A HORRIBLE DAY AFTER

This text was published in the Aquatic Encounters – a glossary of hydrofeminisms (2024) edited by Elina Suoyrjö & Anastasia A Khodyreva. The story is founded on previous work with Tea Andreoletti and our submissions for the book were presented next to sculpturesque injections by Monika Czyżyk & Elina Vainio. It was written at Örö Islands Öres Residency during our stay there with the Institute of Coping with Destruction. In part it ushered the development of Wypij Morze!

As a young sailor I ventured to the guest harbour of Örö and took a drink from the bistro by the peer. I caught a glimpse of a fellow, who looked as if they had ventured to the sea before they could walk. As they gazed back at me, a slice of pickled herring slipped from their fork landing on the muddy peer. Without hesitation they picked it up, swirled the fish in their beer and ate it. They took note of my concerned expression and signaled me to step closer.

I see you are concerned of what you witnessed. I assure you there is a lot to be learned from dirt. Sit down, share a beer with me and I’ll tell you a thing I’ve learned living by these waters.

The wind stood still and I felt a fleeing concern. I pulled a chair to their table and listened. As I was not yet seaworthy, I had trouble following the names of the islets and bearings of ports they spoke of. Noticing my waning concentration, they leaned forwards and began their story. Whispering, they told me of the alarming events that took place at the remote Bodö island guest harbour, deep in the archipelago sea.

A young entrepreneur took a risk and opened a guest harbour with a dock bistro in Bodö. They renovated its only building, an old border station and built all the infrastructure themselves. They devised a kitchen, modest living quarters for a staff of five and a warm dining hall for visitors passing the barren sea. The guest dock had previously been a cold service station for fueling vessels and offering shelter when the weather took a turn. But they had seen potential in the place and put in effort inviting mariners to dine and spend nights docked by the shore. Their first summer had been a success and their menu was celebrated. For the safety of their clients, they had to advise a contingency plan for every scenario and condition the sea would throw at them. The weather demanded that they secured everything to bedrock, kept emergency supplies to last two weeks and instead of keeping a generator and fuel in reserve for an emergency, they maintained two. In bad weather it would take a day to reach them from the mainland. The bistro had been opened on an exceptionally hot summer but now the fresh autumn winds had arrived and the entrepreneur only had a staff of three for the rest of the season.

Oddly, on the morning of their final week, everyone in the crew began to feel weak. The cook reported that their tongue tasted faulty, the cashier and the waiter complained of sudden piercing headaches and feverish tremors. The entrepreneur felt these too and sensed a strange odour when they relieved themselves but did not bother the staff with this detail. They had only each other to consult and as a new crew they experienced the strange symptoms escalating over the morning. Suspecting food poisoning they closed the kitchen and had to send their only clients of the day sailing forwards hungry. There can be no lying at the seas, so apologetically they turned to their remaining guest anchored at the dock, asking if they experienced strange symptoms: Difficulty to concentrate, drowsiness or dry sparks in their tongues. They were relieved to learn that the lone sailor had not experienced such. The guest thanked the staff for their honesty and headed towards Marienhamm. The crew and the entrepreneur were left by themselves and decided to retreat to their quarters until they could figure out what was the root of the cause. The chef took to their bunk and opened a beer. The cashier tried to sleep but they felt as if the world was spinning and had to lay on the wooden floor to keep grounded. The entrepreneur, desperate to find the cause, searched medical databases for clues, while planning their evacuation to the mainland.

But the waiter sensed an urge and went to the east shore of the island for a swim. Despite their nausea and the fatigue of their limbs, they swam far into the horizon. Floating on their back they felt cold by their feet and savoured the warmth of the surface. The blue-green algae reported on mainland shores was of concern. Yet, despite their best knowledge and everything they had been taught of the archipelago, they suddenly felt they had to drink the sea. They halted, turned towards the shore to see the roofs of the kitchen and the hall and opened their mouths allowing the water in. The water passed their throat with ease and as it did, they felt an ecstatic rush. All fatigueness and aches evaporated from their body. Their confidence grew and they took a long dive. Under the water the taste of the sea revealed itself and returning to the shore they knew exactly how to heal the crew. With insight to the remedy, they rushed to the quarters but were surprised by loud music and opening the door, they were met by a very happy chef cheering the rest of the lot to drink more beer with them. Everyone was smiling and laughing. Their nausea had passed, health restored and they welcomed the waiter back with cheers. During their swim the crew had experienced a revelation.

The fellow paused, took a sip of their beer. They retreated back, leaning to their chair, savouring the moment and investigating my reactions with pleasure. I nodded and cleared my throat a bit, as I was anxious to know what had caused the strange symptoms and bizarre behaviour. Before I could ask it out loud, the fellow winked their eye and continued.

The beers the chef drank had relieved their nausea. This and other signs lead the entrepreneur to suspect that there had been something wrong with their water supply and rest assured… The reverse osmosis system which they used to turn the brackish water of the sea drinkable was to blame. In their efforts to make everything served on the island safe and clean, the entrepreneur had set the device to remove everything but the molecule of H₂O from the sea water supply. The device had worked as instructed and produced purified water, which didn’t provide them with electrolytes nor minerals their bodies needed. Instead, the purified water extracted minerals from them, causing —what the chef recognized from firm experience— symptoms of morbid hangover. The relieved entrepreneur then set the machine to include salts and minerals of the sea in its product, which removed their symptoms at a glance.

