Looking Back: 2020–2025 - Farewell Interview with Elina Suoyrjö

𝙋𝙧𝙤𝙜𝙧𝙖𝙢𝙢𝙞𝙣𝙜 𝙩𝙝𝙧𝙤𝙪𝙜𝙝 𝙘𝙖𝙧𝙚, 𝙘𝙪𝙧𝙞𝙤𝙨𝙞𝙩𝙮 𝙖𝙣𝙙 𝙩𝙧𝙖𝙣𝙨𝙛𝙤𝙧𝙢𝙖𝙩𝙞𝙤𝙣

After five years with the 𝗙𝗶𝗻𝗻𝗶𝘀𝗵 𝗖𝘂𝗹𝘁𝘂𝗿𝗮𝗹 𝗜𝗻𝘀𝘁𝗶𝘁𝘂𝘁𝗲 𝗶𝗻 𝗡𝗲𝘄 𝗬𝗼𝗿𝗸, our 𝗗𝗶𝗿𝗲𝗰𝘁𝗼𝗿 𝗼𝗳 𝗣𝗿𝗼𝗴𝗿𝗮𝗺𝘀, 𝗘𝗹𝗶𝗻𝗮 𝗦𝘂𝗼𝘆𝗿𝗷ö, is moving on to her next chapter. Since joining the Institute in the fall of 2020, at a moment of global upheaval, Elina has steered our programming with 𝗰𝗮𝗿𝗲, 𝗰𝘂𝗿𝗶𝗼𝘀𝗶𝘁𝘆, 𝗮𝗻𝗱 𝗮 𝘀𝘂𝗯𝘁𝗹𝘆 𝘁𝗿𝗮𝗻𝘀𝗳𝗼𝗿𝗺𝗮𝘁𝗶𝘃𝗲 𝘃𝗶𝘀𝗶𝗼𝗻.

With a background spanning 𝗰𝘂𝗿𝗮𝘁𝗶𝗻𝗴, 𝘄𝗿𝗶𝘁𝗶𝗻𝗴, and 𝗿𝗲𝘀𝗲𝗮𝗿𝗰𝗵, Elina has brought a distinctive voice to the Institute’s work, fostering dialogue between Finnish and North American practitioners, and expanding the reach of our 𝗿𝗲𝘀𝗶𝗱𝗲𝗻𝗰𝘆, 𝗰𝘂𝗿𝗮𝘁𝗼𝗿𝗶𝗮𝗹, 𝗮𝗻𝗱 𝗽𝘂𝗯𝗹𝗶𝗰 𝗽𝗿𝗼𝗴𝗿𝗮𝗺𝘀. Her approach has consistently foregrounded collaboration, critical reflection, and the importance of sustainable and long-term cultural exchange

Upon her departure, we asked questions from Elina to reflect on her time at 𝗙𝗖𝗜𝗡𝗬, the projects and partnerships that have defined her tenure, the challenges and joys of working across continents, and the ideas she will carry forward into her next chapter.

𝐘𝐨𝐮 𝐣𝐨𝐢𝐧𝐞𝐝 𝐅𝐂𝐈𝐍𝐘 𝐢𝐧 𝐎𝐜𝐭𝐨𝐛𝐞𝐫 𝟐𝟎𝟐𝟎, 𝐫𝐢𝐠𝐡𝐭 𝐢𝐧 𝐭𝐡𝐞 𝐦𝐢𝐝𝐝𝐥𝐞 𝐨𝐟 𝐚 𝐠𝐥𝐨𝐛𝐚𝐥 𝐩𝐚𝐧𝐝𝐞𝐦𝐢𝐜. 𝐇𝐨𝐰 𝐝𝐢𝐝 𝐭𝐡𝐨𝐬𝐞 𝐮𝐧𝐮𝐬𝐮𝐚𝐥 𝐜𝐢𝐫𝐜𝐮𝐦𝐬𝐭𝐚𝐧𝐜𝐞𝐬 𝐬𝐡𝐚𝐩𝐞 𝐲𝐨𝐮𝐫 𝐞𝐧𝐭𝐫𝐲 𝐢𝐧𝐭𝐨 𝐭𝐡𝐞 𝐫𝐨𝐥𝐞 ?

