The Telegraph on Harakka Island 10–15 September 2019 12 to 5 pm
Welcome to the opening Monday 9 September at 6 pm
Body on the Rocks (remix) 2016, HD 16:9 (16 min. 7 sec)
Performed for camera on tripod at the beach in Falmouth, Cornwall on Sunday morning 24 July 2016.
Body with a Corpse 2016, HD 16:9 (11 min.)
Performed form camera on tripod on a beach south of Khao Lak, on 27.12.2016.
Sitting with a Corpse 2016, HD 16:9 (5 min 40 sec)
Performed form camera on tripod on a beach south of Khao Lak, on 31.12.2016.
An uncensored transcript of my notes of a day with a juniper on Utö, including video stills from the first and last sessions:
Utö 3 August 2019 at 7 am
Looking for a Juniper to share the day with I was hopping on the cliff with the “majstång”, the now dried-up midsummer decoration, and found the perfect companion down by the shore, a small, slightly rounded shrub that was clearly distinguished from the carpet-like patches, and with a piece of plain rock next to it. The sun was already high up in the sky, in the north-east, where the wind was blowing from. I placed my camera on a tripod, left it relatively low, so it would be more stable, and went to sit by the juniper. I forgot to put in the microphone cord, I noticed later. I had an impulse to take the small juniper “by the hand”, to hold on to its stem, so I did that, and sat there for a while. And then, as a reminiscence from a previous day with a spruce up in the north, I lay down on the rock and lift my feet up, as to try out a more vegetal mode of being for a moment…
8 am, a second session; now I know what I am doing and feel like relaxing into the day. The wind feels cold – I wonder how the winter storms feel like! This is the warmest time of the year, and I feel like looking for shelter… The juniper grows so low along the cliff exactly to mitigate the effects of the wind. There are some spider webs in between its branches – amazing that the web does not break. Most of the vegetation is low, the mosses and the various forms of lichen cling to the ground; the small ferns are bending in the wind, only the occasional grasses grow a little higher, and they move freely in the wind. – The sun is coming out from behind the clouds and it immediately feels warmer…
9 am, the sun is warming, despite the wind. I took a walk to the southern part of the island – extraordinary and beautiful, flat land with rocks and heather blooming… I came back to sit with the juniper in the wind, and saw the first sailing boat head out from the guest harbour, and then a small motor boat came over from the neighbouring island, across the “strait”. I sat with the juniper and closed my eyes – and lost track of time. Thus, this session was a few minutes longer. And I came down to the bench by the road to make these notes, to have at least partly some shelter from the wind. Now most of the clouds have disappeared and the sky is blue – a great day ahead, it seems…
10 am, the day has only begun, and I have already visited or seen most of the important places on the island – the shop, the cafeteria, the entrance to the military area, the lighthouse, the rubbish storage centre, the museum, the heritage house, the visitors’ harbour, and the hotel and the restaurant, of course. I have not been up in the lighthouse, though. – In the shop I bought myself a tourist cap, as a souvenir and as sun protection. The sun burns my head through my thin hair even if the wind feels cool… so now I am protected. I do not wear the cap while I sit with the juniper, though, it is only for the walks across the island.
