There is only one spruce tree growing on Harakka Island, so it makes sense to speak of revisiting the spruce. There are more rocks than one, however, so revisiting the rock sounds slightly strange. These visits are linked to my work with Animal Years, a series of yearly projects, weekly performances for camera on the island during the years 2002-2014. And they could take place now because of my sitting as a gallery guard on the island for more than a week, taking care of the small exhibition Trees in Victoria in the old Telegraph (3-12.8.2018) The specific rock in question is the one I was sitting on in 2008 while posing as something resembling the little mermaid, or her sculpture in Copenhagen, and later edited the material into the work Year of the Rat – Mermaid 1-2 as well as Day and Night of the Rat – Mermaid. That year there was no proper ice, no more than what is shown in these images:
The “re-enactment” happened on a windy day, and I sat and hold on to the tripod after it almost tumbled over on the rocks. Although I managed to recreate the image fairly well, despite the water level being quite low, I forgot that the new proportions would leave my head out of the image. Well, the feet were the important part, anyway:
The spruce has also figured in a work, Under the Spruce I-III, made in the year of the pig, 2007, and edited into a three-channel installation. There my performing for camera is really invisible; the human figure sitting under the spruce is not discernible in most of the images. The spruce is video recorded from three different perspectives.
The idea was to insert all three images into one larger image of the spruce in full size. I made one version first, but the following day, while walking around, I noticed that a full portrait of the spruce might be easier from another angle.
Besides the rock and the spruce I also recorded a long take of the cliff on the northwestern shore in order to create a base image to insert the videos of the installation Year of the Pig – Installation or perhaps rather the two parts of shorter version Year of the Pig – Sitting on a Cliff I-II (short).
The cliff is steep, and it was difficult to frame a recognizable image; I might as well have recorded only the sea, or then tried from a boat, but a moving image would be something completely different, of course. A simple and rather steep shoreline is all I got:
I am not sure if I will make all these compilations, but at least it is worth trying. Year of the rat (2008) was the last year I used a DV camera and recorded images in TV-format. The quality is fairly poor, and inserting the images in a “proper” base image makes for a clear upgrade. And perhaps my little exercise on the rock has some value, mainly due to my funny bright yellow outfit…
The exhibition "Trees in Victoria" was opened yesterday at the Telegraph on Harakka Island and will continue 3.-12.8. 2018. It includes two video-installations (as split-screen videos) Trees in Victoria (Apollo Bay) 14 min 30 sec., and Trees in Victoria (Lorne), 13 min 40 sec., both of them recorded in respective locations, Apollo Bay och Lorne, in Victoria in southern Australia during a week after the PSi#22 conference in Melbourne in July 2016 and then edited during 2017.
There is a blog post from the trip to Victoria, here
Both works are also available on the Research Catalogue as small files, here
The exhibition will go on for a week only, and it is open from Tuesday to Sunday noon to 6 pm. I will sit as a gallery guard – that is my holiday this year…
After the very big and quite successful World Congress of the IFTR (International Federation for Theatre Research) in Belgrade, Serbia, (the program is available here and the book of abstracts here) and the executive committee meeting after it, I had an afternoon to spend on my own. With my camera and tripod and the same yellow outfit I wore in Daegu, I headed directly to the park next to the Museum of Contemporary Art where we had a big party on Thursday night. I remembered seeing a small tree suitable to sit in at the border of the large lawn outside the museum on the other side of river Sava, and there it was, right next to the parking lot. The tree was one of many of its kind, a species quite unknown to me. The taller trees on the shore were some sort of poplars, but these small trees covered with puffy pepper-looking fruits I had never seen before. There were quite a few of them; all the smaller, yellowish trees in these images are of the same kind, although only one of them had a trunk with a place to sit in.
After my session, on returning from the park I asked the reception sit in the hotel, googled trees in Belgrade and so on, to no avail. Finally I found an image of something similar, albeit reddish, by looking for dried flowers in Finnish and that way I came to a whole group of plants and trees called lantern trees. There are several types, The Chilean Lantern tree, the Chinese Lantern tree, a creeper of the family Solanaceae related to the tomato and the potato and so on. Most lantern trees have colorful fruits, and these were yellowish-green, but perhaps they will turn read later in the summer. And although I did not think of it at first, these trees probably had flowers earlier this summer. To put it simply: plants change their appearance over the year! And that should not come as a surprise to me, living in the north. Nevertheless I was not sure exactly what this specific tree is called, so I decided to call it a lantern tree.