It was a strange experience starting a new job abroad from my living room in Finland, just by turning the work laptop on. The fact that the whole team worked remotely, with no staff members at the office, shaped everything we were able to do. I thought a lot about what kind of programming could even be relevant at that point: what would benefit artists, what would interest the audiences, and in the end, what kind of programming the Institute was actually able to do from this vast distance to the city. I worked closely with artist 𝗧𝗲𝗿𝗶𝗸𝗲 𝗛𝗮𝗮𝗽𝗼𝗷𝗮, who was one of FCINY’s board members at the time and lived in New York. She was my eyes and ears in the city and I’m ever grateful for all the discussions we had at that time. One thing none of us realized from the distance was the trauma the pandemic caused to the city. This only started unfolding once the borders opened and we were able to relocate. I actually think the pandemic times and its aftermath is still unfolding within the city and its residents. It’s not just something anyone wants to talk about at the moment. The experience New Yorkers had of the pandemic with full-on lockdowns, neverending sound of sirens, the sight of field hospitals in city center, and losing loved ones, was completely different to the Finnish experience of people mainly complaining about bars being closed. It was a challenge to think about what programming in New York could be at that time. The overarching solution was to approach the program as a whole through tenderness and care.

𝐖𝐡𝐚𝐭 𝐰𝐞𝐫𝐞 𝐬𝐨𝐦𝐞 𝐨𝐟 𝐲𝐨𝐮𝐫 𝐛𝐢𝐠𝐠𝐞𝐬𝐭 𝐩𝐫𝐨𝐣𝐞𝐜𝐭𝐬 𝐝𝐮𝐫𝐢𝐧𝐠 𝐲𝐨𝐮𝐫 𝐭𝐢𝐦𝐞 𝐚𝐭 𝐭𝐡𝐞 𝐢𝐧𝐬𝐭𝐢𝐭𝐮𝐭𝐞 ?

The idea for the still ongoing 𝗪𝗶𝘁𝗵𝘀𝘁𝗮𝗻𝗱𝗶𝗻𝗴 podcast started brewing quite soon after I joined the Institute. The idea was to emphasize the silver lining of a devastating situation: the potential of rethinking our ways and habits of working, and eventually changing them amidst the halt in production and hustle caused by the pandemic. Work with Withstanding has continued after the pandemic, partly as a reminder of this potential, which we seem to have totally forgotten about! Three seasons of Withstanding have also served as a platform for sound-based art. I was really excited about this possibility, as exhibiting art was physically impossible at that time.

Once physical gatherings became possible, I started working on a program titled 𝗘𝘅𝗲𝗿𝗰𝗶𝘀𝗲𝘀 𝗶𝗻 𝗧𝗼𝗴𝗲𝘁𝗵𝗲𝗿𝗻𝗲𝘀𝘀, which consisted of small-scale public gatherings and culminated in presenting a group exhibition titled 𝗘𝗺𝗽𝗮𝘁𝗵𝘆 𝗠𝘂𝘀𝗰𝗹𝗲, and a publication gathering contributions from curators, writers and artists. The first gatherings were tiny, as we were allowed to gather with a maximum of 15 people! The program was all about gently learning to be together in the aftermath of the pandemic, and it included contemplation on topics such as the significance of communities, human/more-than-human relations, and work-life balance. Two first gatherings were realized in Helsinki with 𝗙𝗿𝗮𝗺𝗲 𝗖𝗼𝗻𝘁𝗲𝗺𝗽𝗼𝗿𝗮𝗿𝘆 𝗔𝗿𝘁 𝗙𝗶𝗻𝗹𝗮𝗻𝗱 and 𝗣𝗨𝗕𝗟𝗜𝗖𝗦, two following events in New York with 𝗥𝗲𝘀𝗶𝗱𝗲𝗻𝗰𝘆 𝗨𝗻𝗹𝗶𝗺𝗶𝘁𝗲𝗱 and 𝗦𝗰𝗮𝗻𝗱𝗶𝗻𝗮𝘃𝗶𝗮 𝗛𝗼𝘂𝘀𝗲, and the final gathering took place online on the Withstanding podcast platform. The publication was a possibility to reflect upon all that was done and what on the other hand needed more attention.

