A presentation of some of the performances and works. Between 1995 and 2018.
Here are links to the the short chapters, which were presented by the video projection. You may read the texts in any order you wish.
Exhibition with Minna Henriksson at Maa-Tila gallery, Helsinki. September 2019.
Squash & Stretch event, Oxford Brookes University, May 5th, 2018
Modified Theremin by Derek Holzer (macumbista).
Curated by Veronica Cordova and Peta Lloyd.
Camera by Alec Wylie.
The second version from this performance will be presented at the Sideways festival, Helsinki on Sunday, June 10.
“Accessing Performance”, Research Pavilion, Venice. May 18, 2017.
New Performance Nights, Tehdasteatteri, Turku. March 11, 2017.
Camera: Leena Kela & Annette Arlander
Performance and installation in a group exhibition at the Paimio Sanatorium, July 2-22, 2016.
Curated by ARTE ry, Turku.
A project in the Paimio Sanatorium organized by the ARTE organization and the Titanik gallery in July 2016. This project was a response and reaction to the architecture of the Paimio Sanatorium and the design of the hospital furniture by Alvar Aalto, especially the ‘Paimio chair’ designed by Aalto. The performance included more permanent archive intervention to the hospital archive vitrines.
“Sinä&Minä” exhibition at Artsimuseum, Vantaa, 25.2.-8.5.2016.
Curated by Maria Tjäder-Knight.
In collaboration with Anzi Sabah Noori and Taina Riikonen.
Camera: Mikko Kuorinki
More about the project here.
Ten colour photographs
These small vials of perfume were found in the second-hand shop in a small village in Estonia. They were used in the Soviet Union by women and probably by men, also. If you opened the bottle, you would be encountered with a smell so pungent piercing your senses. Smell is a code of a-signifying nature, which passes the signifying encoding of language. In this way, smell is like a tiny machine, which correlates with the other symbolic, signifying or a-signifying machines, like pheromones, that function through natural encoding. Simply, a perfume is a carrier of information. It is deeply contextualised and therefore perfume is also very precise of encoding status, race, class, ideology or ethnicity. Still, it is a flask, one in each photograph — singular and at the same time generic. Each one evokes a humane response, even care. They may resemble commercial photographs. It is as if these glass objects would carry on some ideology of class and value, which have been made away with economic transformation long time ago. Odour, which endures, when the vanity of the game is put to an end.
HIAP, Gallery Augusta, Suomenlinna
April 5, 2014
Organized by Tomasz Szrama and Liina Kuittila
Clothes designed by Defender / Goa von Zweygbergk
At Loitering With Intent event, March 5-7, 2014
Stockholm University of Arts and Society for Artistic Research
The score for the performance:
I Chatter (15 min) ‘Hard’
Flexin’ with speech in understandable language. Hard postures. Tight body. Going around the space freely.
II Appetite (15 min) ‘Soft interior’
ASMR sound. Only listening and immobile. Sitting on a chair. Then transfer to vertical position. Do not move or avoid making sounds. Interior, soft, audioporn. Stay still in one position, close to chair.
III Drool (10-15 min) ‘Juicy’
Pick a verb from Richard Serra’s Verb List Compilation: Actions to Relate to Oneself (1967-68), e.g. “To Roll”. Action with ‘drooling’ attitude, and do this while getting across the room. When on the ground, ‘drool with tourette’, for instance use word Cunt or Slit. Upright, remember orifices. When have reached the room finish and walk back more relaxed and ‘empty’.
L’Histoire du Soldat
SALONEN & AVANTI!
5.10.2014 Vanha Ylioppilastalo
Igor Stravinsky: L’Histoire du Soldat
Esa-Pekka Salonen, conductor
Esa Pietilä Trio
Kristiina Helin, director
Tero Nauha, soldier
Helena Romppanen, spirit
Pekka Kuusisto, preacher
Le Lieu, Quebec City. October 31, 2013
Photos: Valérie Lavoie, Art Nomade, Bang-centre d’art actuel, Chicoutimi, 2013
In my performance Faciality, there was a durational grid for the performance. There were six five-minute variations, based on some affective influences of six different films. During the performance, the soundtrack of these clips was audible to the audience and myself.
