Waiting for the video presentation – Video esittelyä odotellessa

 

While waiting for the presentation video of the Grande Finale exhibition to receive the subtitles required for publication here , you can, for example, take a look at some of the video essays related to the series Animal Years. In the exhibition they were on display as a five-hour compilation loop that nobody saw in full. Through this link you can look at them individually, in pieces and at your own pace: here. 

PS. There will be an Epilogue in the Research Pavillion #4 22-24 June, more information soon, here.

Grande Finale -näyttelystä kuvatun esittelyvideon tekstityksen valmistumista odotellessa, joka on edellytys sen julkaisemiselle täällä, voit tutustua vaikkapa näyttelyssä esillä olleisiin, Animal Years sarjaan liittyviin video-esseisiin. Näyttelyssä ne pyörivät viiden tunnin mittaisena koosteena, jota kukaan ei kokonaisuudessaan nähnyt. Tämän linkin kautta niihin voi tutustua yksitellen, paloina ja omassa tahdissa: täällä 

PS. Vielä on tulossa Epilogi, neljännen Tutkimuspalviljongin ohjelmassa 22-24.6., lisätietoja kohta, täältä.

HTDTWP at CARPA 6

The sixth CARPA (Colloquium on Artistic Research in Performing Arts) took place at the Kiasma Theatre and in collaboration with the ADIE (Artistic Doctorates in Europe) research project, with a very broad and multi-faceted theme “Artistic research performs and transforms: Bridging practices, contexts, traditions & futures”, which we responded to by proposing  a lecture performance called “The transformative potential of performance”.  Each of us prepared one section, playing with our own themes and tools, and then we ended by performing together as a quartet. Here is the introductory text, based on the abstract, that I read at the beginning, (above photo by Hanna Järvinen, other photos by Mia Jalerva):

Today the research project How to do things with performance? will examine the transformative potential of performance in a practical and experimental manner, from a critical, social, environmental, and aesthetic perspective, in this lecture performance, which consists of talks, a participatory dance event or office disco, and a quartette or sound performance. The questions explored are the following:

• Tero Nauha: How do practices, institutions, and potentialities correlate futures? By building bridges between traditions and futures, what do we reclaim for our use?
• Pilvi Porkola: How do public space and private space overlap and intersect in the context of an institution, like an office? How to perform “the office”?”
• Annette Arlander: Could expanding the idea of who or what performs assist in decolonizing our relationship to the environment, to everything else around us?
• Hanna Järvinen: Is what makes performance performance an aesthetic quality and if so, what differentiates it from the not-aesthetic?

Let’s begin.

And then we began, with Tero, who presented a theoretical paper called “The End”, without visuals this time:

Then Pilvi  told about her work with institutions and invited everybody for an office disco, which turned out to be the transformative and participatory highlight of the show:

Then my video essay with voice-over text “Revisiting the Juniper” was screened, while I posed next to it:

Then Hanna read and showed some code, and talked about the performativity of code and the aesthetics involved:

As a grande finale we performed a sound score with papers, the core idea and starting point for the whole lecture performance:

Much of the positive feedback we received (that came to my ears) had to do with the ‘gaps’ between our individual parts, which all stood in a rather stark contrast to each other. Here we suddenly had the productive gaps that we did not really get at during our session at the SAR conference in Zürich. In some sense the gaps between our diverse approaches, which we did not try to bridge or explain in any way, probably invited the audience members to consider what the connection was or could be. For me those ‘gaps’ provided space, literally a place for the multiplicity of approaches to performance, a feeling that  in those gaps there is a space for almost anything or everything, and thus also  space for me and you and all kinds of things…  Well, looking at the images I nevertheless realize I should have chosen a black skirt.

Ruukku Journal at Publics 25 May 6 pm

Welcome to celebrate the publication of Ruukku Journal on How to do things with performance at Publics on 23 May at 6pm. Sturenkatu 37-41.

Tervetuloa juhlimaan Ruukku 11 Miten tehdä asioita esityksellä numeron julkaisemista, Publics 23.5. Klo 18. Sturenkatu 37-41. Tilaisuus on englanniksi.

More information / lisätietoja here

How to do things with performance?

Not only what should be done, but how it should be done is today a question as relevant as ever. And some argue we should actually do less, and think a bit more, for example how we do what we do. In the research project How to do things with performance, we have focused on performance in a broad sense, asking what can be or could be done with performance and how.

How to do things with performance? -research project is proud to present the 11th issue of Ruukku – Studies in Artistic Research devoted to the theme. How to do things with performance? And we are proud to collaborate with Publics in organising a seminar-party to launch it.