The video will be uploaded on the RC here The video still is from the beginning of the 15 minute session, when the sun was burning bright, but very soon there were some clouds covering it providing a relaxing shade. Since I was not there, behind the camera to adjust the light, most of the video is rather dull and dark. Despite the image of the tree being framed as rather wide to include more of the tree, its foliage is nevertheless not included. Some snapshots of the tree and its fruits taken after the session will give a better idea of what kind of tree it is:
After attending the PSi #24 conference in Daegu, Korea, I had one day, or morning, to spend in Daegu before heading back to Seoul and Helsinki. Pilvi Porkola from the project How to do things with performance, with whom we made a presentation, returned home with her son a day earlier. My plan was to take a walk to Dalseong Park to see if I could find a suitable tree to sit in for a while, and I asked a colleague from the conference who stayed in the guesthouse, Megan Evans, if she would be interested in visiting the park and looking after the camera behind my back while I was sitting in the tree. And she agreed, so in relatively fresh and sunny weather we walked there and followed path around the park up on the ancient fortifications. It was actually Megan who noticed a possible tree, which I had not noticed and I immediately agreed, because most of the trees were either to old and tall or too young. At first I thought this tree might be too young as well, that is, too weak to carry my weight, but on closer examination it proved quite strong. I had my pale pink woollen scarf with me, but for some reason the yellow clothing I happened to wear seemed more appropriate for the circumstances. Megan would sit on the nearby bench, keep an eye on the camera and perhaps restart it, if for some reason it would stop unexpectedly, as it sometimes does. But this time all went well, and I sat approximately eleven minutes, listening to the birds, the traffic and the amused passersby. At the guesthouse I downloaded the images from the camera and on the train to Seoul I edited the material into a one-image video ”In Dalseong Park” (11 min), which is available on the RC: ”In Dalseong Park”. I named the video thus because I did not recognize the tree. It had some small berries, like miniature cherries, but looked otherwise unfamiliar. It would be very difficult to get its species verified, so I decided to accept that it was a stranger, albeit a rather friendly one. Here below are some stills from the beginning and end of the naterial, where I try to get up in the tree and then to get down again. The larger image in the middle is what the actual video looks like – a bit too dark, really. The park was nice in any case.
This image, taken by Megan Evans as a still with her phone, is actually quite nicely framed:
A small conference on Cultural Mobility of Performance and Performativity Studies organised in the beautiful old building of the Jagellonian University brought me to Krakow together with the HTDTWP group, that is, the How to do things with performance research project. I did carry my camera, tripod, pink scarf and black trousers with me, with the plan to spend the last day finding a suitable tree. After the conference I felt exhausted and joined Pilvi Porkola and Hanna Järvinen on a walk to the Kantor Museum and the Museum of Contemporary Art, both located other side of the river. And I decided I would NOT carry my equipment with me, ”just in case”. When we were returning to the hotel through the park and passed an elder tree with a low bending trunk that we had passed the day before, I asked Pilvi to take a snapshot of me sitting in the tree. What was meant as a simple souvenir to begin with, nevertheless turned into a small performance recorded on video, with my phone. The transformation from snapshot to ”serious” image making can be seen in the sequence of images, below. What was remarkable, from my perspective, was not so much to have other people with me, nor missing my costume, perhaps not even the use of a simple phone camera, but the idea that somebody else was holding the camera and framing the image. Suddenly I became a performer, a model or an actress for somebody else, even though I suggested that Pilvi might take an ”arlander-style” image from the back side. Later I edited a short video by reversing the order of the three video clips, With and Elder in Krakow (2 min. 6 sec), and uploaded it on the Research Catalogue, here.
