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Minä, Marxilainen taiteilija [Me, a Marxist Artists] (2021) by Jyrki Siukonen is an elegant book, its written like a journal and assumes the reader to be well informed. The book reveals an absence of Marxist or Communist theories on aesthetics and depicts intricate political debates where Finnish artists and cultural workers of the 70ties attempted piece together a plan for a leftists artistic program. Marx was bad at art and their theories on production/commodities do not apply to cultural production. Similarly a Marxist depiction of historical progress fails in understanding the intricacies of style (that it does not “progress” but fluctuates). Siukonen reveals that artistic research in Finland is rooted on efforts to make sense of art production, by evaluating an artists responsibilities for society and the particularities of their praxis. Siukonen offers a striking analysis on the utopian function of socialist realism: In actuality communism in the Soviet Union existed only in art. I enjoy the banality which they depict the terrors of great purge… Nearly every artists or cultural theorist from the Soviet Union they cite, is revealed in the footnotes to be have imprisoned or executed by Stalin. By depicting an array of failed creative efforts to align artistry with Marx/communism, the book grinds an opening for imagining contemporary approaches to the question. Being a Marxist Artist is depicted as a learning process, which outcome we should not predict (just like communism!).

I got asked for a comment in a Hyperallergic article on Criticism in Finland Over Country’s Selection Process for the Venice Biennale (2023) Avedis Hadjian. The bit where I shyly hope for institutional change “Perhaps it [the curatorial process] also succeeds in having a lasting impact on the institutions involved in the process.” was cut in the editorial process.

Keho vaatii tunnetta [Body calls for emotion] (2023) Tiia From & Onni Oja. A nice to read, solid review of Crimes of the Future (2022) David Cronenberg. This text was written as an assignment for a course in Kankaanpää Art School and the authors very kindly credit me as a teacher! I also wrote shortly about the film.

Performance Art as a Craft of Dissidence (2022)

This text was published in the recently launched “Performance Art in Practice – Pedagogical Approaches” (2022, Worthwise) Aapo Korkeaoja (edit.). The book offers 9 approaches for teaching performance art by different authors. My text is built on experiences teaching at the Kankaanpää Art School. The publication offers insights to performance-teaching by Tuomas Laitinen, Aapo Korkeaoja, Annette Arlander, Pilvi Porkola, Pia Lindy, Jussi Matilainen, Leena Kela & Tero Nauha. I’m flattered to be included in this bunch and I particularly enjoy Pilvi’s writing! The book is illustrated by Katriina Sjöblom. I like that it includes both practical exercises and the philosophy behind the teaching. My submission was originally written in 2019 but it some acuteness to it. The intuitive teaching manner I present as a dream in the text is now fully employed as a praxis.

I have always had issues with authority. This family tradition was passed on to me by my mother. I get offended when people tell me what to do and for this reason studying has been and still is challenging. Luckily Finland is a welfare state, and in the nineties primary school teachers were idealistic. They believed that everyone is good at something and their trust convinced me that my dissident attitudes would find acceptance in the field of art.

I try to pass on similar hopefulness when I get the opportunity to teach. In the past I’ve attempted to assert control over creative processes and I’m learning to get more comfortable with uncertainty. I fear that open processes end up strengthening existing ideas and do not enforce change, which I think is mandatory for combating the hostility of present societies.

To identify subtle changes which manifest in creative sessions, I have called for the meticulous documentation of events and ideas which emerge during a course. I now fear that the detailed study journals we write with students, take on an authoritarian role and steer the course on their own. To counteract this, I have begun to rely on intuition. Can intuition serve as a benign, anti-authoritarian force?

Continue reading “Performance Art as a Craft of Dissidence (2022)”

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Our reception at Glow Up was warm and the evening wonderfully festive. Malla’ gig invited everyone to dance and before this we participated in a performance by Vishnu Vardhani Rajan and admired poses by Tiia Kasurinen. Before the event we were welcomed by Pii Anttila, Sanna Karimäki-Nuutinen and Kunsthalle Seinäjoki staff. Karimäki-Nuutinen gave us a thorough introduction to the Kunsthalle history and current program. During the tour we got to meet and interview artists Ida Sofia Fleming and Vesa Rahikainen who had an exhibition in the top floor. Their work was based on rust, sound and rituals. Pii also hosted us a celebratory lunch and the co-curator of Glow Up, artist Aeon Lux gave us compliments when we parted ways.