Photos by Kira Bjorklund and Helmi DeMaxi (Korhonen)

During my time at the FCINY I have also had the chance (and the pleasure!) to work across the whole 𝗙𝗶𝗻𝗻𝗶𝘀𝗵 𝗔𝗰𝗮𝗱𝗲𝗺𝗶𝗰 𝗮𝗻𝗱 𝗖𝘂𝗹𝘁𝘂𝗿𝗮𝗹 𝗜𝗻𝘀𝘁𝗶𝘁𝘂𝘁𝗲𝘀’ network. In 2022, I worked closely with 𝗞𝗮𝗿𝗼𝗹𝗶𝗶𝗻𝗮 𝗞𝗼𝗿𝗽𝗶𝗹𝗮𝗵𝘁𝗶, who was at the time the Director of Programs at the 𝗙𝗶𝗻𝗻𝗶𝘀𝗵 𝗜𝗻𝘀𝘁𝗶𝘁𝘂𝘁𝗲 𝗶𝗻 𝘁𝗵𝗲 𝗨𝗞 & 𝗜𝗿𝗲𝗹𝗮𝗻𝗱, in planning and realizing an exhibition and a seminar titled 𝗘𝗹𝗮𝘀𝘁𝗶𝗰 𝗔𝗹𝗹𝗶𝗮𝗻𝗰𝗲𝘀, which took place at 𝗛𝗮𝗻𝗮𝗵𝗼𝗹𝗺𝗲𝗻 𝗖𝘂𝗹𝘁𝘂𝗿𝗮𝗹 𝗖𝗲𝗻𝘁𝗲𝗿. The project brought together several of the Finnish Institutes operating all over the world. Karoliina and I continued collaborating in 2023 by planning and organizing a notch more ambitious project, 𝗧𝗼𝗴𝗲𝘁𝗵𝗲𝗿 𝗔𝗴𝗮𝗶𝗻, which brought together nine Institutes to commission new works from artists and artist collectives, and organising an ambitious one-day program at 𝗢𝗼𝗱𝗶 𝗟𝗶𝗯𝗿𝗮𝗿𝘆 in Helsinki, presenting a keynote talk, discussions, presentations, commissioned pieces, and participatory artworks. It was a journey! Program directors and other staff members from all of the institutes played an essential part in making that event happen, and the FCINY also hired a fantastic producer, 𝗠𝗼𝗻𝗶𝗰𝗮 𝗚𝗮𝘁𝗵𝘂𝗼, to work on this vast program.

𝐀𝐫𝐞 𝐭𝐡𝐞𝐫𝐞 𝐬𝐩𝐞𝐜𝐢𝐟𝐢𝐜 𝐩𝐫𝐨𝐣𝐞𝐜𝐭𝐬, 𝐜𝐨𝐥𝐥𝐚𝐛𝐨𝐫𝐚𝐭𝐢𝐨𝐧𝐬, 𝐨𝐫 𝐦𝐨𝐦𝐞𝐧𝐭𝐬 𝐟𝐫𝐨𝐦 𝐲𝐨𝐮𝐫 𝐭𝐞𝐧𝐮𝐫𝐞 𝐭𝐡𝐚𝐭 𝐲𝐨𝐮 𝐟𝐞𝐞𝐥 𝐞𝐬𝐩𝐞𝐜𝐢𝐚𝐥𝐥𝐲 𝐩𝐫𝐨𝐮𝐝 𝐨𝐟 ?

I’m of course proud of all of the projects I’ve had the chance to work on at the institute, but if I have to pick one, I’d like to highlight 𝗟𝗶𝗺𝗶𝘁𝘀 𝘁𝗼 𝗚𝗿𝗼𝘄𝘁𝗵. This was a project that took place at the 𝗡𝗲𝘄 𝗔𝗿𝘁 𝗗𝗲𝗮𝗹𝗲𝗿𝘀 𝗔𝗹𝗹𝗶𝗮𝗻𝗰𝗲 (𝗡𝗔𝗗𝗔) fair in 𝗠𝗶𝗮𝗺𝗶 in December 2024. 𝗟𝗶𝗺𝗶𝘁𝘀 𝘁𝗼 𝗚𝗿𝗼𝘄𝘁𝗵 was very much an experimental curatorial project, in which a nomadic exhibition presenting the work of three artists was carried out by two performers on each day of the fair. The contributing artists were 𝗝𝗮𝗮𝗸𝗸𝗼 𝗣𝗮𝗹𝗹𝗮𝘀𝘃𝘂𝗼, 𝗡𝗲𝘀𝘁𝗼𝗿𝗶 𝗦𝘆𝗿𝗷ä𝗹ä, and 𝗕𝗼𝗴𝗻𝗮 𝗟𝘂𝗶𝘇𝗮 𝗪𝗶𝘀𝗻𝗶𝗲𝘄𝘀𝗸𝗮, who all created new works or new versions of earlier works for this occasion. The wonderful performers were US-based artists 𝗛𝗲𝗮𝘁𝗵𝗲𝗿 𝗟𝘆𝗼𝗻 and 𝗺𝗶𝘀𝗮𝗲𝗹 𝘀𝗼𝘁𝗼. During the week, the audience members were able to spot this odd character wandering slowly around the fair area, focused on reading the book Limits to Growth from 1972. This report pretty much predicted the outcomes of disaster capitalism and the imminent climate catastrophe caused by it.