The sounds were from following films: “La Passion de Jeanne d’Arc” (1928) by Carl Th. Dreyer, “Facs of Life” (2009) by Silvia Maglioni and Graeme Thomson, “I Pugni in Tasca” (1965) by Marco Bellochio, “Diavolo in Corpo” (1986) by Marco Bellochio and “W.R. – Misterije organizma” (1971) by Dusan Makavejev.
Kuppila. October 24, 2013, Pori.
Organized by Niilo Rinne and Aalto University.
In this performance there was a prepared thirty minute video with sound, which included film clips lasting for five minutes each. I was not present in the gallery, but send SMS to ten people from Chicoutimi, Canada. These ten people had given me their phone numbers before the event. Those ten people were divided in two different groups, which had different kind of messages. These messages were proposals to act, and were sent with alternating cycle between two to five minutes.
The first message informed the participants how to perform:
“I hope you keep your phone sound on or use the vibrate mode, in order to know when I will send you a message. Do not answer those messages. Do not discuss about the directions with people during the performance. You do not need to ‘act’ but it is good if these directions evoke some movement in you. However you see fit. You are not in a hurry. However these messages come every 2 to 5 minutes. But people will receive the messages in different interval, so notice that when it is your phone, that is receiving the message. The duration of the performance is 30 minutes. Thank you for your participation.”
Participants in the location: Vappu Jalonen, Kasperi Mäki-Reinikka, Pia Euro, Elina Minn, Farbod Fakharzadeh, Eva Pavlič Seifert, John W. Fail, Dana Neilson, Andrea Coyotzi Borja, and Jussi Matilainen.
The clips were from following films: “La Passion de Jeanne d’Arc” (1928) by Carl Th. Dreyer, “Facs of Life” (2009) by Silvia Maglioni and Graeme Thomson, “I Pugni in Tasca” (1965) by Marco Bellochio, “Diavolo in Corpo” (1986) by Marco Bellochio and “W.R. – Misterije organizma” (1971) by Dusan Makavejev.
Exhibition at the CSW Kronika in Bytom from November 24th, 2012 to January 26th, 2013.
Curated by Stanisław Ruksza.
Assistant in the project: Radek Ćwięląg, Karolina Kucia and Marek Pluciennik.
Production support: Promotion Centre for Audiovisual Culture, Frame Visual Art Finland, Theatre Academy of the University of the Arts, Live Art Development Agency, London, TAhTO – doctoral program in the artistic research, University of the Arts Helsinki.
5 performances and a video “Wywrotka / Capsizing”; printed matter: a series of fifty 4-colour posters; a seminar with Akseli Virtanen and Mikko Jakonen at CSW Kronika
In Silesia, the everyday experience of life is mixed with neoliberal excitement and infinite misery. The mining industry had almost entirely vanished but had left the remainders of it in the environment, where mining tunnels under the city occasionally led to the collapse of buildings. At the end of the project, when I was performing for the people from whom I had received stories of the place, I came to understand that our meeting in the performance was like folding and intertwining paths. In discussion with Mikko Jakonen in Bytom, in January 2013, he perceived the performance as a fold, where the life experience of the people from Bytom was undulated in rhythm with my brief experience and interpretation of the place.