Afterwards I thought about it, and realized, this could be one way to develop my practice of sitting in, on or with trees to be something more sociable: to invite people to use the camera, rather than to pose for it, as I have previously tried to do in the swinging together images. Hm. I have to think about that…
As part of re-examining the series of video works or performances for camera made on Harakka Island called Animal Years, I have revisited the same sites and recorded some sort of action reminiscent of the actions I repeated weekly during one year in that place. I have actually made a compilation of Animal Years I (2003-2009) and Animal Years II (2010-2014) including one video for each year. After visiting the shore of Year of the Goat, the ledge of Year of the Monkey, the shore with birches of Year of the Rooster as well as the pine tree of Year of the Dog, it was time to revisit the city skyline on the northwestern cliffs for Year of the Pig. My plan was to do it before the geese had occupied the area with their nests, but arriving to the island with the ferry-boat for the first time in quite a while on Friday afternoon, I quickly realized my mistake. The geese were everywhere, not all of them but most of them with nests. Some of the guys are extremely aggressive nowadays, because their territories are shrinking and they are combating fiercely with each other. Some of them tolerate humans reasonably well, if one does not go too close, but others are really mean, and run towards you from afar with their tongues out. One of these angry ones was blocking the path with such ardour, that I had to walk around the house and choose another path to the cliff, disturbing three or four other geese couples, which luckily took my passing by relatively easy. Fortunately there was no nest close to the spot where I would place my camera, nor on the cliff where I would enter the image. Further up on the slope one proud wanna-be head of family kept a strict eye on me and my camera, but relaxed after a while when he noticed I would not come closer.
Negotiating with the geese and the wind on the sunny island, looking at the city across the small strait was quite a contrast to the experience of participating in the Finnish Urban Studies conference and presenting my work from last year, the Tree Calendar, there. ALthough a lot of urban studies seems to be centred on city planning issues, there were some nice discussions, and interdisciplinary contexts are always good for you, despite being frustrating and exhausting. Letting the wind empty my brain to end the day was not such a bad idea after all.
This exercise in clumsy swirling against the city skyline took place in order to create a contemporary context and background for the old videos created ten years ago. But at that time I was using a large grey scarf, which caught the wind, while performing as a weird weather vane, as you can see on a still from Year of the Pig (2008),23 min., performed approximately once a week between 6 January 2007 and 3 January 2008:
Another video I will try to insert into the image I recorded is Day and Night of the Pig (2008) 8 min 20 sec., performed during the autumnal equinox between 22 September 4 pm and 23 September 2 pm with two-hour intervals:
A compilation of these videos, augmented by some academic reflection, will be presented at
PSi #24 in Daegu, South Korea this summer. What to do with the other works made in the year of the pig 2008, like Year of the Pig – Sitting on a Cliff 1&2 and Under the Spruce 1-3, which would be nice to compile into one Frame, too, I have time to think about later in the summer, when the geese have moved on…
After reading a nice little book by Jeffrey T. Nealon, Plant Theory – Biopower and Vegetable Life (2016), which consists of a preface, four chapters (on Foucault, Aristotle & Heidegger, Derrida, Deleuze & Guattari and their ideas on vegetation), and a coda What difference does it make? I decided it was time to get out for a change. On the last day of March I followed a walking path on the slopes of the hills east of Puerto Rico on Gran Canaria in order to find some shrubs to sit with. And there were indeed plenty of them. At the bottom of the small valley, where the path crossed something that at some point might have been the bed of a brook I could get off the path, both above and beneath it, and made some attempts at performing for camera. The first image, above the path, is nice as a view, but there I placed myself much too close to the camera and become the main focus of attention:
The second attempt, below the path, is more interesting, because the shrubs are bigger and the branches produce interesting shadows. They are actually two different shrubs, a Tabaiba on the left and a Balo further down on the right, as I later learned:
The third image is perhaps the most fascinating, partly because the Euphorbia or Cardón as they are called here are so peculiar, partly because I managed to place myself more subtly with the plants:
These three images were my first attempts this Easter, oddly yellow in tone. I hope there will be more.