11 am. Clouds again, plenty of them, some grey, but most of them light and fluffy. I noticed the moss was torn next to the juniper where I sit. How little is needed to disturb and destroy! The moss is dry, and breaks easily, even if I try to be light and careful. But, of course I am huge and heavy, clumsy, too. This time I walked to the small church or chapel between the sessions, and went up to the hill on the eastern side – there, too, is a sign warning of military area. I did not see any grave yard, there is supposed to be one, and I assumed it would be near the chapel, but never mind. I should relax and focus on the juniper instead of running around like a nervous tourist. But, I am a nervous tourist, after all…
Noon, the sun is almost warm, people are out on the small lane that passes the harbour. I found the graveyard finally, it is in the middle of the island, small and pretty. And past it a path leads to the southern shore, which looked lovely and peaceful – but then I noticed the remains of a bunker on the shore. Human activity, at its worst, is present everywhere. But the “basic” quality of the landscape is fascinating, regardless… I looked at the graves and wondered if this would be a good place to rest – but then I would have to spend ten or twenty years here, first, to motivate the choice of resting place. And that could be a nice way to retire, why not. But how to find a small cabin that would be free to rent (or buy) in this place – that would be quite a challenge. Perhaps one day with a juniper is enough – or then another day some other time, to begin with…
1 pm, the light is strong, now coming from the right, south, when I sit with the juniper, facing east (I suppose). For some reason lying on my back with feet up is not especially comfortable. On the contrary, it feels like I have to strain my muscles to keep the position, and I am slightly irritated that I did not check which way would have been best visually. But I am really happy with the place I chose, and also the juniper that somehow “volunteered” to be my partner. Well, to be honest, I did not ask for its consent, nor did I wait for its reaction or for any sign from it that I could feel or imagine. But I take the sudden impulse to take hold of its stem as a sign of sorts… and when I sit there I do not sense any hostility from its side, nor any particular affection either, I must say… But what can you expect from a juniper? Not being stingy or grumpy is already a lot, I think…
2 pm, afternoon, warm and relaxed atmosphere, after lunch -feeling all over the place, or so it seems. The lunch at the hotel was nice and simple – fish soup and pancakes – and I feel like an intern in a hospital or school or whatever, with a fixed routine. Before sitting with the juniper, I took a look at the lichen around me, and there were plenty of variety – yellow, white, grey, greenish, black… from small almost imperceptible “stains” on the rock to big leaves, dry and brittle moving in the wind. As so often happens, everything else around it, not the juniper, becomes very interesting. And there are so many other junipers as well, probably relations to my friend, which nevertheless seems rather old. I saw some really old ones – I assume because of the size of their stems – in the middle of the island, but even they were relatively low and sturdy – of course. I am past half way in my endeavour now, I guess. If I will continue until 9 pm, this was the “middle session”, and why wouldn’t I? What else would be more important, here now, today…
3 pm, windy… It seems like the wind stays the same, but sometimes it simply feels stronger. Now I found the path to the southwestern tip of the island – magic! There was a weird sculpture with a fallen cross and a star, but also a lot of bunkers or underground constructions that I did not enter… The view from the tip was amazing, with open sea everywhere, with only small rocks here and there. That area would be my favourite, if I would come here for a longer time. There was an enormous boulder, and a bench attached to it’s eastern side, as if made for a morning meditation. There was also a small cabin, almost like an ice-cream “kiosk”, but very much abandoned. I wonder what it had been. Now there was a small colour study on one of its walls… The boulder and the bench would be enough, something nice could be done there… or then on the road that runs through the area. I almost felt like dragging some toy on wheels behind me on the path…
4 pm, the sun no longer warms as much as before; the wind feels more chilly, it has turned from north-east to north, or north to north-west, slightly. I can see my shadow now on the rocks, but probably the camera will not. At some point the camera’s shadow might become visible in the image; that would be stupid. But, there is nothing I can do about that now. I hope the wind will not grow too strong, overturning the tripod. I wonder why the juniper does not have any berries – there were junipers on the rocks with plenty of berries on the other side. Perhaps it is a male, despite its form? Or then berries is not a luxury you can afford every year. If I remember correctly, it takes two years for juniper berries to ripen, the first year they are green, and blue only the following year. A little further up, where I am sitting now, the junipers on the rocks have green berries… hm…
5 pm, yes, the wind is increasing, now it is 9 m/s according to the weather report on my phone, and will be strong until 8 pm or more. This is not a strong wind for the outer archipelago, of course, but I am concerned about my camera. The tripod is quite robust, but to be on the safe side I picked a rather heavy (1-2 kg) rock and placed it in my camera bag, hanging from the tripod near the ground, to put the centre of weight as low as possible. The microphone with its wind protection is almost like a small sail, catching the wind, but hopefully the rock in the bag will outweigh that… there are four more sessions to go, and then I am done…
6 pm, wind, wind, wind! I found a spot on the cliffs with a little protection to write, but the wind gets everywhere… it is afternoon, still, the sun is high, but the evening is approaching, the shadows grow. The boat from Nagu arrived with new people, walking around, looking confused. After one day on the island I feel almost at home. But I am tired of this repetition, I have to admit. – It is nothing against you, dear juniper, I really appreciate your hospitality and patience, but I am tired of this wind, which gets into my bones. I wonder how you manage to get used to it, or do you? Without some kind of habituation, you would not survive, I suppose. And of course, with a different sense of time there might be more variation, with the wind blowing one day from the north and then next week from the south west and so on… I still admire your patience, I must say!