I loved working on this project, as I got to put all my curatorial ideas in, and work with fantastic artists on commissioning new work, and putting together something experimental. The starting point was Syrjälä’s existing performative work based on the Limits to Growth report, that we then took together to a new direction. There was a lot of curious unpredictability in terms of the performative part and possible audience reactions, and content-wise it was a delicious mix of social and ecological critique and playfulness. I was also able to commission a visual identity for this project from 𝗠𝗮𝗿𝗶𝗻𝗮 𝗩𝗲𝘇𝗶𝗸𝗼, who had just participated in the FCINY’s residency program as a 𝗗𝗲𝘀𝗶𝗴𝗻𝗲𝗿-𝗶𝗻-𝗥𝗲𝘀𝗶𝗱𝗲𝗻𝗰𝗲. In the end, Limits to Growth was a short and sweet project that brought together six practitioners in the peculiar surroundings of a busy art fair.

During my tenure the Institute has also launched a curatorial residency program. This was carried out for two years in collaboration with 𝗥𝗲𝘀𝗶𝗱𝗲𝗻𝗰𝘆 𝗨𝗻𝗹𝗶𝗺𝗶𝘁𝗲𝗱, and from 2024 on with 𝗣𝗶𝗼𝗻𝗲𝗲𝗿 𝗪𝗼𝗿𝗸𝘀. It has been a pleasure to get to work with such established and essential NYC-organisations in bringing Finnish curators to New York to do research, meet artists, and network. The pool of curators is growing in Finland by the year, but the structures of the art world are still adapting to this change in the ecosystem.

I’d also like to highlight one 𝗪𝗶𝘁𝗵𝘀𝘁𝗮𝗻𝗱𝗶𝗻𝗴 episode, namely 𝗘𝗽𝗶𝘀𝗼𝗱𝗲 𝟳: 𝗢𝗻 𝗟𝗶𝘀𝘁𝗲𝗻𝗶𝗻𝗴 & 𝗛𝗲𝗮𝗿𝗶𝗻𝗴 𝘄𝗶𝘁𝗵 𝗔𝗻𝘁𝘆𝗲 𝗚𝗿𝗲𝗶𝗲 𝗥𝗶𝗽𝗮𝘁𝘁𝗶 and 𝗟𝗮𝗠𝗼𝗻𝘁 𝗛𝗮𝗺𝗶𝗹𝘁𝗼𝗻. Again - I think all 𝗪𝗶𝘁𝗵𝘀𝘁𝗮𝗻𝗱𝗶𝗻𝗴 episodes have been fantastic as there have been such fantastic speakers and moderators who have said yes to the invitations, but what is special about this episode is that it focuses on the sound art element that I was particularly excited about when starting to work on the podcast. As mentioned, Withstanding was very much a platform for both discussions and exhibiting sound-based art. It was wonderful to get to bring these incredible artists together, Antye from 𝗛𝗮𝗶𝗹𝘂𝗼𝘁𝗼 in 𝗡𝗼𝗿𝘁𝗵𝗲𝗿𝗻 𝗙𝗶𝗻𝗹𝗮𝗻𝗱 and 𝗟𝗮𝗠𝗼𝗻𝘁 from 𝗔𝗻𝗰𝗵𝗼𝗿𝗮𝗴𝗲 𝗔𝗹𝗮𝘀𝗸𝗮, to talk about what soundings mean to them, what kind of a medium or tool sound is, and what sound and hearing can do to us.