And there was to be more, for sure. On Sunday 1 April I made a new trip to the valley. First I sat with some flowering Tabaibas:
And on the way back I saw a Balo next to a rock providing some inviting shade, in a romantic image I had seen in so many fairy tale illustrations that I simply had to enter it. But too tired I miscalculated the distance, placing the camera much too close:
On Monday 2 April I made a third trip, with the aim of finding some Cardóns, which I remember grew higher up in the valley. And there were plenty of them. But first I sat with a Balo:
The Cardóns are quite amazing when watched closely, parts of them really old and withered, and then some parts growing new shoots directly from their fleshy but spiky trunks. They are not really inviting, but more evoking respect, I would say, hard to make acquaintance with but with a strong character:
Walking down the riverbed I decided I might make one more trip tomorrow to sit with some of the Balos I passed on the way. And in the park on the way back I posed on a bench under a Mimosa tree in order to remind myself to enjoy the places purposely made for humans, too, instead of always insisting on making everything so tiresome and exhausting and unnecessarily complicated:
The wood behind DOCH (Dans och Cirkus högskolan, School of Dance and Circus), where I have my working place these days, is part of Norra Djurgården (The Northern Djurgården Park) but unofficially called Lill-Jansskogen.I have been walking around there, along the various paths, looking for a nice tree to sit in, preferably a pine, but have not had much success in finding a suitable one. The wood is fascinating because it is deliberately left rather feral with lots of dead trees, and the terrain is rather varied as well. After making some excursions in the area I finally decided, on the eve of the Chinese New Year, to just make up a round for myself as near as possible to my base, with some stops on the way, something easy to repeat, if not daily, at least weekly. I wanted to begin a series of images to be repeated during the year of the dog – partly because I had missed the chance to begin at the ordinary new year – and to revisit my actions during the year of the dog twelve years earlier. At that time I was sitting in a pine tree on Harakka Island, lying on the rocks as the shadow of a small pine at the shore and also visiting an old pine tree in Kalvola about 100 km north of Helsinki, hanging from its branch and leaning on its trunk, although only once a month. Some of these works are archived on the research catalogue: Year of the Dog – Sitting in a Tree, Day and Night of the Dog, while all of them are available on the pages of AV-arkki, the Distribution Centre for Finnish Media Art, like Year of the Dog – Sitting in a Tree, Day and Night of the Dog, Year of the Dog in Kalvola – Calendar or Year of the Dog in Kalvola – Calendar 1-2, Shadow of a Pine I-II and Shadow of a Pine I-IV.
Since sitting in a tree, or on a tree or with a tree is the main action I have been engaged with during the first year of my artistic research project Performing with plants, which I am now continuing with in Stockholm, that seemed like an easy choice to go on with. But of course you want to find the right partner if you are going to commit yourself to a collaboration for a whole year. And nothing seemed really inviting or seducing or inspiring in any way. To simply get started I decided to make a try-out, and to begin with the stub of a recently felled old spruce, which had caught my eye during my walks, to sit on the stub as my first stop, and to continue from there. Moreover, I thought I would perhaps make do with some of the small pines on the hill right next to the building, since they were growing conveniently right there. So, the day before new moon I took my camera and chose these four stops.
Sitting with the tragic corpse of the spruce:
Resting in the corner of the fairy tale forest:
Swinging on the branch of an old pine on the hill:
And finally, sitting in, on, with or amongst a small pine by the path:
These four actions and four images, two with spruces and two with pines, are all very different in atmosphere, but I was rather happy with making these choices without further ado. This was a beginning, despite small technical problems, like the attachment part of my microphone being broken, or my memory card not finding the video files and so on. In the evening, in a professional photography shop, they managed to repair the microphone stand and to explain why my card reader did not find the files: I had accidentally recorded them in the wrong format. So, to celebrate the start of the Chinese new year, I decided to change the format I have been recording in to MP4, following the advice I received. This was after all only the first test.
The following sessions I will document on my Stockholm-blog, here. Still images and links will in any case be available on this page of the project site.
Before starting something new it is a good idea to at least summarize the old thing. A strange little project, mainly published on instagram, has been going on since 2014, with a sliding beginning, but a very clear ending. See here. The first image was posted 22 July 2015 on Menorca (see the image above). It was the first image I ever posted on instagram, a picture of the stone against ultramarin blue paint on a wall on Menorca. The last image was taken on the beach in Jandia on Fuerteventura on the last day of the year 2017, deliberately as an ending of the project.