We performed together as a group consisting of artists Tonya Björkbom, Julia Elo, Viola Jalaskoski, Uljas Kaitala, Anni-Maaria Leppänen, Sade Marila, Pinja Minkkinen, Piia Muurinaho, Ignacio Pérez Pérez, Sanna Svartström, +1 and myself. Tiia From & Onni Oja, who participated in the planning of the work could not attend. The performance was prepared during a two week intensive performance art course titled “Public and Performance” organized at Kankaanpää Art School. Our group was called Eero Yli-Vakkuri & Co. in reference to recent debates on “& Co.” -style charismatically led performing arts organizations.

During the two week program we wrote a collective study journal with the group, which shares lecture notes, drafts for the performance choreography & score and other notes, general glimpses to discussions and exercises. I particularly enjoyed a day we walked the city and Uljas presented the group with the Kankaanpää cemetery gravestone deposit/storage. The site reminded me of a past gig at the Malmi Cemetery, which hosts a similar deposit of gravestone gravel.

Our performance, perhaps titled as “This is your ancestor” (but not agreed to be titled such) was an effort to transform a rock with the collective will of our group, bodies and by facilitating audience interactions with it. We advised various choreographic motifs, which were be used to exchange experiences, such us temperatures with the stone. I think the majority of the audience came to contact with the stone and some even performed solo actions with it. We developed the performance by gradually growing our collective understanding of the materials of stone, bubble gum (which contrasted the hardness) and by debating what constitutes an audience or public. We loosely defined (but experienced and abided to) collective rules on how to physically engage with each others and the audienceperformers. Trust was built trough intuition and developed a good mood for the club.

Esitystaiteen perusteet -kurssikooste

Kooste sisältää tehtävänantoja, suorituksia, opiskelijoiden kirjoittamia muistiinpanoja ja keskustelun rippeitä. Aineistoa käytettiin Kankaanpään taidekoulun Esitystaiteen perusteet -kurssin opetuksessa, johon osallistui kaksi perättäistä vajaan 15 opiskelijan ryhmää ja etäopiskelijoita. Kolmiviikkoinen kurssi on pakollinen ensimmäisen vuosikurssin opiskelijoille. Ohjelma pyrki kehittämään osallistujien kykyä purkaa ja lukea erilaisia yhteiskunnassa toistuvia esityksiä sekä kehittämään taiteilija-ammatin vaatimia esiintymistaitoja. Esiintymistaidoista on hyötyä kun tekee taiteellista työskentelyään ymmärrettäväksi kollegoille, perheenjäsenille ja muulle yleisöille. Esiintymistä käsiteltiin laaja-alaisesti puimalla historiallisia poliittisia puheenvuoroja, performanssitaideteoksia ja osallistujien kurssin aikana toistamia arkirutiineja.

Ohjelmaa rytmittivät liikunnalliset harjoitukset, joilla pyrittiin vahvistamaan osallistujien kehotietoisuutta. Aamut alkoivat joko yhteisillä tansseilla tai venyttelyillä ja ryhmät suorittivat päivittäin kontakti-improvisaatioharjoitteita. Koulussa toteutetun opetuksen lisäksi ryhmät toimivat Kankaanpään liikuntakeskuksessa ja työskentelivät muutamaan otteeseen kaupunkitilassa. Liikepohjaista työskentelyä ohjasi pyrkimys harjaantua tunnistamaan kuinka keho vaikuttuu ympäristöstä, säistä ja toisista ihmisistä. Tätä kautta yritettiin hahmottaa miten ympäristö vaikuttaa sosiaaliseen kanssakäymiseen. Menettelyllä pyrittiin kehittämään valmiuksia ymmärtää kuinka taideteokset, kuten veistokset, maalaukset, valokuvat ja arkkitehtuuri ohjaavat havaintoja, ajattelua ja käytöstä. Ohjelmaan kuulunut luento tarkasteli performatiivisuuden käsitettä eri nykytaiteen suuntausten ja merkkiteosten kautta.