7 pm, wind, wind, wind! I guess I could stop here, because I started at 7 am, but there is a lot of light, so why stop now? Two more sessions, ideally. – I guess I am going to remember you as my silent companion, dear juniper. I hope you look good in the images, that we look good together. Now it is time for dinner, and rest assured that I will remember you while eating. I know everything I eat, every single item, is somehow originally produced by you or other types of vegetation that has made this world habitable for all other creatures, well, at least animals. Being able to capture the energy of the sun into something other creatures can digest is a marvellous skill, so congratulations for that, and thank you!
8 pm, evening shadows. Now the wind is so chilly that I came indoors to write these notes. The camera shadow is visible in the image, I’m afraid. But perhaps that’s ok, actually, revealing the technology at the end. This was not the end, but the next to last session. The shadow will be even longer one hour from now… It is funny to feel so cold when this is the warmest time of the year. You are standing or sitting out there on the cliff in the wind not only through the night but through the whole winter. And unlike many grasses you do not wither, nor do you shed your leaves like alders, ashes and rowans, for instance, but keep your needles green. That is quite amazing, really. But animals have their furs, too. So, something of a thermostat takes care that you don’t freeze completely, I suppose. And there on the rock you cannot really hide in the ground or under a snow cover either… Well, I just have to face it, I don’t understand how you do it…
9 pm, the last session. The sun is still up, but partly behind the clouds; the long shadows almost disappear. Now I’m shivering when sitting next to you, trying to breathe slowly. This is the end of our day together, and I have to admit that I am relieved that it is now over. I will hope all the best for you and wish you the best of luck for the coming winter and the years to come. And I do hope that I did not disturb you too much. I noticed the spider web that survived the wind all afternoon was now gone. There is always a point when enough is enough and it is hard to know in advance. My point for calling it a day has come now. For you there might be many, many years more to come – at least I hope so. Goodbye for now!
The following morning, 9 am, I went to visit the juniper for a last time – without the witnessing camera – just to say goodbye. I noticed with delight that a new spider web was already in place to compensate for the one torn by the wind yesterday. I had an impulse to take a tiny branch of the juniper and see if I could make it grow at home. I tried to break it carefully, but managed to create a long white wound in the bark, and suddenly realized I was behaving like a lunatic, hurting my friend due to my misplaced possessiveness. Deeply ashamed I pressed the small twig into the moss and hoped that it might develop some roots there, and left quickly. – Relationships with anything have never been my forte…
Lichen at Allinge is shown in the Mediabox at Gallery Forum Box in Helsinki until the 11th of August. More information on the website, here.
Extracts from a text discussing the making of these works:
“While arriving at the north-western coast of Bornholm, an island situated in the southern part of the Baltic Sea, today officially part of Denmark, for a few days during Easter 2016, I noticed already the first evening the yellow lichen on the cliffs at the shore between the villages Sandkås and Allinge, where the path follows the shoreline. In the afternoon, the following day, when the sunlight was softer than at noon I took my camera and tripod and tried to place myself next to the lichen on the rocks. The only rules I decided to follow were to stand with my back to the camera, as I usually do, and to place the horizon at the centre in the image, to facilitate editing. The approaching dusk and the diminishing light surprised me; the camera needs quite a lot of light for video recording, so I decided to continue the following evening. Pressed for time I decided not to enter the images on the second evening, but to make short 50 second close ups of the rocks and let the yellow lichen come to the fore. I wasted time with the open views, however, fascinated by the combination of black, white and yellow rocks, and dusk was approaching again too soon. The last close ups are not really sharp due to lack of light. When I edited the material, I realized there were very few images of the lichen, after all…” (19-20)
“As an idea, performing with lichen is in many ways suitable as an example for ‘becoming with’ although I was not aware of the notion at the time of making the work. The main reason is that lichen are themselves products of a sympoiesis of sorts, of a symbiotic relationship between algae and fungi. Lichen include some of the toughest life forms on the planet that can survive in the harshest of circumstances.” (22)
“Artistic Research as Situated Practice – Performing with Lichen”. In José Quaresma (ed.) Investigação em Artes – A necessidade das ideias artísticas / Research in the Arts – The need for artistic ideas, Associação dos Arqueólogos Portugueses Lisboa 2018, pp. 15-30.