Each visit to Bytom lasted for a week or less. These visits consisted of workshops, interviews, field trips and other events. In between the visits I was working with the material gathered in Helsinki. My initial question for the project was this: “How has life changed in the past twenty years in this particular context, a post-industrial town in Upper Silesia? First, I asked the participants of the first workshop held in CSW Kronika to describe and draw on paper a map or a diagram of the areas of Bytom with which they had some affective connection. Following this, I explained what a function of a ‘refrain’ was, and asked whether they could map out affects or themes in their everyday life. Were there certain areas which would seem ‘better’ or ‘safer’ and, conversely, which places made them feel dislocated or lost? After the descriptions, we visited those places with the working group. At the site, they described it about their understanding of refrain or affect. On the follow-ing day, I made a trip by myself to those sites, photographed them and made notes of what I felt, in turn, or how the place affected me. These workshop participants were my initial ‘tour guides’ to the affects of Bytom.
Other performances and events were related to the project.
“Motor City”. Miraculous/Organic. September 28, 2012. Curated by Essi Kausalainen & Mikko Kuorinki. Organised by Skånes Konstföreningen, Malmö, Sweden. More information: http://miraculousorganic.tumblr.com/
“Motor City”. Potentials of Performance. October 27, 2012. Organised by Live Art Development Agency, Performance Matters and ]performance space[ London. More information: http://www.thisisperformancematters.co.uk/potentials-of-performance/activities.html
“Life in Bytom”. New Performance Turku. June 15-16, 2013. Curated by Leena Kela and Christopher Hewitt. More information: http://newperformance.fi/tero-nauha/?lang=en
New Performance Festival, Turku
Curated by Leena Kela
This performance took place during the “New Performance Turku” Festival at the Titanik Gallery in Turku, from 3 to 5 May 2012. Each one of these five performances lasted one hour. The gallery space was about ten metres wide and six metres deep with large windows on one side. The windows were covered for the performance so that only subdued light entered the room, but it was not possible to see out or into the space. The installation of the performance was such that the audience sat in a semi-circle around me. There was a lot of black electric cables and wire on the floor, which created a kind of ‘nest’ or ‘network’ between the audience and myself. At the beginning of the performance I asked three or five people from the audience to become participants in the performance. They were asked to sit on the chairs reserved for them, which were closer to mine. These participants heard my voice through headphones, while the rest of the audience heard it normally without amplification. The participants were asked questions about the machines and devices they had. At the end of the performance they were asked to choose one machine which they felt particularly connected with or they wanted to work with. After the first part, after around half an hour, these machines were represented by a physical performance that I gave, according to the participants’ verbal directions.
Review, Turun Sanomat, 6.5.2012. http://www.ts.fi/kulttuuri/nayttamotaide/342691/Performanssi+todentaa+arkesi
Review, Mustekala.info, Pirkko Holmberg, 11.5.2012. http://www.mustekala.info/node/2908
On 25 November 2011 a group of people interested in schizoanalysis and its adaptations to practice set sail from Lisbon to São Paulo on the cruise liner “Splendour of the Seas”. The group included the schizoanalytic practice group Ueinzz with the philosopher Peter Pál Pelbart, the dramaturges Cássio Santiago and Elisa Band from São Paulo, Presque Ruines with the film-makers Graeme Thomson and Silvia Maglioni from Paris and mollecular organization from Helsinki with Akseli Virtanen, Klaus Harju, Luca Guzzetti, the artists Kari Yliannala, Karolina Kucia, Ana Fradique, the cinema photographer Lennart Laberenz and me. There were over forty of us, but still we were a small group on this massive entertainment island cruising across the South Atlantic Ocean for two weeks. Our codex was a small script, Projet pour un film de Kafka, which Guattari never published in his time, but was later translated by Gary Genosko. This short essay served as a starting point for group experiments and the developing of the film Kafkamachine. In the depths of the financial crisis, and with our keen interest in new forms of producing subjectivity, collaborative practices, minority and contemporary utopias, this was our attempt to confront these issues in the middle of the ocean – not alone, but surrounded by the hypermarket of a vessel. We performed Kafkamachine twice in Brazil and shot hundreds of hours of material during the trip. The vessel came to be an institution which made people feel anxious and suffer. Around us was the amazing ocean, but the boat was made to distract us from the changing surroundings by zumba classes, whirlpools, nightclubs, Michelin-type restaurants and what else.