Revealing their gold teeth with a grin the fellow concluded.

And since then I’ve always trusted my tastebuds over my eyes and am not shy to add mud to my fish nor grit to my drink.

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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In the contemporary milieu, the idea of being negative is either regarded as a destructive mentality or else defeatist fatalism. But, at least in passing shades, negative emotions can hold great power. There resides in negativity the seed of critical thought and a beneficial duty to engage with one’s internal feelings.

The Art of Negativity – On Rejecting Positive Thinking (2021) Enis Yucekoralp. The text draws a link between capitalism, positivity and the “Likes” which social media devices employ. There is a determinism at play in positivity… As if things would “get to” or need to “go towards” to exist or feel good to be meaningful! I’m reminded of a previous claim that bitterness is in fact an emotional response of class awareness #ॐ. This is framed in a sentence: “Judgmental bourgeois attitudes towards revolt and protest necessarily represent hegemonic support for the status quo”. The text brings forth a useful concept: “toxic positivity”, which is deployed to against the stagnative argument that “negative emotions are inherently ‘bad'”. The author identifies trades of “cultist optimism”, which approaches critical world-views as a sin. Also loving the critique of “wellness capitalism” (Yucekoralp is citing Audre Lorde).

… the English Romantic poet John Keats formulated a concept, one which he termed ‘negative capability’. At root, it describes a propensity for living in the midst of mystery; or, more accurately, the power to accept enigmas and uncertainties with an open mind free from the imposition to hunt down order and clarity. His very use of ‘negative’ is not meant derogatively, but to represent absence in a more abstract sense – the positive potential of ‘being without’ something. In this case: knowledge or certainty.

Wellness capitalism is the symptom of a much more corrosive condition; as if more consumption were the answer to healing the wounds of capitalism. In reality, the promises of ‘mindfulness’, ‘positive mental attitude’ and ‘healthy living’ pledged by the industrial wellness complex are exposed as just one more arrow in the quiver of exploitation.

We should work to destroy ourselves nicely, not only to maintain the current but to destroy it! Authentic movement and authentic drunken slumber can possibly be equally healing. Authentic Drinking (or getting fucked up in other ways) was recently discussed with Leena and Heini.

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Pori Art Museum has published a report on the Creative Commons and Art seminar which I participated in with Kaino and Kalle Kuisma. My talk is recapped on pages 10-12 and I’m very pleased with my contribution. I claimed that “Artists do not contribute to the commons – They claim phenomenons from the commons” (artists taint phenomena and mark it as their own). I also claim that skills are production tool (for artists) and shed light on the ideological origins of Ore.e Refineries (and the COOL 1.0 license).

Working on our Ihme-days presentation with Heini and Leena, packing stuff in preparation of my New York visit, preparing next weeks Horse & Performance course with Pietari and writing a lecture/presentation for expo2001∞ (organised by Daniel Kupferberg) events at Kunstraum Argh15 (I’ll give “An Introduction to Horselogical thinking” over skype or wire). Aaand.. Learning how to make cheesecake.

Flashed Face Distortion Effect is interesting. Wonder if could be reversed: Images of faces would be distorted so that the faces that flash would appear normal.

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Performed with the Neighborizome group at the Koneen säätiö Lauttasaari mansion renovation topping out party last Thursday. We prepared a timecapsule/ritual kit for the future and buried into the yard. Builders and guests could vote on its content. Builders voted on an Anonymous Mask and a Koskenkorva vodka flask (Fitting symbols for struggle). They threw coins into the kit for good luck.

Learning Ableton Live in preparation of a gig at the Viestejä Vuosaaresta (KOM-theater / Helsinki Model) event. The gig is on 2.11 and I’m scared. Vili will recite a marine weather report using his flamenco/gypsy-style singing skills. The tone of the singing is similar to an Adhan. Lauri Wuolio is also performing at the event.

Preparing a teaching gig for Janakkala (for kids, 12-18 years) next weekend. There will be 21 students. I’ll be teaching them how to “walk”.

Preparing a 1,5h lecture next Friday on my artistic practice (in the framework of posthumanism/ecology) for dance and pedagogy students of Uniarts Helsinki and Aalto Uni. I’ll start of by explaining that my mother was a Marxist, recap how my shared interests with the Helsinki communist youth association evolved into (very) slim involvement with anti-globalization and anti-war movements and how celebration over the 9/11 (2001) attacks resulted into a restlessness which lead me into crafts (In short before 9/11 dirty clothes were cool – Post 9/11 dirty clothes were scary).

Wax-treated my jeans coat. 1 part boiled linseed oil, 1 part beeswax mixture. It will take 6 months for the linseed oil to dry.

  1. Nude Photo (1987) Derrick May
  2. Model 500 – Night Drive (1985) Juan Atkins
  3. Crack Down (1990) Carl Craig
  4. The Final Frontier (1991) Underground Resistance
  5. Alleys Of Your Mind (1981) Cybotron (Juan Atkins & Richard Davis)