The small exhibition called Näkyvä ja näkymätön meri (Visible and invisible sea) in the former Telegraph and one of the former ammunition cellars celebrates the 30th anniversary of artists (and the Helsinki Centre for Environment) on Harakka Island. It is open until 20 June, only. The outdoor part of my contribution, Windrail II, will remain active for the whole summer. It consist of a simple QR code, on the wall in the Telegraph and on site, attached to the actual rail on the Western shore. The QR code links to a video work recorded by that rail in 2002. I usually prefer to show new works, because I have many that have not been shown anywhere yet. This time I thought this particular video work and especially its voice-over text would be suitable for reminiscing and making the passing of time palpable, too. And it is not available anywhere else.
The QR code leads to a page on this blog, and you can reach it here. The voice over text on the video is in Finnish, the English translation can be read further down on the page.
As a result of many coincidences I spent a day with Old Tjikko on Fulufjället, the first remarkable tree in a series with the working title ”Meeting with Remarkable Trees” I have planned as a continuation of ”Performing with Plants”. Or perhaps you could call this a pilot study of sorts. But there have been others, like the tree I spent a day with in the rocky cove on Koh Lanta, which became The Tide in Kan Tiang, or the small downy birch on Lofoten, which turned into Rainy Day in Rekdal and Grey Day in Rekdal (with a downy birch) as well as Sunday with a Pine in Nida on the Curonian spit. Compared to them, however, Old Tjikko is a celebrity, and not chosen by me to begin with, but suggested by Camilla Johansson Bäcklund. She contacted me about another work and asked if we could do some ”fieldwork” together, related to her MFA project. I replied that we could perhaps spend a day together with an interesting tree, and she came up with Old Tjikko. I was excited, and also a little scared when she suggested that we sleep in a tent on the mountain, because I have no experience of hiking in the mountains and do not like walking with lots to carry. To my relief she found a place to stay in the nearby village Mörkret (Darkness!), and we could sleep there, get up early and go up to the mountain, find Old Tjikko, spend the day together with it, and return down to the village for the night.
Fulufjället is an amazing place and the walk around the Njupeskär waterfall, the highest in Sweden, is really spectacular. The only trouble was, that we were there off-season. Well, that sounds nice, not too many people, peace and quiet. Yes, but off-season is that for a reason; there was a lot of snow still, melting, so skis or snow-shoes would not work. The paths were hard to find and follow because many of the signs on rocks were covered in snow, or if not, the paths had turned into mountain brooks. This meant that our day had a funny structure. First stress, struggle and hardship to get up to the mountain and find the tree. Then a day of sunshine hanging around recording repeated images with the tree, resting on the spots without snow, covered with lichen, almost blinded and burned by the strong light. And then stress, struggle and hardship to get down again, because we chose the other route around the waterfall. By the time we walked down the hill on the road with midnight approaching. we were so exhausted we could hardly speak. But, it was a great day! The video material recorded is very simple, static, ascetic, a total contrast to the drama before and after its creation. But that is often the case, at least for me. Finding the place is the problem or the hard part. The rest is easy.
Luckily there is quite a lot of video material, and not only experiences, even if they are important, too. I proposed a two-stage process for the editing. First both of us make one channel of a two-channel video out of the material each of us has recorded. Then we invite the other to create the second channel as a response to that work out of her own material. That way we would get two different two-channel videos instead of one collaborative compromise. It remains to be seen if that works and what else can be done. In any case I am grateful for having done this, and happy to have begun my new project almost by accident. To sum up, here is the same story in a few images:
Participating in the performance philosophy biennial Intervention – Intoxication in Amsterdam inspires me to write a brief note about my presentation, titled Hanging in a pine tree or appearing with plants. Most of my blog posts these days are written on my Stockholm blog, and in Swedish, related to the project ”Performing with Plants” at Stockholm University of the Arts. And actually my presentation, performance lecture or video essay in Amsterdam today was directly linked to that project as well. But perhaps because I have not participated in any performance philosophy events since the one in Helsinki related to citizenship many years ago, this occasion seems somehow relevant, inspiring and challenging at the same time. And probably partly because I had and article published in the latest issue of Performance Philosophy Journal, Resting with Pines in Nida – attempts at performing with plants, which I am quite proud of, after all. Other reasons for being excited enough to write this, are the inspiring presentations I have witnessed today, and some of them directly linked to my interests, such as Ingrid Vranken’s performance lecture Rooted Hauntology Coworking lab – being with plants/ infiltration and especially Laura Cull’s paper in the panel Thinking with Non-Human Animals & Autistic People: Intervening in Anthropocentrism and Neuronormativity.