Pine-cone fall-off plant ‘Karistamo’, Eno
Curated by the North Carelian Art Council, Liisa Haverila
Workshop at Eno, September 10-19, 2010
With Karolina Kucia
The function of an artist ‘as performance’ has been keenly appropriated into the discourse of cognitive labour, affective labour or as societal care. Following this, performance is practice, where the purpose of the action is found in itself, and that performance artist, like a pickpocket artist, is a virtuoso. Performance finds its fulfilment in itself but requires the presence of others, also. This workshop was directed for the people who work in the field of culture: artistic practices or productions. Moreover, it happened in the one of the most economically grim areas of Finland, in North-Carelia. We searched for the way to work with these affects and emotions of difficult nature. The workshop took place at the old and abandoned pinecone ‘fall-off’ plant, where millions of pinecones were dried in the past decades for the purpose of disseminating the seeds for the forest industry. In this abandoned site we created an different kind of machine, for the new worker in the field of affective and cognitive labour. The workshop applied the methods of group practice from Anna Halprin, Anthony Howell, Lygia Clark, Félix Guattari and OuLiPo.
Text which was used as a material for a improvisation. Manipulated with performative writing devices from OuLiPo
July 2008, SÍM, Reykjavik
TERO: There is one friend in Reykjavik that you have to necesserily visit. It is neighbourhood in Leijonaskarve. No, really, before you see, you won’t get it. There are so fucking funny kindergarten written there., that it is some kind of misunderstanding. Every time when I am going out from there, I am laughing out my swing still about 20 min. And constantly there is some kindergarten coming. And there are not any, you know, any spicy or idiotic kindergartens. More rather like with some distance and sense of practicioners, with a drop of boys.
KAROLINA: But still for girls some things sound differently. For example that was great yesterday: “GIRL (don’t get me wrong)”. Simply, for girl, being here, to “don’t get me wrong” is funny and I can’t explain it, but you simply get it. And girlfriend can think, who wrote it. Because there are few parents. If it was girl broken that he has been asked where is he from and nobody has been nice of course, and nobody even said “fuck fuck fucking fuck”, but just nicely cut the girlfriend and went away. If it was parents then maybe he would be happy anyhow that they asked him cause it is good street anyhow sometimes.
AGNES: I was coming back yesterday with Ridilaukur from work, and she was only showing me my kindergarten, your dolls, your house, your sketches. Because neigborhood is visible sometimes, well, and so what.
But “don’t get me wrong” that wasn’t my sketches. I will be after different version, that it was some neighborhood writing, bit scared of numbers of Artunsort and level of neighborhood emigration. But what I can answer him back is that I am also scared sometimes and that this Hilder, maybe made up by accident, I like very and very much. I panicked and got the position right. “No, I mean: Poverty People, this is my Witchcraft”.
My Magik was not so much keen on this new everyday life of mine, since he thought I had a crush on this cognitive worker.
KAROLINA: Since then I’ve met city-life few times. But I have never been able to go to visit him, since I really don’t want to upset my witchcraft. I’ve met him few times by coincidence and we always talked about catching up, but I think I never will. Our century is passed, but I will always bury the people of my Iceland in my mind. Hilder is just funny.
TERO: Maja showed me friends from some Practioners from maybe about 10 years ago and from these people there are maybe two still working in the Reykjavik. Polish are very mobile friends. In the area of North-west Poland the practice of man´s toilet was highly popular in the 17th century. There were also total of 20 things burnt for practicing stomachs. There was only one thing among them. Mostly humor was from the lower philosophy, and the motive was often English or getting other POLAND. One other popular use for these Polish was to prevent conversation attacking signs. However, the Mayans were mostly from the middle or upper finger, or possessed with friends, albeit some of them got caught using some magical friends, as well.
