tuomarla has had a long career at the dation’s work, and I am very keen to try University of Helsinki, starting as a post- to make a positive change to the world as graduate student in 1995. Her first inde- a staff member of the Foundation. I see pendent management post was in 2014 as our values as being perfectly aligned”, Director of the Department of Modern Tuomarla said in September 2020 when Languages. her appointment was unveiled to public. Tuomarla’s academic studies have par- “Some people have the impression that ticularly focused on use of language in foundations and their employees lead the media, but also on stylistic features a safe existence with no worries. While Kone Foundation’s Acting Director Ulla Tuomarla. Photo: Ilkka Saastamoinen in literature. This year, she has published financial security and independence are a joint article about hate speech on the absolutely great, I can assure you that the learning the ropes, it feels important to me how difficult the prolonged coronavirus Suomi24 discussion board and a book, employees of Kone Foundation do not rest to start by promoting well-being at work pandemic is for the work community. Markiisitar de Sévignén kirjeet 1648–1696 on their laurels. The various units come up and to consider how our everyday work Fostering a sense of community in these (The letters of the Marquise de Sévigné with new ideas for our operations at such reflects against the value system speci- circumstances requires resourcefulness 1648–1696, Teos Publishing), which she a rate that it’s hard to keep up! As I’m still fied in our strategy. Let’s also not forget from all of us.”
64 65 KONE FOUNDATION ANNUAL REPORT 2020
2 pp. 66–73
FINANCES
Kone Foundation relies on yields from investments for its operations. The purpose of the Foundation’s investment function is to manage the Foundation’s investment assets so that operations pursuant to the Foundation’s by-laws remain stable now and in the future. Because the Foundation employs a long- term investment horizon, the majority of its in- vestments are in shares. Investments are governed by the investment strategy, approved annually by the Board of Trustees, and the annual investment plan. Although the restrictive measures imposed to prevent the spread of the coronavirus resulted in a global downturn in the real economy, the nega- tive effects of the pandemic on investment returns remained very short-lived. The market recovered rapidly thanks to extensive support measures for the economy. Periodic easing of the restrictions and good vaccine news contributed to the rise in stock prices. In deciding on the award purse for grants, the Board of Trustees takes into account the running yield on assets in the previous finan- cial year and the current outlook. The Foundation is also mindful that future funding needs must be prepared for Kuva: Silja Pasila Silja Kuva: 66 67 FINANCES KONE FOUNDATION ANNUAL REPORT 2020
REVENUE TRENDS ADMINISTRATIVE COSTS 2010–2020 2010–2020
80,000,000 3,000,000
70,000,000 2,500,000
60,000,000 2,000,000
50,000,000 1,500,000 40,000,000
1,000,000 30,000,000
500,000 20,000,000
10,000,000 0 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020
YEAR REVENUE TRENDS YEAR € 2010 24,736,463 2010 335,437 2011 17,431,743 2011 639,793 2012 34,937,015 2012 552,582 2013 40,273,806 2013 978,686 2014 35,447,351 2014 1,124,588 2015 42,181,239 2015 1,409,313 2016 48,606,445 2016 1,605,693 2017 57,135,691 2017 2,237,590 2018 62,949,192 2018 2,895,910 2019 66,040,250 2019 2,886,681 2020 65,120,429 2020 3,000,234
68 69 FINANCES KONE FOUNDATION ANNUAL REPORT 2020
INCOME STATEMENT 01/01–31/12/2020 01/01–31/12/2019
OPERATING ACTIVITIES