Originally I proposed a performance lecture, and really tried to device one, based on the video Hanging in a Pine, the longer version (19 min 31 sec), which has the perfect duration to fit the 20 minute slot. But I ended up recording all the spoken parts as a voice over, and leaving the mini-projector, which I planned to use to show a distorted image of the swinging version with, as well as the main performative prop, the rather large pine branch, at home. That was probably the right decision; trying to create a performance would have been clumsy and difficult, because of my lack of experience and the setting too – not even the lights could be shifted between the three parts of the session to make the video more visible, so what with an extra cable for electricity for the projector, huh? Thus, showing a mere video essay was OK. But of course that excludes all possibility of including comments to previous contributions or other adjustments to the context. The two other presentations in the same panel were interesting in their own way, particularly the last one, discussing the use of Latour’s idea of the parliament of things as inspiration for a local theatre project involving the North Sea, although the idea of theatricality and representation where not my main concerns. I would have been more interested in discussing the possibility of and difference between performing and appearing. – The video essay form is somehow fascinating and challenging, something to explore further. I still think that the artwork, the videos, like the actual performances that produce the material for them, must be nonverbal, but the possibilities of the video essay, such as including a text that is not only academic, but contains poetic and imaginative parts, are worth exploring further in the future.
Last year about this time I made of summary of my first year with plants, so it seems reasonable to try the same exercise after my second year with plants. If 2017 was sort of a preliminary year, beginning my project at Helsinki Collegium for Advanced Studies, in 2018 my real project at Stockholm University of the arts began. The artistic research project called Att uppträda/samarbeta med växter or Performing with plants is financed by the Swedish Research Council and lasts only two years, so 2019 will be the time to sum up the project. When I look at what I have done during the year 2018, there are not that many publications or events related to performing with plants. One reason is the fact that I am also the PI of the research project How to do things with performance, which is funded by Academy of Finland, and which has taken quite a lot of my time. In many instances I have been able to combine my interests in these two projects, but I nevertheless try to keep them separate. And besides these two research projects I have had quite a few other commitments. Some of them are now finished, so I have more time to concentrate on my main work.
If I think of special events during the year, one surprise at the end of the year, that I really could not anticipate, was the Finnish state prize for multidisciplinary art 2018 info in Finnish and in Swedish, with photo, here
In the following I list some of the things I have done during the year, both ongoing commitments and ones that ended this year. Then I list publications and performances or events, as well as discussions I have participated in, grouped according to project.
Research and other projects in progress
Performing with Plants – Att uppträda/samarbeta med växter. More here and the living archive here
How to do things with performance? – Miten tehdä asioita esityksellä?, a four-year research project funded by the Academy of Finland, with Hanna Järvinen, Tero Nauha and Pilvi Porkola. More info on the website of HTDTWP with links to blog and living archive on the RC.
Professor of performance, art and theory at Stockholm University of the Arts Research Centre (2018-2019), with presentation here and a blog about my activities in Stockholm called, artisticresearchinstockholm
Visiting researcher at Academy of Fine Arts, University of the Arts Helsinki.
Member of the Committee for Artistic Research at the Swedish Research Council.
Member of the editorial team of JAR (Journal for Artistic Research), and of the editorial board of Ruukku – Studies in artistic research.
Commitments that ended this year:
Member of the board of the Norwegian Artistic Research Program (2015-2018)
Member of the Committee for Public Information in Finland (TJNK) 2015-2018.
Member of the Board for Public Display Grants for Visual Artists 2016-2018.
Publications and presentations on performing with plants:
— “Artistic Research as Situated Practice – Performing with Lichen” in José Quaresma (ed.) Investigação em Artes – A necessidade das ideias artísticas / Research in the Arts – The need for artistic ideas, Faculdade de Letras da Universidade de Lisboa 2018, pp 27-42.
— “Performing with Plants” in Leena Rouhiainen (ed.) Perilous Experience CARPA 5 Colloquium Proceedings, Nivel 09 2018 here
Working With the Vegetal II, seminar at Stockholm University of the Arts, Linnégatan 87 on 29.11.2018
“Artistic Research as Situated Practice – Performing with Lichen”, video lecture at the conference and book release Research in the Arts – the need for artistic ideas, at Museo Arceologico de Carmo, Lissabon 27. 11.2018
“Performing with plants” in the series Frank Professors, Academy of Fine Arts Exhibition Laboratory, 9.10.2018.
