What’s the point in getting organised behind a cause?

Certain medias have appeal. The medium of the film has an aura and calls for a particular type of participation. There is a special moment when stuff happens, when shit gets real. Some people are in it for that, just that. There are professionals whose sole trade is to get real on cue. The medium gives a sublime direction for the event. Same with visual art. It dependents on an opening, on the exhibition. Books need reviews (which serve as proof that a thing has been read, processed as intended). Arts echo causality – Their future is authored by their form. They call for the the audience to perform a ritual of participation to become.

Covid-time has pulled a focus to the bare-bones of this agreement. Art which depends on an audience has been revealed to be a cohabitated worksite: Observing art is a demanding and dangerous labour effort (rewarding too!). Participating in an artwork is honest work. If you are not getting paid – You are the product.

People have been busy surviving.

Art institutions don’t understand what it means to survive. They are stuck on preserving and content in preserving the dead. Art is revealed to be a luxury. This time around, this old revelation showed how much this luxury burdens the living. Imagine: Some museums kept their doors open – To show art made by the dead. This is great, don’t you think? Museums are macabre and remain blind to their morbid performance. There is nothing more gruesome than a peppy museum or theatre Instagram post from the Autumn of 2020. They sincerely asked a dying population – To appreciate art. There is beauty in this, like there is beauty watching the world burn. In Finland theatres were subsidized by the government for loosing their audiences… And because they didn’t have any production costs, they made profits from the pandemic!

The weight of this luxury has been felt. But there is hope still: There are cultures for culture, which refuse to be defined by a performance. There exists art which does not call for an audience.

We have all become performance artists, because we are bombarded by performances: The pose of the zoom-meeting, mask-or-no masks in public-space show, handwashing on entry and the plethora of other choreographies, which have been authored by the middle-class managerial clergy.

Read more on covid-managerialism: The Middle-Class Leviathan: Corona, the “Fascism” Blackmail, and the Defeat of the Working Class (2020) Elena Lange & Joshua Pickett-Depaolis. And have a listen at Top 5 Fetishes ft. Elena Louisa Lange (2021) Aufhebunga Bunga -podcast.

I think this bombardment of daily performances has shifted the art in performance. It is now focused on something else than an exact moment of execution (or even unfocused). Performance art was well equipped for this change: Previously durational performance was a method for evading pinned moments.

Durational performances represented a way to steer away from the object-like quality of a show – It was about a presence, not the act. Availability of documentation media and affordable media copying tools changed this. A week-long performance became a photo, a year-long show became a video and a career became a book.

But I believe that the non-object hood of the performance is making a comeback. Everyone has had to perform, institutions have been desperate to reach their audiences and now everybody is exhausted. Trying to survive and exhausted! The last thing people need is to get pinned into a moment, to be tasked to make sense of an artwork. The best thing art has to offer is not giving a fuck about the audience. At least, this is the best care I have to offer for you right now. This is also why radio is so appealing! It exists, there is a broadcast and you can tune in but you are not locked or commissioned to work for it – I won’t even notice that you are here.

Performance art is great: I sincerely don’t give a fuck about the audience, yet I’m here.. Doing my shit and you are free to do what the fuck you want. Have a great day!


I will wear fancy headphones to listen to recent ambient releases, which have been shared on a popular music forum. I will serve as a conduit and transmit ambient soundscapes by humming them out loud. Maybe I’ll dance a little, wiggle my hands in the sun. If everything goes well you won’t even notice there is a performance going on. Just noises of someone singing along to what they are listening to.

10.-11.6.2021, 10:00-18:00. Töölönlahti/Oodi, Helsinki


Planning to join SKP. I’ve been very disappointed by the Left Alliances agenda and manoeuvres during the Covid mayhem. The party is a sidekick of the Social Democratic Party with no agenda for the future.

Diy orthopedics worked and counteracted my plantar fasciitis aches. On a recent shoot it became apparent I need a bigger screen for controlling my camera focus and went for the Feelworld lut7. Orthopaedics for creatives – A regression of technomania.