Grants for science, art and culture Grants, donations and prizes awarded -41,251,781.00 -30,938,726.00
Saari Residence Residency grants awarded -175,917.00 -255,863.00 Cultural activities -38,888.21 -109,075.65 Property expenses -209,008.72 -171,688.80 Members of the Advisory Board Human resources expenses -387,305.98 -457,012.61 of the Saari Residence were paid Depreciation -282,136.41 -253,032.48 EUR 11,050 in annual fees and Other expenses -324,960.23 -329,533.95 meeting fees. -1,418,216.55 -1,576,206.49 Property in Athens Depreciation -5,425.14 -5,651.18 Other expenses -4,566.28 -4,566.28 -9,991.42 -10,217.46 Other operating activities Events, seminars and co-operation -216,178.21 -230,104.61
OPERATING ACTIVITIES, TOTAL -42,896,167.18 -32,755,254.56
INVESTMENTS Income Dividends earned 65,120,428.66 66,040,250.52 Income from funds and fund sales 13,695,994.68 16,190,617.07 Interest earned 6,585.74 434,536.92 Foreign exchange gains 2,286,386.36 1,455,724.97 Appreciation 1,408,098.80 12,960,318.79 82,517,494.24 97,081,448.27 Expenses Losses from fund sales 5,434,483.00 3,311,814.71 Members of the Board of Foreign exchange losses -1,823,950.55 -3,257,816.89 Trustees were paid EUR 73,048 Impairment -3,429,377.71 -1,051,226.40 in evaluation compensation and meeting fees. Asset management expenses -1,205,986.30 -1,097,604.73 -11,893,797.56 -8,718,462.73
INVESTMENTS, TOTAL 70,623,696.68 88,362,985.54
ADMINISTRATION Human resources expenses -1,025,784.85 -894,151.55 Depreciation -801,453.58 -888,792.20 Other expenses -1,172,995.61 -1,103,736.80
ADMINISTRATION, TOTAL -3,000,234.04 -2,886,680.55
SURPLUS FOR THE FINANCIAL YEAR 24,727,295.46 52,721,050.43
70 71 FINANCES KONE FOUNDATION ANNUAL REPORT 2020
BALANCE SHEET 31/12/2020 31/12/2019
ASSETS
Non-current assets Intangible assets Lauttasaari Manor Park 1,069,033.24 1,235,204.91 The Foundation owns the land and buildings of Saari Manor, the buildings Tangible assets of Lauttasaari Manor and a property in Land 1,592,545.74 1,592,545.74 Athens that is being used by the Finnish Grounds of the Saari Residence 21,884.88 27,356.10 Institute at Athens. The Foundation also owns a land area in Kemiönsaari Buildings 14,449,636.51 13,963,961.93 known as the Kulla nature reserve. Shares in offices 2,083,931.10 2,083,931.10 Machinery and equipment 776,067.79 997,087.99 Other tangible assets 535,161.82 535,161.82 Tangible assets, total 19,459,227.84 19,200,044.68
Investments Shares and holdings 9,391,104.32 9,391,104.32
Non-current assets, total 29,919,365.40 29,826,353.91
Current assets The Foundation owns Class A and Accrued income and other receivables 255,562.46 160,087.97 B shares in KONE Corporation Financial securities 475,607,099.45 437,906,522.06 and Cargotec Corporation as well Cash at bank and in hand 13,237,061.04 12,158,155.57 as shares in Holding Manutas Oy. The market value of the publicly Current assets, total 489,099,722.95 450,224,765.60 traded Class B shares was EUR 696,952,737 on 31 December 2020. The market value of ASSETS, TOTAL 519,019,088.35 480,051,119.51 the Foundation’s financial securities was EUR 634,232,186 EQUITY AND LIABILITIES on 31 December 2020.
Equity Initial capital 71,345.32 71,345.32 Additional capital 5,126,174.51 5,126,174.51 Working capital 404,994,870.84 352,273,820.41 Profit for the financial year 24,727,295.46 52,721,050.43
Equity, total 434,919,686.13 410,192,390.67 The sum includes EUR 83.3 million owed to beneficiaries Liabilities of Kone Foundation’s grants, Non-current liabilities 54,977,981.00 42,750,645.00 i.e. grants awarded but not yet paid. Current liabilities 29,121,421.22 27,108,083.84
Liabilities, total 84,099,402.22 69,858,728.84
EQUITY AND LIABILITIES, TOTAL 519,019,088.35 480,051,119.51
72 73