Rainy Day in Rekdal, installation and presentation at the symposium Tanz Der Dinge / Things that dance at Karlsruhe Institute of Technology, 5-7.10.2018.
Trees in Victoria. Summer exhibition in the old Telegraph on Harakka Island 3.-12.8.2018.
Working with the Vegetal – seminar at Stockholm University of the Arts , see program 23.5 2018
“Puiden kanssa Helsingin puistoissa” [With Trees in the Parks of Helsinki], presentation at the Finnish Urban Studies Conference, Tieteiden talo [House of Sciences], Helsinki 3-4.5.2018
Video and presentation at Radical Relevances conference, Aalto University 25-27.4. 2018.
Installation of “Rainy Day in Rekdal” and “Grey Day in Rekdal” at the Learning Center of Aalto University during the conference Radical Relevances 25-27.4.2018
Presentation at the open seminar of Research in Arts and Experience at Aalto University 26 .3.2018.
Publications and presentations with the project How to do things with performance:
— Annette Arlander, Hanna Järvinen, Tero Nauha and Pilvi Porkola “Miten tehdä asioita esityksellä – tutkimushanke Sao Paulossa” [How to do Things with Performance – the research project in Sao Paulo] in Anna Thuring, Anu Koskinen and Tuija Kokkonen (eds.) Esitys ja Toiseus, Näyttämö ja Tutkimus 7, Teats Teatterintutkimuksen seura 2018, pp 204-214. See here
— Annette Arlander, Hanna Järvinen, Tero Nauha and Pilvi Porkola “Regurgitated Perspectives – Performance”. In Geoff Cox, Hannah Drayson, Azadeh Fatehrad, Allister Gall, Laura Hopes, Anya Lewin, Andrew Prior, (eds.) Proceedings of the 9th SAR International Conference on Artistic Research, University of Plymouth, April 11th-13th, 2018, pp. 299-311. See here
— Annette Arlander, Hanna Järvinen, Tero Nauha & Pilvi Porkola “How to do things with performance in relation to what is given?”. In Ruukku Journal issue 8 (voices) 2018. See here
— Arlander, A. (2018). The Shore Revisited. Journal of Embodied Research, 1(1), 4 (30:34). DOI: http://doi.org/10.16995/jer.8
“Let’s talk about performance! IV” Conversations on performance art with professors Gavin Butt and Tero Nauha at Huuto gallery, see information, on 17.11. 2018.
“Revisiting the Rock”, presentation at Research Day III: Performance Pedagogy at University of the Arts Theatre Academy, see cfp and programme here, on 16.11. 2018.
“How to do things with performance in alliance with things, concepts, bodies or plants?”, performance with HTDTWP (How to Do Things With Performance) at the conference Alliances and Commonalities, Stockholm University of the Arts, see here, 25-27.10. 2018.
“Let’s talk about performance! III” Conversation on performance art with Tomasz Szrama at Muu gallery, see here, 1.10.2018.
Presentation in the panel “Migrating concepts in performance” with How to do things with performance? at IFTR (International Federation for Theatre Research) conference Theatre and Migration in Belgrad (see program) 19-23.7 2018.
”Revisiting the City Skyline”, presentation in the panel “Networking Finland, Malta, Korea” – a performative panel across time and space with How to do things with performance? at PSi (Performance Studies International) #24 in Daegu, Chorea 3-6.7. 2018.
“Authorship, Agency and Performing – in Finnish” in the panel “What is Performativity in Finnish?” with How to Do Things With Performance -project at Cultural Mobility of Performance and Performativity Studies International Conference, Kraków 28-30.5. 2018.
“Regurgitated perspectives – an excerpt” with HTDTWP at The Spring Research Day at Kiasma, 25.4. 2018.
”Puhetta performanssista” – Conversations on performance art II, with Essi Kausalainen and Sara Pathirane at Muu gallery, see here , 23.4.2018.
Performance “Regurgitated Perspectives” together with How to do things with performance? at the 9th SAR conference – International Conference on Artistic Research Artistic Research will Eat Itself at University of Plymouth 11-13.4. 2018.
Presentation at the research day organised by How to do things with performance? -project at University of the Arts Helsinki Theatre Academy, here, 2.3. 2018.
