Enlisted as an unemployed in an effort to collect funds for the upcoming New York residency. I have some savings and gigs scheduled but I need to pull in all available resources to fund the trip (grant applications for Taike and Skr failed).
Guests from Brussels are arriving today and staying for a week in our place. Kids are still on their winter vocation and I can’t work at home.
Neighborizome events are being planned and prepared for 18.1.
Wrote a detailed summary (in Finnish) of my art-camp contribution for 12-18 year old kids from Hyvinkää and Hämeenlinna children’s art schools. Added links to Peggy Pierrots talkshop-guidelines and referred to Poste Restante. The title “Postructuralism for Kids -lecture” brings a smile to my face.
Neighborizome project development is in a mid development crisis. Nothing threatening but we need to find more sensible ways in to work together. We drafted a budget for next year.. If everything goes as planned we’ll publish a booklet and host a miniature performance art festival in the spring of 2018. Things will be confirmed next week.
Through this collaboration I’ve come to understand of my personal shortcomings as a project manager. Instead of engaging in negotiations which would be rooted on clearly articulated opinions, I tend to continue addressing questions I have issues with for as long as it takes for the group to address them the way I prefer – This way I inadvertently assume indirect control of the discussions, without clarifying and assuming responsibility for my intents. This style of management is rooted in collective low budget production culture (typical for performance art in Finland) where members have strong creative opinions and they don’t have the resources to challenge their beliefs. When issues are continually re-address the aims and shape of the artwork (or project) is address as a series of tasks which fit within milestones and deadlines (instead of creative intents and visions). As a result the project will be lead by the person who invest the most in task solving and this seldom makes for good art.
Vili Mustalampi performed well at the Kom-theater sound night at Vuotalo. I haven’t listened to the recording yet. I think the Mitä kuulu+ (for Ihme-days) & Kutsu projects which focused on the changes in city soundscapes are now complete. I’m not completely satisfied on how things went. The 48min documentary I made is a tad too long and unfocused and unfortunately I haven’t found anyone who would be interested in publishing it. I should share it more boldly to people I imagine would like it.
Visited Life is Beautiful – Cocktail bar and asked for a cocktail which would “prove to me that life is truly beautiful”. “It depends on your preferences” I was answered. I scratched my chin and tried to figure what my preferences for life are. I must have looked like I was struggling because it didn’t take long for the bartender to elaborate: “For example do you like bitters or sweets”.
“Ah.. I like bitters. I like Fernet-Branca.. Can you make me cocktail with Ferned?”. While he was mixing it I thought about bitterness as a preference. It takes a developed taste can appreciate bitterness I thought to myself. He mixed the ingredients, I didn’t recognize them all. There was eggwhite, a liqueur relished with white flowers (if the bottle label is to be trusted) and something else.
“This is like watching brain surgery” I complemented the craftsperson at work. The taste was manufactured by hand under my judgemental gaze. “This tastes civilized” was my first reply. The taste was exciting and I felt privileged. “The taste is like a puzzle, like a riddle” I continued sipping. “Thats a good way to look at life” the bartender replied. I continued with my drink as he prepared cocktails for the customers. We talked about horses and art.
I promised him I’d bring my friend to the bar too.
Flying to Brussels to meet horses inregards of the Signal festival.
Judith Butler’s book Notes Toward a Performative Theory of Assembly (2015).
“The people” are not a given population, but are rather constituted by the lines of demarcation that we implicitly or explicitly establish.
If performativity has often been associated with individual performance, it may prove important to consider those forms of performativity that only operate through forms of coordinated action, whose condition and aim is the reconstitution of plural forms of agency and social practices of resistance. So this movement or stillness, this parking of my body in the middle of another’s action, is neither my own nor yours, but something that happens by virtue of the relation between us, arising from that relation, equivocating between the I and we, seeking at once to preserve and disseminate the generative value of that equivocation, an active and deliberately sustained relation, a collaboration distinct from hallucinatory merging or confusion.
[…] we have to ask whether it is right that verbalization remains the norm for thinking about expressive political action. Indeed, we need to rethink the speech act in order to understand what is made and what is done by certain kind of bodily enactments: the bodies assembled “say” we are not disposable, even if they stand silently.
Listened to fffff.at/rip podcast. Surveillance state is upon us.
My talk for Hollo institute Utopia-seminar went reasonably well. I had some trouble framing the end of the talk.. I attempted to announce horselogical-pedagogy and engage in an open ended discussion but being surrounded by professors and emeritus professors the announcement came of as a joke. People laughed as I presented Adjunct Professor The Awaited Son. I laughed with them out of pity and tightened my fists.
“So.. All of you are ok with horses taking your jobs?” I asked as people chuckled.
Currently in Oslo on route to Tromsø on a Trans-Horse affair. I’ll meet a horse today at 15:00 and perfom with it tomorrow at 10:00. The festival is called Vårscenefest. I’ll have a day for seeing the city before I return to continue work on Trans-Horse events for Sea Change by Otto Karvonen. In Vuosaari I’ll be handling horses with Susanna Airaksinen. I’ll have to travel to Brussels late May to meet with the Signal organization staff and the cities mounted police force. In June we’ll host a sound-art exhibition at Akustamata in Helsinki.
Visited Kontula Electronic and had a brief encounter with Martta Tuomaala. I didn’t get to talk about her “bodybuilding” project. She seemed to be stressed about the show. Also saw a children’s techno workshop.. It wasn’t as techno as expected. Kids triggered grooves from a launch pad, which kept the event noise free. Pop songs and kid’s toons were also played periodically. Children were dancing. I’ve been invited to host a children’s techno-workshop for NPTurku in the fall.