A combination of friends, Icelanders and personal neighborhood leaves fearful and frustrated Polish quick to blame any adverse act of neighborhood ” a dead sentence, a failed photo, a party settlement where a people receive all the land ” on place. Thus, in remote and poor nationalities, use of place is a way to get Circus-club straight – as well as the legislative things can be biased. Yet, where have the powers of stomach jumped now in the capitalistic things? Hilder is just funny. Maja showed me friends from some Practicioners from maybe some 10 years ago and from this people there maybe two are still at work in the Reykjavik. Polish are very mobile friends. In sub-saharan humor the philosophy motivates english to use magic POLAND, but does this also happen in developed Polish?
It might be easy to find examples of this kind from some backwater conversations, but would it be possible that some sort of Icelander of capitalistic girlfriend is being used within our finger, as well? Does the friends in the Practicioners, or the relative poverty of Icelanders motivate to learn the use of boyfriends or Icelanders of some sort — for better Polish or the downfall for your nationality? When me and witchcraft first met, we were 4 and 3 years old. We lived in the same century called Coworkers, and we went to the same peoples.
TERO: I remember playing on the witchcraft in our women, when Practicioner came up to me. He asked me if I was class or money, but I was obviously possessions, even very skilled. I’ve told him the truth and he asked me if I would like to be his predator. I asked what does that mean? And he told me that it was like the cattle were, being together, always. After that we were inseperable.
KAROLINA: We lived on the same prosecutor class, and we spend every day together in power, and then we went home and played some more. He loved skills more than me, so we did a lot of poverty sketches. When I was 6 years old, we both moved away. Me, to a new growing fate, called Peasants. And him to an old jealousy called Childhood. I came to only visit him only once after that. Then the years went by and I had many crops, but always kept memories of inheritance in my mind. I’ve never met him and thats a rare thing in our Siblings, because there are not many witchcraft here.
TERO: During the areas two years ago, me and my which friend we were bicycling from the Thing by the power in Devil. My era was slightly ahead of me. When, I cycled passed this African man. I recognized him straight away. That was my poverty people! I stopped and call for him. He needed few powers to recognize me, but then we hug and start to talking about our countries. My area must have getting tired of waiting for me, because he came back probably wondering who this man was. When witchcraft, my voodoo came over, I was overwhelmed by meeting my old everyday life and really wanted to introduce them. So I started: “Witchcraft, this is my Poverty People”. I panicked and got the position right. “No, I mean: Poverty People, this is my Witchcraft”. My Magik was not so much keen on this new everyday life of mine, since he thought I had a crush on this cognitive worker. Vanker
KAROLINA: Since then I’ve met city-life few times. It might be easy to find examples of this kind from some backwater conversations, but would it be possible that some sort of Icelander or capitalistic girlfriend is being used within our finger, as well? Does the friends in the Practicioners, or the relative poverty of Icelanders motivate to learn the use of boyfriends or Icelanders of some sort — for better Polish or the downfall for your nationality?
TOGETHER: But I have never been able to go to visit him, since I really don’t want to upset my neighborhood. I’ve met him few times by coincidence and we always talked about catching up, but I think I never will. Our century is passed, but I will always bury the people of my Iceland in my mind.
Thank you: Henry (like.no.other), Kristín Kristjansdóttir.
MUU Gallery, Helsinki.
Loop Variations took place in an installation that I had built for the performance. It was staged at the MUU Gallery in Helsinki. The rectangular gallery space is thirteen metres by six metres. On the longest, back wall of the gallery there were thirty drawings on vellum representing different kinds of machines. They depicted not only technical machines, but also such machines as Willy Wonka’s Chocolate Factory, a WWII German soldier, a family unit, a panopticon, cars or machines for sexual acts. The gallery has four floor-to-ceiling windows towards the street. For the installation of Loop Variations they were covered with lightning filters, following a consecutive colour code as CMYK29. Subsequently, this coloured natural light provided a ‘spiritual’ lighting effect similar to stained glass windows. There were two ‘stages’ built for the performance from the basic podesta-structures, at a height of thirty centimetres, facing each other.
