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Stuck in Turku. Waiting for a technician to let me in the Tehdas-theater space so that I can fetch my kettlebells and synths. Went for lunch at a nearby restaurant. Asked the bartender for the menu. He begged me not to order food as the oven takes so long to warm up. He suggested that I buy a microwave meal from the nearby shop, so he could warm it for me in the micro. A novel way to eat out.

New Performance Turku events went well. The tone of the performances I saw was “uniform serious performance art”. Alejandra Herrera Silva presented “The Water” at Titanik Gallery. She stripped, broke vine glasses, bled and got drunk. John Court pushed enormous wooden cylinders around a school courtyard making a monument for dyslexia. Alexander del Re’s piece was about indirect gazes and indirect ways of approaching others (using mirrors) but I only saw the end of the piece. He had invited Salla Valle to collaborate in it (I remember her performing at an uplifting Là-bas event). Mark Harvey presented a humorous piece at the Turku Castle. He acted as the king and motivated the audience to rebuild the Kalmar Union.

The evening with Pilvi Porkola went reasonably well. I was nervous about my contribution and failed to follow the piece in full detail. She baked, dyed her hair, told short stories about her life and prepared the space. I was invited on stage midway the act and introduced myself as a choreographer.  We made a series of kettlebell warm up exercises and after this she continued baking and chatting casually with the audience. When she went off stage to wash the dye of her hair Mark was invited to entertain people and I served as a sports commentator for his dance act (Ray Langenbach complement the blunt taunting commentary). As she returned, Antti Manninen was invited to talk with the audience and gradually the piece converted into a faux house party.

The artwork casted a critical view on the structures and conventions of performance art. Pilvi made the efforts of durational and endurance demanding performances vein by illustrating how difficult it is to perform everyday tasks like putting your socks on while standing on one feet or chatting casually while cooking. A highlight of the piece was when she made microwave popcorn. Jesse Sipola made a surprise appearance during the party phase as a DJ and we ended the night drink Ferned Branka at the Monk. I didn’t get the opportunity to chat with other performers at the festival. I missed some pieces I wanted to see.

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Saw the “Legend of the Small Bone 2” (Legenda pienestä luusta) at the Turku Cathedral yesterday, which was co-directed by Susanna Airaksinen. The play by Kolmas tila company used the church space fluidly and the play’s structure and dialogue succeeded in building a feel for how early cartographers and scientific thinkers saw the world. The play was focused on the story of Muhammad al-Idrisi. The act of acting was frustrating to witness and the piece didn’t discuss issues concerning non-human as it was marketed. The actors wore 80ties style hairpieces and glamrock style makeups but were extremely serious about their postures. The church setting stripped the play of it’s potential for critique and dialogue. As a result the mid show dance acts came off as faux-rituals.

After the play I attended a Chile themed performance night of the New Performance Turku festival. Saw Cristóbal Yáñez Lanzarini: “Back to the Tre” a sort of depiction of his (possibly struggling) love life and the universality of love. After that there was performance by Señoritaugarte: “El grito decolonial”, a cry for the inhumane treatment of refugees and asylum seeker by Finland (A short search turned up an interesting New Maternalisms project she’s been involved with). The evening ended with Alexander del Re: “Phobia # 131/367” which was a slowly building self harming piece about his fear of crying (illustrated by melting ice). Currently preparing for my Pilvi Porkola kettlebell choreography intervention.