Kristiina Hansen seems to use photography as a medium for spontaneity. Rather than an end in itself, photography is a means for capturing performances. At the same time, the performances, in turn, are undeniably staged for the camera. Although Hansen makes use of the concept of photography familiar from the traditions of land art and conceptualism, in practice she is relatively indifferent to both the environmental sensitivity of her gestures and the formal conceptualism of her images. Instead she focuses her attention on the significance of the situation created.