“Puhetta performanssista” – Conversations on Performance art at Muu gallery, hosted by Annette Arlander. First Guest: artist and curator Leena Kela, and her project One Year Performance, see here, on 26.2.2018.
Other publications and presentations:
— “Process as Performance or Variations of Swinging”. In Hetty Blades & Emma Meehan (eds.) Performing Process: Sharing Dance and Choreographic Practice. Intellect Books. 2018, 99-118.
— “Day and Night with Malla” In Screenworks 8.2 On Digital Ecologies and the Anthropocene
— “Dune Dream – Self-imaging, Trans-corporeality and the Environment”. Body, Space & Technology. 17(1), 2018,3–21.
— “Performing with the Weather” in Global Performance Studies Issue 1.2. Performance Climates
— “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. The Multiple Futures of 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, 333-349.
Participating in a panel at the seminar Music in Disorder – Counterplay, Complexity and Collective Improvisation at Royal College of Music in Stockholm, see http://musicindisorder.se 30.11.2018.
Participating in the panel discussion ”Artistic research as basic research” at the Symposium organised by the Committee for Artistic Research at the Swedish Research Council in Piteå 15.11.2018
Member of the examining committee for PhD Tindra Thor Painting the City: Performative Cosmopolitanism and the Politics of Space and Art. Stockholm University, Department of Media Studies 8.6.2018
Library talk with Stacey Sacks at SADA Library, Stockholm University of the Arts 24.4.2018.
“Generations of Artistic Research”, discussion at University of the Arts Helsinki Centre for Artistic Research, see here 1.3.2018.
Opponent at Marja Silde’s doctoral dissertation in theatre- and performance studies Poseeraamisia ja itsensä ylittämisiä. Habituksen esteettinen muokkaaminen 1980-luvun Helsingin kaupunkikulttuurin murroksessa [Posings and overcomings of the self. The aesthetic preparation of the habitus in the changing urban culture of 1980’s Helsinki] at Helsinki University 27.1.2018.
Moderating the Norwegian Artistic Research Program Fellowship seminar #2 ”Unfold and articulate” at University of Bergen, Faculty of Art and Design, see programme 10-11.1.2018.
During my Christmas Holiday I usually try to spend some time with local trees or shrubs. This year I would have liked to perform with the controversial Vinagrera plant (Rumex lunaria) that is invading the bare volcanic slopes with its sparkling lime colors. But to return to the volcano slopes with a camera was too much of a dazzle, at least for now. Instead I made two small sketches with my phone, in places that I simply happened to feel like recording. One was a concrete cube on the path along the shore between Puerto del Carmen and Puerto Calero. It reminded me of a work I did in 2003-2004 on Lanzarote and Fuerteventura. The only version available anywhere is an installation called Crystal Ball, the other ones exist as DVD copies in my bookshelf. Anyway, later I found many others of these concrete blocks on the shores, but sat down only on this first one I noticed:
On an afternoon in Playa Blanca, another beach resort, I walked over the slopes and had the impulse to sit on a rock with some small grasses in the desert in the evening sun:
But these were only notes, or souvenirs, even though I edited them and uploaded on the RC, here. I wanted to sit in a tree, and decided to choose a small crooked tree growing between the roads on my daily morning walk route, if I could not find anything else. But then I saw some huge Ficus trees at the outskirts of Puerto caller from the bus window, and decided to visit them. And yes, I found a lovely tree partner to sit with, on or in. The day was very windy, so the images look rather funny, especially with the sound of the passing cars, as if I was traveling at high-speed. Besides this “racing-version” I edited one called testing, and another one called looking, where I tried to move the camera along the beautiful branches, as a try out. The video are uploaded on the RC here.