In 2025 there has been a specific focus in the program to highlight and honor Indigenous practices in contemporary art, architecture and design. This is the focus in 𝙩𝙝𝙚 𝙢𝙤𝙨𝙩 𝙧𝙚𝙘𝙚𝙣𝙩 𝙨𝙚𝙖𝙨𝙤𝙣 𝙤𝙛 𝙒𝙞𝙩𝙝𝙨𝙩𝙖𝙣𝙙𝙞𝙣𝙜, and we also had the opportunity to start the year with a very loud bang by presenting an evening of 𝗜𝗻𝗱𝗶𝗴𝗲𝗻𝗼𝘂𝘀 𝗗𝗿𝗮𝗴 𝗘𝘅𝗰𝗲𝗹𝗹𝗲𝗻𝗰𝗲 with the most fabulous drag artists, 𝗔𝘂𝗻𝘁𝘆 𝗧𝗮𝗺𝗮𝗿𝗮, 𝗙𝗲𝗮𝘁𝗵𝗲𝗿 𝗧𝗮𝗹𝗶𝗮, 𝗥𝗮𝗻𝗱𝘆 𝗥𝗶𝘃𝗲𝗿 𝗮𝗻𝗱 𝗥𝗶𝘁𝗻𝗶 𝗧𝗲𝗮𝗿𝘀, and the bestest partners ever, 𝗥𝗶𝗱𝗱𝘂 𝗥𝗶đđ𝘂 𝗙𝗲𝘀𝘁𝗶𝘃𝗮𝗹, 𝗟𝗲𝘀𝗹𝗶𝗲-𝗟𝗼𝗵𝗺𝗮𝗻 𝗠𝘂𝘀𝗲𝘂𝗺 𝗼𝗳 𝗔𝗿𝘁, and 𝗙𝗶𝗻𝗻𝗶𝘀𝗵-𝗡𝗼𝗿𝘄𝗲𝗴𝗶𝗮𝗻 𝗖𝘂𝗹𝘁𝘂𝗿𝗮𝗹 𝗜𝗻𝘀𝘁𝗶𝘁𝘂𝘁𝗲. It’s been extremely heart-warming to get excited feedback from artists, speakers and moderators, as the occasions to get to exchange thoughts and ideas between Indigenous communities across continents is quite rare. This program continues later on, so please stay tuned!

Photos by Maxwell Vice

Finally, I want to highlight 𝗦𝗵𝗮𝗿𝗲𝗱 𝗚𝗿𝗼𝘂𝗻𝗱𝘀, a performative group exhibition I co-curated together with 𝗠𝗲𝗴𝗵𝗮𝗻𝗮 𝗞𝗮𝗿𝗻𝗶𝗸 from the 𝗙𝗹𝘂𝘅 𝗙𝗮𝗰𝘁𝗼𝗿𝘆 in the summer of 2025 at 𝗛𝘂𝗻𝘁𝗲𝗿’𝘀 𝗣𝗼𝗶𝗻𝘁 𝗦𝗼𝘂𝘁𝗵 𝗣𝗮𝗿𝗸 𝗟𝗼𝗻𝗴 𝗜𝘀𝗹𝗮𝗻𝗱 𝗖𝗶𝘁𝘆. This was very much a project I wanted to realize from the start of my tenure. I was curious about the use and access to public space in 𝗡𝗲𝘄 𝗬𝗼𝗿𝗸 𝗖𝗶𝘁𝘆, where most spaces are private and/or commercial. The idea was brewing for a long time and once I got in touch with 𝗙𝗹𝘂𝘅 𝗙𝗮𝗰𝘁𝗼𝗿𝘆'𝘀 team things started to develop quite organically. Meghana and I had the chance to commission new works from five fantastic artists, all of whom brought audience members together in the park through their own practices, to contemplate on our relationships with both each other and our surroundings. The performance day at the end of June was truly magical!

Photos by Yann Chashanovski

𝐅𝐂𝐈𝐍𝐘 𝐰𝐨𝐫𝐤𝐬 𝐚𝐭 𝐭𝐡𝐞 𝐢𝐧𝐭𝐞𝐫𝐬𝐞𝐜𝐭𝐢𝐨𝐧 𝐨𝐟 𝐅𝐢𝐧𝐧𝐢𝐬𝐡 𝐚𝐧𝐝 𝐍𝐨𝐫𝐭𝐡 𝐀𝐦𝐞𝐫𝐢𝐜𝐚𝐧 𝐜𝐮𝐥𝐭𝐮𝐫𝐚𝐥 𝐞𝐱𝐜𝐡𝐚𝐧𝐠𝐞. 𝐇𝐨𝐰 𝐝𝐨 𝐲𝐨𝐮 𝐟𝐞𝐞𝐥 𝐭𝐡𝐚𝐭 𝐝𝐢𝐚𝐥𝐨𝐠𝐮𝐞 𝐡𝐚𝐬 𝐞𝐯𝐨𝐥𝐯𝐞𝐝 𝐝𝐮𝐫𝐢𝐧𝐠 𝐲𝐨𝐮𝐫 𝐭𝐢𝐦𝐞 𝐡𝐞𝐫𝐞?

