Contemporary Plastic consists of works by six artists.

Henry Lim's The Beatles (2001: 160 x 80 cm, 20 000 lego pieces, glue), a California masterpiece by a less-known but definitely original artist, became an immediate icon. It was covered in the press by journalists as well as by ROR itself: an interview with the enigmatic Lim was published in Swedish ("Intervju med Henry Lim", Kontur 2003: 4, 6), a language, where Lim, if pronounced accurately, means glue. Glue was the crucial key for exhibiting the work, which arrived originally in a more or less unintentionally psychedelic state: the glue keeping together all the 20 000 pieces of lego had actually deformed the picture. The problem was solved just in time for the opening ceremonies, and the portrait of the four revolutionary hippies became a marvel as much for the artworld as for rock-oriented viewers, who have always formed an important part of ROR's (as well as Beatles') audience.

Viktor Krogius is one of the more or less permanent satellites of ROR, whose life-work consists of producing accurately photorealistic, artistically minimalistic, and refined pieces of miniature model-building. Starfighters (2003: 9 planes, 37 x 16 x 9 cm each, mixed technique) is a hommage to a series of World War II airplanes. They have been finished in an obsessive spirit far from the readymades on sale: the planes which feature all mechanical details, symbols and paints featured in the original, may fully be appreciated only with the help of a magnifying glass.

Karoliina Taipale's Homo Sapiens (2003: 28 x 28 cm, optical pvc, collage) is a new piece in Taipale's series of dualist portraits based on optics. The work provides two versions of the same, a picture oscillating between two identities - just with a nick of the head of the viewer. Taipale is not that much interested in change. She is more into showing different sides of same phenomena. Earlier works have included a superman revealed to be a (super) dog and men becoming women, as well as the opposite. In Homo Sapiens Taipale is more clearly involved with the dual nature of man, here represented by a woman, seen with and / or without devilish horns. In the gallery space the picture was seen in both ways at the same time with the help of a mirror.

Klaus Nyqvist's paintings (2003: paint, metal sheets, different sizes) illuminate the never-explanable abyss which lies outside of human understanding. Cosmic chaos is revealed through a gap hanging in a yogurt- like curtain, eternal darkness is pierced by a streamlike pepperish explosion, and the paradisiac-tropical roots of humanity are recalled by a strangely familiar-looking green. The works could be classified as psychedelic garage painting. They show mindscapes filled with breath- taking details, marks and mappings from Nyqvist's ongoing expedition to the other side.

Panu Puolakka's slightly kitsched up gastronomically glancing design with a flavor of high society, and a theme not evadable by anyone (death), made friends in the female audience, who found themselves seduced in a controversial web of luxury and degrade, morbid romantics poshed up by jewelry, and, most importantly, refined plasticity. Our existence is sadly, but intensifyingly time-bound, echoed by Skulls (2003: 4 pieces, 38 x 29 x 10 mm, plastic, silver, diamond, watch). Skulls are traditionally not girls' best friends but Puolakka's are - meant to be that until the more or less bitter end.

Jiri Geller's Continue (2002: 10 x 15 x 5 cm, painted bronze, liquid gas, electronics) made its first electrifying appearance earlier the same year in an exhibition at Ottawa, but, for sure, made a hot re-appearance, definitely at the core of the world of freaked-out plastic - in Contemporary Plastic. Geller's work consists of a super-realistic playstation made of bronze, put in flames easily, just by pressing the button in the stand below. The work concretely heated up the gallery, and got some unintended symbolical significance as it nearly put fire on the hair of a seemingly curious critic representing Finland's main anti- newspaper.