Actually the first time the small stone with the red arrow shows up on this blog or is mentioned anywhere, is in a post from Oulanka Nature Park on 14 September 2014. There I write about “some experiments with a small pebble I picked on Harakka Island earlier and painted a red arrow on, somewhat reminiscent of the double happiness sign I painted on a roof tile in Farrera in 1999, which resulted in the video work Double Happiness in Water (2001). This pebble with the arrow I placed in the corner of the image, pointing towards something worth focusing on.” (see the blog post here) And as it happens the arrow is pointing at water in that image.
The point of the project on instagram was to use the arrow to point at water in various forms, to highlight our dependence on water and the importance of water for life on the planet, as well as the various forms that water can take, its many transformations and uses. And to experiment with social media as a platform for a project, of course. Many of the images in the beginning contain drinking water, while most of the later images are beautiful landscapes with water in the background. My idea was to use instagram for a specific project, not for images in general, as most people do, but every now and then I added also images without the arrow. Before writing these notes I went through them and deleted all the others, to make the documentation ”clean”, thus the arrow images posted on instagram are now 210. What to do with the rest of the images – there are of course a lot more of them than the ones posted on instagram, and many variations of those ones, too – is another problem. The main reason for making these notes is to close the project in some manner, in order to begin a new one, which I describe briefly here.
The last days of the year are well suited for looking back at what has been done. The year 2017 has been a special one for me, because it is the first year when I have been able to focus on research rather than teaching or administration or the various other duties of a professor. And it has been the first year since a very long time, when I have not been working for University of the Arts, Helsinki. Being a humble post doc researcher now (paradoxically, since my DA is from 1999) at a prestigious establishment like HCAS (Helsinki Collegium for Advanced Studies) has been a real pleasure. I have also travelled a lot, however, strangely busy with all kinds of other duties that I have both enjoyed and felt obliged to take on now when I had more time, such as the board of NARP (Norwegian Artistic Research Program), or TJNK, the Committee for public information in Finland, or the board for Public Display Grants for Visual Arts, or evaluation of international post-doc grant applications for Vetenskapsrådet, the Swedish Research Council, or grant applications for Formas and so on, besides my ordinary duties on the editorial board of JAR (Journal for Artistic Research). When I list them like this they feel too much!
Most of my time I have nevertheless been able to devote to performing with plants, that is, visiting the two trees in Helsinki and in Stockholm that I have chosen to sit with repeatedly during this year, as a beginning of sorts. Travelling back and forth to Stockholm twice a month has been expensive and tiring, too, but also enjoyable. If I think of what I have really been doing during this year, those visits to the trees and all the blog posts related to them are probably the main results that remain. Most of the material is collected onto the Research catalogue, on the project website. I have also edited old videos and written quite a lot, nothing new or interesting, rather like finishing old texts.
A lot of time and energy has been spent on the research project HTDTWP (How to do things with performance), with Hanna Jörvinen, Tero Nauha and Pilvi Porkola, and most of my conference travels have been with them, as well as most of the challenges and the funny things, too. Although my focus in that project is on the old series mad on Harakka Island, Animal Years, and what could be done with that today, I have been able to combine some of the presentations with performing with plants. But for the most part I have been working on texts and publications based on previous work and older material. One example is the book for Routledge that we have edited together, Bruce Barton, Melanie Dreyer-Lude, Ben Spatz and me Performance as Research: Knowledge, Methods, Impact. That is something I am really proud of, I must say.
This has been an extraordinary year in terms of artistic work as well, with two private exhibitions. The Tide in Kan Tiang was shown in Mediaboxi in the spring, Cami de Cavalls in the former telegraph on Harakka Island in summer, and Once again – video works from Harakka Island and Lake Kilpis at Muu gallery in the autumn. But all these exhibitions showed old works. The only one that I count as performing with plants is The Tide, because there I am really standing together with a small tree.