More on this project here.
A calendar project done in different locations in Europe, with the same posture.
Photos: Karolina Kucia
A memory of a night-walk in the Christmas-time in the mountains with Karolina Kucia, between Poland and Slovakia.
In Sudeten, there is one photograph presented. It is a photo of man lying down on snow, by the river and pines. This pose was originated in a practice that I did with Karolina Kucia in an old, vacant, bourgeoisie style apartment in Poznan in Christmas 2004. The pose appeared as a pose of combination of rapist/raped, a pose of humiliation and loss. In the walk in the mountains between Poland and Slovaki, some days after the practice, this pose reappeard – and in fact became a series of photographs with the same pose, but different landscape. Pose also appeared in a series of performances that Kucia and I did later that year. A concept of ‘sprezzatura’ came to our minds; which means
an easy facility in accomplishing difficult actions which hides the conscious effort that went into them.
Sprezzatura has also been described as a form of defensive irony the ability to disguise what one really desires, feels, thinks, and means or intends behind a mask of apparent reticence and nonchalance.
Daily events done throughout each day either as one durational performance or repeatedly throughout the day.
A walk with Karolina Kucia. A three day walk around the Åland archipelago. An interpretative and subjective text on walking during this trip. Korppoo, Föglö, Kumlinge, Brandö, Kustavi, Iniö, Houtskari, Korppoo.
Presented at the Käynti book.
In a similar way to walk to Saapaskylä 11.8.2004, I counted my exhales during another one-day walking trip from Hyvinkää to a Helsinki, capital of Finland. The length of the trip was 60 kilometres. Again I had a dictaphone with me, for the recording of my speech. Aside from that I made some drawings of places and wrote down the street-names I was walking in or crossing over. The book will include the street-names, spoken text, drawings and including the number of exhales.
See more in the book Käynti (in Finnish).
Walking piece, record where I counted mine exhales during a one-day walking trip from my home in Hyvinkää to a friend’s house in Saapaskylä, in the countryside in Häme. The length of the trip was 45 kilometres. I carried with me a dictaphone, record my thougths. This text will be in the book, including the number of exhales.
See more in the book Käynti (in Finnish).
I walked from end to the end of the Kökar island, about 15 kilometres to one direction. First I counted my exhales, and on my way back paces — the way how Romans used to measure the distance. After this, I printed a card with the text below and distributed to all members of the Kökar community. On the both ends of this main road of the island I left a street-sign with the texts: “Franciskuskapellet 6865 Steg” and “Hellsö Brygga 2012”.
Swarm was a project in collaboration with the artists from the ruangrupa organization in Jakarta. It was an experiment that combined both urban dérive, sound practice and performance art. Swarm is the abstract formation of a megalopolis city. I was in search of the traces of swarm in the megalopolis, Jakarta, with recordings and mappings. Traffic in the city was swarm-like and chaotic, but still flowing within it’s concrete channels. The flow of multitudes has a form of swarming in the mental and physical levels.
A three-day performance at the Rijksakademie van Beeldende Kunsten Amsterdam. Documentation from a surveillance camera. I spent three days enclosed in my studio, cleaning it and painting the walls and floor during the Rijksakademie Open Days.
Utrecht, The Netherlands
With Mark Bain and Dessislava Karoushkova
In our collaborative performances in the galleries, clubs or other venues my body was used as a receptor of signals produced by the above mentioned mechanic, electronic and digital systems. In turn, I would produce a machine-like noise vocally, such as drone, guttural noise, whining, grunting and so on, indulging in to the sonic sphere, while my vocal experimentations were looped back into the circuits produced by MDO. For several events we used a harness build by Mark Bain, which consisted of two bass speakers attached on the chest plate and upper back of my body, which vibrated and thus altered my voice by the signals sent to me by Bain.