Finally, at the end of year 2018 I managed to edit a final screening version of the Helsinki tree calendar performed and recorded in 2017, partly spurred by my wish to finish the Stockholm Tree Calendar by the end of the year, summarized in Swedish here. The Helsinki Tree Calendar was something I began on impuls, trying to connect my old (still on-going) project of talking trees with the then new project Performing with Plants. I made several versions of some of the trees, and had serious trouble in finding some of the so-called trees in the Celtic tree calendar, like the ivy, in Helsinki, so I made some adaptations. Here comes a list of the versions I chose for the screening compilation and the installation version, as they are actually meant to be shown as a calendar, one at a time, with duration and day of recording added:
The birch 24 December – 20 January:
Birch in January 4 min 41 sek. (Munkkiniemenranta 21.1.2017)
The rowan 21 January – 17 February:
Rowan in February 4 min 43 sek. (Särkiniemi 11.2.2017)
The ash 18 February – 17 March:
Ash in February 5 min 48 sek. (Kaivopuisto 18.3.2017)
The alder 18 March – 14 April:
Alder in April 12 min 40 sek. (Mellstenin ranta 11.4.2017)
The willow 15 April – 12 May:
Willow in May 9 min 44 sek. (Harakka Island 6.5.2017)
The hawthorn 13 May – 9 June:
Hawthorn in June 18 min 6 sek. (Observatory Park 7.6.2017)
The oak 10 June – 7 July:
Oak in June 8 min 10 sek. (Eugen Schauman’s Park 26.6.2017)
The holly 8 July – 4 August:
Holly in July 9 min 22 sek. (Kaisaniemi Botanical Garden 30.7.2017)
The hazel 5 August – 1 September:
Hazel in August 9 min 35 sek. (Herttoniemi Manor Park 20.8.2017)
The vine 2 September – 29 September:
Vine in September 5 min 15 sek. (yard in Ullanlinna 16.9.2017)
The ivy 30 September – 27 October:
Ivy in October 8 min 23 sek. (at home 1.11.2017)
The reed 28 October – 23 November:
Reed in November 8 min 22 sek. (Arabianranta 22.11.2017)
The elder 24 November – 23 December:
Elder in December 13 min 38 sek. (Kaivopuisto 2.12.2017)
The screening version is a compilation of 1 min.20 sec. of the beginning of each chosen tree, Helsinki Tree Calendar 17 min.42 sec. in all. The installation version, Helsinki Tree Calendar – Installation, consists of 4 min. 40 sec. of the beginning of each chosen tree, ideally to be shown in thirteen monitors, all synchronized.
While heading to Harakka Island last Thursday with Marika and Pira to take the boat up for the winter, I decided to try to revisit the next site of Animal Years, to have some material to work with for the next research day to be organized by the HTDTWP (How to do things with performance) project. I brought my camera and tripod and planned to sit on the rusty buoy on the hill, because that was the main image of the Year of the Ox, I thought. But then I realized that the day and night of the ox was actually recorded circling the rusty ring on the cliff in the southeastern part of the island, so I had better choose that spot for my revisit.
The full-length version Year of the Ox – Walking in Circles is 1 hour 30 minutes, while Year of the Ox – Walking in Circles (short) is 19 min 16 sec and Day and Night of the Ox is only 14 min 15 sec. That year I visited several places each week, so there are other works (and sites) I could have chosen, such as Year of the Ox – Riding a Buoy, Year of the Ox – Sitting in the Wall or Year of the Ox – In a Yoke.
After finally succeeding in getting the boat up – Marika and Pira were incredibly strong, in willpower, I would say – I looked for the rusty iron chain that I used to attach to the rusty ring on the cliff, but could not find it. There was no time to lose, we would get a lift back to the mainland with Saara in an hour, so I grabbed the rope that I had just removed from the boat and decided that would have to do. The site was easy to find, and the approximate spot for the tripod as well; unfortunately I did not take the time to make a test image, but jumped right into action. And that meant the framing was slightly off, or perhaps the rope was a little bit too long (and I did not have a belt to tie it to). In any case, the circle I drew by walking around the rusty ring was too big, so I disappeared outside the frame on both sides. This I noticed only later, at home. I knew about 25 minutes of material would be needed to be able to insert the 20 minute year and the almost 15 minute day and night into the new image, so I left the camera on to record the view and moved further a way to keep warm. When I returned I noticed the camera had stopped at 21 minutes (I remembered the limit was 29 minutes) and I had to restart it. But of course the clouds had moved, and the light had changed; I should have been there standing next to the camera to restart it immediately in order to minimize the ‘jump’.
My plan was to edit the material during the Christmas holiday, but when I began to do that I noticed, to my chagrin, that I had forgotten to bring with me the original videos of the Year of the Ox (2009-2010). Technically this image is not actually needed as a background, because year of the ox was the first year that I used 16:9 format and HD (or HD ready) quality. But the point of revisiting the site and the action had to be recorded, of course. So I only edited the basic image, and the compilation, inserting the old works into this new background, remains to be done later this winter. After all, the research day is only on the 20th of March.