Koosteessa on mukana esitystaiteen perusteet etäkurssin kurssitehtävät, joita myös osa kontaktiopetukseen osallistuneista on tehnyt korvatakseen poissaoloja. Laatikkoihin kootut tekstit ovat viikottaisia tehtävänantoja, joita ryhmille jaettiin. Näiden alla on opiskelijoiden suorittamat tehtävät sekä linkkejä teoksiin, joihin viitattiin keskusteluissa. Harjoitteita ja niiden purkuja ei ole esitelty tässä asiakirjassa, koska tämä on tarkoitettu ensisijaisesti muistiinpanoksi ja arkistoksi. Koosteen avulla voi toivottavasti palauttaa mieleen opetuksessa viitattuja taideteoksia, kirjallisuutta ja harjoitusten kulkua. Kurssi päättyi molempien ryhmien osalta ryhmissä suunniteltuihin yhteisharjoituksiin, joiden kehittelyn rippeitä on tallennettu asiakirjaan. Osallistujat arvioivat omaa oppimistaan ja antoivat työskentelylleen kurssiarvosanat opetuksen päättäneissä henkilökohtaisissa palautekeskusteluissa.

Osa performanssiharjoitteista on napattu suoraan Pilvi Porkolan toimittamasta Performance Artist’s Workbook (2017) kirjasta. Performatiivisuutta käsittelevä luento-osuus pohjasi teoriasisällöiltään Richard Schechnerin Performance studies an Introduction – Chapter 5: Performativity (2002-2013) oppikirjaan. Suomennettu nimellä Johdatus esitystutkimukseen (2016). Kurssi käytti opetusaineistona kahta suomalaista performanssitaidekokoelmaa; T.E.H.D.A.S ryn luomaa D-Ark arkistoa, jossa teoksia yli 30 vuoden ajalta sekä New Performance Turku -festivaalin videokanavaa. Arkistoista löytyviä taideteoksia sovellettiin myös opetuksessa toistamalla esityksissä käytettyjä koreografioita ja perehtymällä taideteoksiin liikkeen kautta. Edellisistä kursseista saa otteen blogin aikaisemmista. Kurssin vastuuopettajana oli Tuomas Laitinen, joka sijaisti Aapo Korkeaojaa.

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I don’t know much about leadership but I do know about teaching and have worked in self governed groups. I assume that leadership and teaching are related and suspect both are about balancing listening to others and articulating personal desires. Both require accountability. I’m curious about leadership which would be structured by values.

Value based leadership sounds better in Finnish: Arvojohtaminen. In Finnish the term sounds like it’s not only about leaning on shared values of a work community for defining organizational goals but equally about defining values and imagining futures where the values would prevail. For me politics is about calling forth a public from the mass of folk we’ve been made into by history and deciding where to head next. Value-based leadership or rather leadership by values would then be a process of reaching to this public, to remind each other about shared ambitions and dreams. We are all worried about the future which is why being reminded why we are working together gives hope and comfort.

Leadership which is set by values is scary because one might fail in articulating the ambitions and dreams a community shares or even worse one might reveal that their values are not inline with the current mood of a group. This gives the public just cause to scrutinize the speakers role in the organization. I imagine this is why hierarchical organizations are seldom led with values, the democratic processes of constant reevaluation would strain them. Hence the group is steered by a “mission” which does not require individuals working to achieve it to share (or commit to work on) values. It’s enough that members are managed, that the time and budget they spend gets measured. The aim is to work in a fluidity where no one needs to think or say what they believe in. Work is viewed as something not political.

Just as the terrorists wanted, everyone else was left feeling unsafe.

The Kankaanpää terrorist group was caught during the same time I was teaching a performance art course for first semester students at the Kankaanpää Art School. News of the arrest came to light on a Sunday, halfway through our intensive course. The far-right group, consisting of five young men, was defined as an accelerationist cell and it was broadly speculated that they had been planning an attack. Any potential target they might have had has not been revealed by the police. I continued with classes the following week and referred to the arrest in anecdotes but didn’t engage with the news systematically. Not a lot was (or is) known of the group’s intentions. There were rumours circulating that the school could have been a potential target because members of the terrorist cell had attacked students a few years back.

