An extract of my kettlebell choreography contribution for Pilvi Porkola’s “Until We Come Together” (2016) at New Performance Turku is available online!
Wrote a short memo on the Trans-Horse presentations for Vårscenefest [Fi].
Autochthonic Fantasy (2016) Arttu Merimaa.
Kirjastoessee (2016) Pilvi Porkola.
Preparing for “Performance and Media” course which I’ll host next month in Kankaanpää Art School. Feeling stressed.. It’s taking a lot of time to sort out practicalities and the time would be better spend making fun art stuff (like preparing the SOW: Blacksmith ed.1).
I’ve planned that we’ll… Make six intensive workouts at the Kankaanpää gym (working with kettlebells), make 3d renderings of meditation stools (later construct them) and work with sketchup to design imaginary objects (later meditating on them). It’s a fun program to conjure but stressful to organize. At the same time I’m mentoring a group of five graduating students with their thesis related artworks. So far I’ve written 12 pages of emails and spend 63 hours on mentoring tasks and travels to Kpää (I’m using a nifty work scheduling application to measure the exact working time). I don’t think they are reading my emails and on my visit there last week I learned that half of the group hasn’t started working yet.
It takes six hours to travel to Kankaanpää by bus. It would be more practical to organize my course for an academy in Berlin etc. The travel time would be more reasonable. Still.. I enjoy the idea that somewhere there is a polytechnic university which offers free art education for people who live in the middle of nowhere. Globally it doesn’t make any sense to have an art university in Helsinki either. I should make a travel video about Kpää and show it friends visiting Helsinki. The site puts contemporary art into perspective. On a map the city is at the same level as Greenland.. It’s among the most northern universities of applied sciences offering education on performance art. I guess Tromsø is the most northern – But Norway doesn’t count because they have oil money, which makes space and time are manageable.
Visited TeaK Bunch performances today by invitation of Matilda Aaltonen. I’ve been watching more dance this autumn then ever before. It inspires me. There is more potential for change in dance than in performance art!
There is something unceasing in witnessing dancers illustrate internal drives with their public bodies (they become everybodies and make the audience nobodies). Dance is magnificent acts and on stage, which the artist present in an unhesitant/pro-hesistant, inhumane manner. They have no stutter – Stutter is their art. This makes them too perfect to approach. They are shielded from penetrating gazes on all fronts. There were three breaks during the two hour post-humanism inspired dance potpourri. During the breaks the movements the performers echoed in the audiences posture. Everyone ended up putting on a show, walking more steadily and concentrated then before arriving. Everyone was afraid to show their imbalances, everyone was afraid to show “they didn’t get it”. This is how institutions terrorise us and this is how we can use empathy to change the world.
I’ve started to develop dance for my kettlebell. “Workout in four parts”:
My text for Esitys mag. is out: Uusmaterialistista yhdyntää (2016). The online version of the mag also features an insightful text from Pilvi: Jumalattaria vai sarjamurhaajia?, which looks at how masturbation has been represented on stages.
Masha Gessen details how to survive autocracy in the USA. The same logic applies to today’s politics in Finland under the “True Finns” thumb.
“… when Marx wondered about what would happen if commodities could speak, he might as well have asked slaves, or the Haitian revolutionaries.” writes María Iñigo Clavo in Modernity vs. Epistemodiversity on e-flux (as recommended by Jussi). The arrival of the text is well timed as we just finished a grant proposal together with Eleonora Lundell. We are seeking funds for a talk-shop, where people who have settled to Helsinki would talk about objects they hold dear.
An incredibly cynical video detailing the future of urban life and warfare made by the American military complex: Megacities: Urban Future, the Emerging Complexity.
A nifty text on cultural imperialism by Pilvi Porkola What is ‘esitys’ on the University of Arts “How to do things with performance?” project blog. She is critical about Richard Schechner’s “Performance Studies. Introduction” which I’ve been studying in preparation of our upcoming Art School Maa course.
I should make a kettlebell out of Snellman’s head.
Visited SIC 2 gallery spaces opening exhibition The movement that didn’t have a dog and a stick… The exhibition was curated by Mikko Kuorinki and Diego Bruno who have been working together on a project they call Ruler. My favorite work was “Joycean Society” (2013) by Dora García. In discussion with Topi Äikäs I came into the conclusion that the exhibition was fuelled with sincere trust for the arts. Topi and I had difficulty in participating in the feeling because we know that the production of such exhibitions is always messy. Messiness is the opposite of Accountability. I have trouble trusting mess (even if I know that art is at it’s best as mess).
We chatted about the 9/11 events in USA. Topi gave an honest account on how he felt after hearing about the attacks. His honesty cleansed the air and I suddenly remembered feeling suppressed delight. At the time we had been both excited about seeing the imperialists twin towers collapse and celebrated the attacks against the high standing symbols of global capitalism.