A Performance from Fictioning (2017)
“Accessing Performance”, Research Pavilion, Venice. May 18, 2017.
New Performance Nights, Tehdasteatteri, Turku. March 11, 2017.
A performance as a posture of performance, and inquiry on positions, decisions and postures of performance.
With voice on vinyl record, theremin, sampler and a tulip.
Camera: Leena Kela & Annette Arlander
A Thought of a Chair (2016)
Performance and installation in a group exhibition at the Paimio Sanatorium, July 2-22, 2016.
Curated by ARTE ry, Turku.
In a project in the Paimio Sanatorium organized by the ARTE organization and the Titanik gallery in July 2016, my attempt was to research the paradoxical nature of non-standard performance art. This project was a response and reaction to the architecture of the Paimio Sanatorium and the design of the hospital furniture by Alvar Aalto. In this performance, I regarded the world and in this case a ‘Paimio chair’ designed by Aalto, not as being ‘turned away’ from my perception, but as a performance, which is an advent and an experiment in matter and on the limits of thought. The performance included more permanent archive intervention to the hospital archive vitrines.
It is known that the rule proves nothing, but the exception proves everything. Regarding a stranger and one, a performance ensues our condition, where, in words of Kamel Daoud: like ghosts, with no language except the sound of a flute like discreet, mute specters, they watched us in silence, as if we were nothing but stones or dead trees.
The Meursault Investigation, Kamel Daoud.
Performance documentation from the project “Exception” presented at the “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.
It is an inquiry of the affective, carnal, sexual, instrumental, material and discursive connotations of life in the time of immaterial labour. The performance is an exploration on dandyism, excess, oppression and embodiment of capitalism. In my schizoanalytic practices or schizoproductions, I present schizoanalysis as a device, which may be used in performance practice, performance pedagogy or as a tool to investigate the biological, social, material or political forces, which constitute subjectivities and bodies. I will present schizoanalysis as a device to articulate the processual nature of the production of subjectivity in the context of modern biopolitical administration. The schizoanalytic practice in relation with biopolitics is a study of these stratifications and junctions; schizoanalytic performance practice aims to investigate and generate these molecular resistances of affects and emotions.
In collaboration with Mikko Jakonen, Taina Riikonen and Goa von Zweygbergk / The House of Defender.
“Heponauta”, Hyvinkää Art Museum, June 7, August 30, 2014
“Matters of Time”, Frankfurter Kunstverein, September 11, 2014
Ice Breaking Fantasies, Kuva/Tila, Helsinki September 27, 2014
Mad House Helsinki, October 16, 2014
La Mettrie (2014)
Man is so complicated a machine that it is impossible to get a clear idea of the machine beforehand, and hence impossible to define it. For this reason, all the investigations have been vain, which the greatest philosophers have made à priori, that is to to say, in so far as they use, as it were, the wings of the spirit. Thus it is only à posteriori or by trying to disentangle the soul from the organs of the body, so to speak, that one can reach the highest probability concerning man’s own nature, even though one can not discover with certainty what his nature is.
“Man a Machine”, Julie Offray de la Mettrie, Julien (1748)
Performance at Tonight-event
HIAP, Gallery Augusta, Suomenlinna
April 5, 2014
Organized by Tomasz Szrama and Liina Kuittila
Clothes designed by Defender / Goa von Zweygbergk
Video documentation of the performance.
Partial Drool, Erotic Teeth, Pins and Needles (2014)
At Loitering With Intent event, March 5-7, 2014
Stockholm University of Arts and Society for Artistic Research
In this schizoanalytic performance, my aim is to investigate a capacity to make relations with affects without interpreting their meanings; in other words the difference between the molecular non-discursivity and stratified representations.
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
Anders Hillborg: Vaporised Tivoli
Esa Pietilä: Graffiti Play nykyaikaiselle jazztriolle ja kamariorkesterille
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 soundtrack was an affectual refrain, affect as a capacity to make relation with something the sound was linked to. The last sound was a vinyl record player going around and around. I used three-letter abbreviated key-cards to remind myself of a certain refrain, from these affects. In this half-an-hour performance, I felt tense and limited, and still in the verge of potentiality, of which I had not understood what it meant. To my experience, there is no way of performing without some control, in other there is no way of being uncontrollable, even though it is a common phrase. There is always some abstract machine and some traces of this machine functioning in the body and mind. Therefore my intention is to define or at least approach the variations of these machines; how to mutate these machines, and what it would produce.
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.
Experimental event (2013)
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.
Astronomer: experiment (2013)
Photos: Paulo Pereira
Sesc Pinheiros, São Paulo, Brazil. April 17, 2013
In 2012 Juha Valkeapää proposed a collaboration around the idea of “Astronome.” It is loosely based on the unfinished collaboration between Antonin Artaud and Edgar Varèse, L’Astronome (1932), which intended to portray the annihilation of the earth and communication with the star Sirius. Albeit never concluded, this project came to be a source for collaboration between Mike Patton, John Zorn and Ontological-Hysteric Theater of Richard Foreman as Astronome: A Night at the Opera in 2009. We asked in this piece, how reality is being composed, and how can we recompose, decompose or annihilate it through the powers of performance? In the end, when we performed in the open space, on the balcony of Sesc Pinheiros, our only props were 36 pieces of grey EVA boards, which are used to create large, soft area as kind of puzzle pieces. We had only four lights, sound-system with microphone and Looper effect-box; board to draw our ‘map’ of seeds and some chairs for the audience to sit on. Eventually, we used almost anything available at the place. These were a certain degree of compositional and mutual apprehension between the three performers in the Astronomer: experiment, and at the same time limitation of discontinuity and dissociated image of the body, duration, objects, technical devices, audience’s bodies and materials.
Life in Bytom (2012)
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. The connection was both conjunctive ‘and…and…and’ and disjunctive ‘either/or’. That is to say, our paths did not meet, but intertwined and undulated in the mess of the place, like the underground tunnels under the city centre of Bytom.
More about the project here.
Tell Me About Your Machines (2012)
New Performance Festival, Turku
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
Second Sound Performance (2008)
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.
Loop Variations (2008)
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.
Daily events (2005)
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.
Malmi 19.8. 2004
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 Jakarta (2001)
Swarm was a project in collaboration with the artists from the Ruang Rupa 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.
Work #1 (2000)
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.
Performance at the CIRCUS MAXIMUS event (2000)
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.
Rolling R (2000)
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
Past Amsterdam (1999)
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.
Sex Circulation (1999)
Rijksakademie van Beeldende Kunsten, Amsterdam
Acupuncture needles on the sexual meridian, in addition of names of intimate relationships from the period of ten years.
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.”