It’s been extremely important for me to bring people together from both sides of the Atlantic as part of the programming. I see it as a benefit for the Institute that there is no allocated event space, but all programming is realized collaboratively with local partners. I think this is a prerequisite for actual cultural exchange and meaningful connections to happen. I have wanted to create programming that has had relevance to the scene and the participating professionals through content, instead of it being inherently a “Finnish” program. This thinking has guided my work from the start.

𝐖𝐡𝐚𝐭 𝐡𝐚𝐬 𝐰𝐨𝐫𝐤𝐢𝐧𝐠 𝐰𝐢𝐭𝐡 𝐭𝐡𝐞 𝐅𝐂𝐈𝐍𝐘 𝐭𝐞𝐚𝐦, 𝐚𝐫𝐭𝐢𝐬𝐭𝐬, 𝐚𝐧𝐝 𝐩𝐚𝐫𝐭𝐧𝐞𝐫𝐬 𝐦𝐞𝐚𝐧𝐭 𝐭𝐨 𝐲𝐨𝐮 𝐩𝐞𝐫𝐬𝐨𝐧𝐚𝐥𝐥𝐲?

It has been an intense and active time, during which I have had the chance to do so many things I love. I’ve had the chance to bring artists and other art professionals together, and perhaps I’ve managed to plant some seeds for future partnerships and collaborations while doing it. I’ve been able to commission several new works by wonderful artists and texts from fantastic writers. I have also been able to realize two risograph print publications (which are my favorite!) with fabulous teams. Having worked previously mainly at art organisations, my time at the Institute has also offered another kind of aspect to working with cultural professionals and so many learnings about fostering cultural exchange.

𝐖𝐡𝐚𝐭 𝐰𝐢𝐥𝐥 𝐲𝐨𝐮 𝐦𝐢𝐬𝐬 𝐭𝐡𝐞 𝐦𝐨𝐬𝐭 𝐚𝐛𝐨𝐮𝐭 𝐭𝐡𝐞 𝐈𝐧𝐬𝐭𝐢𝐭𝐮𝐭𝐞 𝐚𝐧𝐝 𝐲𝐨𝐮𝐫 𝐫𝐨𝐥𝐞 𝐚𝐬 𝐃𝐢𝐫𝐞𝐜𝐭𝐨𝐫 𝐨𝐟 𝐏𝐫𝐨𝐠𝐫𝐚𝐦𝐬?

I think New York is all about the people and the chaotic energies people create within this small island. I will miss these both! As I’ve already mentioned, it’s the wonderful collaborators and partners together with the 𝗙𝗖𝗜𝗡𝗬 team that bring the program alive. These alliances are both precious and generative, and sometimes hard to replicate in other cities. I’ll definitely try to bring some of these thoughts and learnings with me to my next endeavors.

The world is not a great place right now. Instead of fighting our own battles, I think that working together and joining forces is what we need at the moment. It’s been extremely moving to observe how the recent New York mayoral election results have empowered and mobilized people far beyond New York City. It seems as if people are starting to believe a change is possible, that each one of us can have agency, and above all, that there is hope. I believe art can have a huge part to play in strengthening thoughts and feelings like this, and I think this is exactly what we need at this very moment.

Photos by Emma Termonen

𝙒𝙚 𝙩𝙝𝙖𝙣𝙠 𝙀𝙡𝙞𝙣𝙖 𝙛𝙤𝙧 𝙝𝙚𝙧 𝙞𝙣𝙨𝙥𝙞𝙧𝙞𝙣𝙜 𝙘𝙤𝙣𝙩𝙧𝙞𝙗𝙪𝙩𝙞𝙤𝙣𝙨 𝙖𝙣𝙙 𝙬𝙞𝙨𝙝 𝙝𝙚𝙧 𝙘𝙤𝙪𝙧𝙖𝙜𝙚 𝙖𝙣𝙙 𝙘𝙧𝙚𝙖𝙩𝙞𝙫𝙞𝙩𝙮 𝙞𝙣 𝙝𝙚𝙧 𝙣𝙚𝙭𝙩 𝙘𝙝𝙖𝙥𝙩𝙚𝙧!

Interview questions by Emma Termonen.
Text: Elina Suoyrjö & Emma Termonen

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