Students were stressed and very critical to how the school and I were addressing the situation. It must have appeared that we, the staff were intentionally silent about the affair. We had a crisis talk with the student group on Wednesday and on Thursday the executive director, rector of the Satakunta University of Applied Sciences (SAMK) Jari Multisilta held a meeting for all the Art School students and staff. Students voiced their criticism and desires bravely. They wanted the school to respond to the news and to take their concerns seriously. The meeting was followed by a session next Monday facilitated by art department team leader Matti Velhonoja, where students and the staff could further discuss and share their feelings. Both events worked well for voicing concerns and coming to terms with news. But discussions in both forums focused on technical matters: What kind of security measures or protocols should be implemented, how frequent should emergency evacuation drills be held and should student privileges, such as having access to school woodworking facilities after hours, be revised.

I think the focus on technical matters is a symptom of a deep issue: When leadership is not rooted in values, concerns over safety get handled by discussing technical matters. In short, instead of using the public forums we had for strengthening our sense of solidarity and confronting terror, we discussed whether more security cameras should be installed on the art school campus roof. Retrospectively, we were petrified by the potential of violence and resolved our unease by dabbling with optics. Discussing right wing terror, the threat students feel in Kankaanpää or in the becoming Finland and how should we organize to combat fear would have required work. The outspoken students who provided the strongest criticism of the school institutions response, detailed that their views were rooted in prior experience with right wing extremism. I believe that if the terror threat and the experiences students have had would have been discussed in an unhierarchical manner —leaning to their expertise— we could have reached something immensely more constructive.

This would have required us all to commit to the school from a different, perhaps deeply personal stance. It felt like none of us in the staff had a mandate to fully address the needs of the students. Even so, instead of retreating back to a numbing fluidity where differences are pushed aside with managerial apparatuses, we should use the momentum for reframing our ambitions and dreams: What do we want from art and art education when faced with terror? Where do we want to head from here? The only sign of a fighting spirit in the sessions was a cry “No Nazis at Kankaanpää, No Nazis at all” by Antti Ahonen. It felt energizing but did anyone believe it? Who amongst us was committed in confronting terror and how would our efforts be most effective?

Its not a coincidence that the terrorist cell was formed in Kankaanpää, the region most supportive of the far right Finns party and it is horrible that locals who have been interviewed by nationwide media outlets have downplayed the severity of the case. When the terrorists were released from pre-trial detention, a local Finns representative Teuvo Roskala published a post in which he celebrated their return to Kankaanpää as if they where national treasures. In this landscape the art school is a beacon of hope for young artists. Discussions with SAMK department heads framed the art school as a “bubble” which is dislodged from its surroundings. This was offered as a partial explanation for the sense of alienation students expressed. This should not be a mindset for reading students reactions.

Security devices will not resolve the problem, because the problem isn’t security, the problem is the prevailing managerial ethos which enables organisations to function without articulating values they are working for. The city of Kankaanpää and SAMK should layout measures they are planning to deploy in-order to countermeasure the increasing far right threat. The Finns party’s reactions to the terrorist case should be publicly scrutinized by people who lead public institutions, in areas where they have been voted into power. What does SAMK dream of in the wake of these events?

On a broader scale I want to investigate how art education should respond to rising right wing extremism. What does it mean to be an art student in a hostile environment? If fear is not confronted and the sense of security strengthened, the process will cause immeasurable harm. Can or should we work towards establishing pedagogical guidelines for confronting violent political movements? Education is nothing but political. It is an expression of a humanitarian belief that personal and societal change is possible. Every teaching event is a sincere attempt to become better, more just, more grounded and that we will achieve a brighter future by becoming more compassionate.

I also remembered writing about Kankaanpää and the Finns Party a few years back. There is a definite trajectory between Finns-party and far right extremists, which should be taken seriously. The following week I draw an angry Moomin character and attached it to to the window of the staff flat overseeing the market square from where it condemns violence. It’s not much but it’s what I could do.