The most special thing this year was that I was allowed to and supposed to focus on my research, instead of doing it as a hobby on the side, and to devote myself to artistic work as the core of that research. But did I accomplish more, then? Probably the month of September that I spent in residency in Nida Arts Colony was the most productive time. I have produced quite a lot of small videos all through the year, not all of a very good quality, or exciting, though. The tree calendar, choosing one tree in the Helsinki area each month, following the Celtic tree calendar, was the only new thing. I wrote about it for the HCAS blog. New was also the idea to make video essays by combining old video materials inserted into a contemporary image of the same site and adding an academic or semi-academic text as a voice over. That is something I plan to continue with, as part of the project How to do things with performance. But what about performing with plants?
None of the articles published this year actually deals with the project Performing with plants, although I have listed “Practising art – as a habit? / Att utöva konst – som en vana?”, which appeared in Ruukku Journal #7, on the project website, because trees play the main part in the works I write about there. Most articles are related to previous projects or to more general concerns, but I am nevertheless proud to list them here below (the ones with * are peer-reviewed). Several articles are about to be published soon, some of them were supposed to appear this year, but I have listed only those that are officially available now. Many talks and conference papers, however, that I presented during the year were related to performing with plants. They are listed separately here below, before other talks.
My immediate impulse when looking back at what I have done is to think of everything that remains to be done and to start planning for next year, but that would be another story.
Exhibitions and screenings:
Once Again – video works from Harakka Island and Lake Kilpis. Muu Gallery, Helsinki 7.10.-12.11.2017.
Audiences Swinging Together, participatory performance, Nordic Performance Art – Reaching a New Audience, Munkemose, Odense 1.9.2017.
Year of the Snake – Swinging (mini) at performance art festival MEETINGS by ET4U, Contemporary visual art projects – Mid & Western Jutland, Skaerum, Mölle on 1.9. 2017.
Cami de Cavalls. Telegraph of Harakka 26.7.-6.8.2017.
The Tide in Kan Tiang, Fringe Arts Bath Festival 26.5.-11.6.2017
Solsidan 1-4, Art fair Suomi Helsinki 25-28.5.2017.
Year of the Rat Upphill-Downhill, Me: Self-portraits Through Time Kunsthalle Helsinki 27.5.-6.8.2017.
Year of the Horse – On Rock and Wood, LiikKUVAT Pitkäniemi Hospital Tampere 31.3.-30.7.2017.
The Tide in Kan Tiang in Mediaboxi in Gallery Forum Box 1.4.-23.4.2017.
— “Agential Cuts and Performance as Research”. In Annette Arlander, Bruce Barton, Melanie Dreyer-Lude, Ben Spatz (eds.) Performance as Research: Knowledge, Methods, Impact. London and New York: Routledge 2018, 133-151.
— “Introduction to Future Concerns”. In Annette Arlander, Bruce Barton, Melanie Dreyer-Lude, Ben Spatz (eds.) Performance as Research: Knowledge, Methods, Impact. London And New York: Routledge 2018, 333-349.
* — “Maisema, materia ja muutos. Harakan saaren luontokulttuuria dokumentoimassa.” [Landscape, Matter and Change. Documenting the Natureculture of Harakka Island] In Mari Mäkiranta, Ulla Piela and Eija Timonen (eds.) Näkyväksi sepitetty maa. [The Land Narrated Visible] Kalevalaseuran vuosikirja 96. Helsinki: SKS 2017, 23-39.
* — “Practising art – as a habit? / Att utöva konst – som en vana?” In Ruukku Journal #7.2017.
— “Data, Material, Remains”. In Mirka Koro-Ljungberg, Teija Löytönen & Mark Tesar (eds.) Disrupting Data in Qualitative Inquiry. Entanglements with the Post-Critical and Post-Anthropocentric. Peter Lang Publishing 2017, 171-182.
— “Four Workshops – Four Approaches to Performance Art”, in Pilvi Porkola (ed.) Performance Artist’s Work Book. On teaching and learning performance art – essays and exercises. University of the Arts Helsinki, Theatre Academy and New Performance Turku 2017, 33-47.