74. Testikuvan historiaa [History of the Test Screen] (2017) Raimo Lähteenmäki. A perfect grey-literature & media archaeological introduction to the test screen used in Finnish TV broadcasting. A good companion to the Radion väliaikamerkki [Radio intermission sound] (2008) Jukka Lindfors, which offers detailed history of the intermission sound used in national radios (revealed to be a folk song). Is it ambient music thou? An undated (1960?) AT&T Bell Labs 1 ESS is a perfectly soothing view to electronics and labour.

Mediating Animal-Infrastructure Relations (2019) Lisa Parks. The author introduces three cases where animals interfere with infrastructure, in an effort investigate the agency animals are designated by designs: Infrastructures “mediate” animals to us. Park also offers a good introduction to intra-actions. Animals become trough the seams of the infrastructure we habit (they become infrastructural) and “animal bodies and energies can be harnessed and reorganized as support systems for human-attention economies or motivate the design of products that reinforce past investments in the built environment and sustain species hierarchies.”

Big week: We will publish a video & booklet on tasting, I’ll work on streaming-stuff and our Horse & Built Environment course for Aalto Uni. comes to a conclusion.


Taiteilijana yhteiskunnassa – Kuution jälkeen, osa 6 [In the Society as an Artist – Post-Cube, part 6] discussing art practices in public spaces, artist-as-gig-workers and labour unions with Maija Kasvinen & Kaino Wennerstrand in a Taike podcast. I confessed that my mother forged recommendation letters for my high-school application.

Assembled a Befaco Instrument Interface i4. Mixed the R16 – 820 Ohm 1% and R115 – 820k 1% resistors. Figuring out the issue behind the problems was difficult (VU meter didn’t work and Envelope Follower didn’t trigger). The tight component placement made the swapping the resistors hard but I made it.

Reading manuals every night. Currently following casual M8 related chats on discord and watching three hour long M8 get-togethers.


Had the pleasure to participate in Forest Dreams – A critical conversation around the work of artist Agnes Denes -event at Melbourne Design Week. The talk was initiated by Jock Gilbert and Sarah Hicks whose approaches to land art and land conservation, I learned trough their 2015 article Forest for Australia: Challenging Loyalties. Our talk was fast but I appreciated the event. I prepared a pre-recoded intro to my bit on the topic. Hoping to continue exploring ruins-as-beauty.

Helped in streaming/managing the Frame Knowing with(in) Limits -event. Had the pleasure to be introduced to Jenni-Juulia Wallinheimo-Heimonen and her praxis.

Performed in the How To Do Things With Per­for­mance Grande Fi­nale. Got on stage right after Jamie MacDonald, so I inadvertently visited my first stand-up gig. MacDonald was great, well planned and smart. It was embarrassing to perform after him. I had planned a co-authoring performance in which the audience and I would have written an artistic review of the event for Mustekala (the performance was titled “This is the Great Review We Write for Mustekala”). But being inspired by Tan Lin earlier that week, I started off with a vote were I presented two options: The first option was framed as being a potentially stressful bit, which would have lead us towards a burnout (writing an article in an hour). The other option was described as ambient, boring and inverted (Titled “OISAC”, with an inhale). The audience voted for the latter so I ended up reading the Casio watch module qw2271 manual and followed the different choreographies it suggested for operating the compass, barometer and altimeter settings. Both options mirror some kind of post-covid-post-burnout mode of creativity but OISAC worked better in sparing joy in exhaustion.

Prepared two wooden benches for an installation which will be shown in the Helsinki Biennale. It was nice to visit Vallisaari. There were a lot of interesting folk at the local lunch bar. Heard a few murmurs about the miniature ecological catastrophe the biennale brings to the island.

Sourced a spare part for my Kaosspad 3 and managed to replace the broken fader. The fader reads b5kx2 and the part number is 510374524026 (Effects Level Fader). There is a service manual online too. Easy fix, not a lot of components to worry about. I could go for touchpad led mods with the unit. The other pots feel worn too. Not using it much for anything.