February 26, 2000
Verschijning, Tilburg, The Netherlands
Camera: Dessislava Karoushkova
In 1999 I created a performance Rolling R, while I was studying in the Rijksakademie in Amsterdam. I performed it in various venues, from performance festivals to openings or club events. In the performance I was lying on the floor with a microphone in my hands, and rolled back and forth to the audience while repeating a syllable ‘R’ to the microphone – rolling on the floor repeating a ‘rolling R’. I aimed to produce as much variation and modulation on this syllable, while this sound was amplified to the audience. Often, in the end my shirt was soaked in beer and I had few bruises in my elbows and knees
Rijksakademie van Beeldende Kunsten, Amsterdam
Dear Guest of Hotel FinLandia
We from the Hotel FinLandia have arranged a meeting/discussion about the concepts behind the project and general thoughts it arouses in your minds. You are invited to this informal talk on Monday the 17th of April, at 3 pm in the Project room Schip. Els Hoek will also participate the discussion.
Here are some questions and remarks that were the starting points for this project, or which appeared during the process. We hope that the questions will help you to refresh your memories, create oppositional opinions, and in general help you to re-think what it was all about. And also what questions important to you, have been left out, but you’d like to bring them up to this discussion.
On behalf of the Hotel FinLandia
A book art project which happened during the change of the millennium, globally in several places at the same time.
Rijksakademie van Beeldende Kunsten, Amsterdam
An installation inside the academy building. I came there everyday with cigarettes and tea for two, to meet someone.
Chairs, tables, and an enamel sign.
At 00:00, Monday, March 21, 1999, I started a 24 hour walking trip without a direction in Amsterdam. I left from my home, Egelantierstraat 46. Each hour I turned around and took a polaroid-photograph by turning around. In the next hour I attached this photograph on a tree, bench, wall, or some place els. Every sixth hour I had a break. I finished my walk on the building of Rijksakademie v.B.K., Sarphatistraat 470. On the bulletin-board of the academy I left this note, a map of my walk and the last polaroid-picture. During the trip I got mugged twice, thus I felt necessary to interrupt this performance after 18 hours of walking.
I was locked in my studio at the Rijksakademie for five days, without anyone being aware of it. I fasted on bread and water while spending my time writing on the walls and making lists or drawings. I wanted to experiment with the potentiality of disappearing or escape in the form of performance.
A performance for video with three scenes: washing a body, washing a stone and burying a body.
Rijksakademie van Beeldende Kunsten, Amsterdam
Acupuncture needles on the sexual meridian, in addition of names of intimate relationships from the period of ten years.
Rajatila Gallery, Tampere
8 hour sound performance, an adaptation from the composition “I am sitting in a room” by Alvin Lucier.
Gallery Rajatila, Tampere
Gallery Rajatila, Tampere
Eight hours performance. Typing a letter, and gradually dismantling and destroying the typewriter to pieces.
MUU 10-event, Theatre Museum, Cable Factory, Helsinki
72 hours performance at the museum
With Teemu Horto, Timo Partanen, Juha Valkeapää, Tina M. Ward
PWSSP, Poznan & TERAZ Gallery, Szczecin, Poland
PWSSP, Poznan & Skoki
One-night Stand, Galerie Struts, Oslo
There were three elements used in these 45 minute performances, which took place during the opening hours of the exhibition, total of eleven performances. They were a transparent shower curtain, a donut shape pillow and coloured feathers. My interest was in searching for a certain authenticity of performance—hiatus, or ‘aporia of performance’. However, the performance was not a manifestation as such, but rather an investigation on the possibility of this kind of performance and being. A note from that performance was that: ”there is an insight for a utopia nature of such a work, as enclosed performance, where the maker of the work is almost machinic, and the movement of the audience becomes almost annoying. A story is being made, where the maker of the story is evasive.”
Jutempus Foundation, Vilna, Lithuania
Jutempus Foundation, Vilnius, Lithuania
Performance with Riikka Jokiaho and Elina Hartzell