— “Artistic Research as a Speculative Practice” JAR (Journal for Artistic research) network.
—- “A few words”, introduction to Icehole #6 2017, The Live Art Journal.
—- “How to do things with repetition?” video with text, Icehole #6 2017, The Live Art Journal.
Talks and presentations related to Performing with plants:
— “Performing with plants – presentation, process, archive”, at the symposium on artistic research organized by the Swedish Research Council at Stockholm University of the Arts 28-29.11.2017.
— “Performing with Plants”, presentation and screening at the public seminar in Helsinki University Think Corner (Tiedekulma) 14.11.2017.
— “Performing with Plants”, presentation and workshop at Transversality in Performance, Doctoral Symposium at the Faculty of Fine, Applied and Performing Arts at University of Gothenburg 9-10.10.2017.
— “Between Sea and Sky – With a Tree”, talk at the seminar Between Sky and Sea: Tourist, organised by Performance Art Bergen in Kvalnes, Lofoten 18.7.2017.
— “Resting with the Pines in Nida”, at the seminar “With Plants”, Helsinki Collegium for Advanced Studies 27.10. 2017.
— “Performing with Plants” installation at Colloquium on Artistic Research in Performing Arts, CARPA 5 Perilous Experience? Extending Experience Through Artistic Research at University of the Arts Helsinki, Theatre Academy 31.8.2017.
— “How to do things by performing with plants” in the panel organised by the research project How to Do Things with Performance at the IFTR (International Federation for Theatre Research) conference Unstable Geographies – Multiple Theatricalities in Sao Paulo 10-14.7.2007.
— “Performing with trees?” introduction with screening of The Tide in Kan Tiang as part of the workshop organised by How to do things with performance? at Sao Paulo Escola del Teatro 6.7.2017.
— “How to do things with performance – Performing with plants (first attempts)” in the Artistic Research Working Group at PSI#23 Overflow (Performance Studies International conference) in Hamburg June 8-11.2017.
— “Performing with Plants” in Plantarium: Re-imagining green futurities, at Linköping University 1-2.6.2017.
— “Performing with plants”, project presentation at seminar “Working with Plants” Helsinki Collegium for Advanced Studies 3.5.2017.
— “Performing with Plants”, presentation of the project at the Brown bag seminar at the Helsinki Collegium for Advanced Studies on 25.4.2017.
Other talks and presentations:
— “Open archiving as a strategy in artistic research – two examples”, at Autumn Day of the Finnish Society for Theatre Research, Theatre Museum, 13.11.2017.
— “The Cliff Revisited”, at the Research Day organised by the research project How to do Things with Performance, University of the Arts Helsinki, Theatre Academy, 8.11.2017.
— Presentation with the research project “How to do things with performance?” at the post doc seminar of Performing Arts Research Centre, University of the Arts Helsinki, Theatre Academy 26.10.2017.
— “The Shore revisited”, presentation with “How to do things with performance?” research project at New Performance Turku Festival 7.10.2017.
— “Audiences Swinging Together”, presentation at the seminar organised by Nordic Performance Art – Reaching a New Audience in Munkemose, Odense on Friday 1.9.2017.
— Presentation in “Liminal Stages – Artistic Research and Art With(in) Research” during Aboagora, Sibelius Museum, Turku 23.8.2017.
— “Accessing Performance” – a two-day event organized together with Hanna Järvinen, Pilvi Porkola and Tero Nauha, Camino Events at the Artistic Research Pavillion in Venice 17-18.5.2017.
— “What is Given?” a workshop together with Tero Nauha, Hanna järvinen and Pilvi Porkola at the SAR (Society for Artistic Research) conference Please Specify! in Helsinki 28-29.4.2017.
— Presentation in a panel on authorship and agency in “Ei-inhimillinen seminaari” [Non-human seminar] organised by Reality Research Centre 27-28.5.2017
— Presentation in a panel at “The Avantgarde Today” (in Finnish) organised by FAM (Finnish Avantgarde and Modernism network), 20.4.2017.
— “Artistic Research and/as interdisciplinarity – Swinging Together”. Lecture for choreography students at University of the Arts Theatre Academy 16.1.2017.