Contributors to the issue include Mieko Kanno, Anu Vehviläinen, Elisabeth Belgrano, Lea and Pekka Kantonen, Elina Seye, Stephen Bain as well as the editors Annette Arlander, Hanna Järvinen, Tero Nauha and Pilvi Porkola.

Come and celebrate the publication of How to do things with performance? Ruukku 11 with us at Publics on 23 May at 6 pm, address: Sturenkatu 37-41 4b 00550 Helsinki

For more information about Ruukku – studies in artistic research and this issue, see http://ruukku-journal.fi/en/issues/11/call

For more information about the research project, How to do things with performance? see https://www.researchcatalogue.net/view/281037/281038 or https://www.uniarts.fi/en/howtodothingswithperformance

For more information about Publics, see https://www.publics.fi/

The Expositions in Ruukku 11 How to do things with performance?

Stephen Bain: Strategies of Fiction.

Mieko Kanno: Algorithmic Thinking and Musical Performance.

Anu Vehviläinen:  Quest for a Breathing Performance.

Elisabeth Belgrano: A Singing Orna/Mentor’s Performance or Ir/rational Practice.

Lea and Pekka Kantonen: Indigenous Knowledge. Performance Art and the Faltering Act of Translation

Elina Seye: Practices of Performing at Senegalese Sabar Dance Events.

Hanna Järvinen: Re-imagining: A Case-study of Exercises and Strategies

Pilvi Porkola: Objects that matter – performance art and objects

Tero Nauha: The experience of ’something’ in performance

Annette Arlander: Return to the site of the Year of the Rooster

 

A new article published

The new issue of PARSE journal on “Work” have just been published, including an article “The Expropriation of the Force-(of)-Thought in Artistic Practices” by Tero Nauha.

http://parsejournal.com/issue/work/

Research Day IV with Iris Van der Tuin 20 March – program

The program for the Research Day IV Performance and Feminism with Iris Van der Tuin on March 20 is now published:

10-10.10. Auditorium 1. Opening and Welcome. Annette Arlander

10.10-11.30 Iris Van der Tuin: “Doing in feminist research in the algorithmic condition”

11.30-13.00

Pilvi Porkola:“Situated knowledges – Artistic research and feminism”

Hanna Järvinen:“Intersectional Histories, or Decolonize Your Canon.”

Tero Nauha: “Some feminist strategies of the Polish avant-garde”

Annette Arlander: “Revisiting the Rusty Ring – ecofeminism today?”

13.00-13.45 Lunch (at your own expense)

13.45-14.45 Room 525 moderator Hanna Järvinen

Tanja Tiekso:“Listening Batsheba”

Zhenya Mukha: “Documentary puppet performance as an attention-getting mechanism to the problem of LBT women in the North Caucasus of Russia.”

Katie Lee Dunbar:“And I still want to work in demolition – Classism from a femme queer feminist perspective”

(14.45-15.00 Coffee Break)

15.00-16.00 Room 525 moderator Pilvi Porkola

Kim Modig and Marina Valle Noronha: Performing professionalism: Why do we travel for art and what does it do to us?

Minna Harri: “How time shapes us, how we shape time”

Lim Paik Yin: In[formal] Interchange

(16.00-16.15 Coffee Break)

16.15-17.30 auditorium 1 moderator Tero Nauha

Elina Saloranta:“Correspondence with the past”

CRI (Teresa Albor, Lara Bufford, Moa Johansson):“CRI” (via skype)

Amble Skuse: “Balancing Act” (via skype)

Grace and Grace and Grace: “Louise” (via skype)

Louise Vind Nielsen: “Tongue reads Philomela”

17.30-18.00 Discussion, moderator Annette Arlander

The day is free and open for all, welcome! We would like you to register in advance, however. For updates and registration, se here https://www.uniarts.fi/tapahtumat/pe-01032019-1502/reseach-day-iv-performance-and-feminism

 

Call for Research Day IV: Performance and Feminism

Welcome to present or participate in our fourth Research Day on 20 March. We are excited to have Iris van der Tuin as our keynote speaker. See more about her and the full call here.

There is a long tradition of feminist performances, feminist studies of performance and debates on how to perform feminism. From “A Vindication of the Rights of Woman” (1792) to Queer Ecologies (2010), from Alexandra Kollontai to intersectionality, feminist theorizing has been foundational for epistemological critique and utopian political thinking. And feminism has been performed, in provocations against patriarchy like Carolee Schneemann’s “Interior Scroll”, Valie Export’s “Genital Panic” or Pussy Riot’s punk rock as well as in subtle autobiographical gestures or collective consciousness raising like Meetoo. How else is feminism performed today?

We invite everybody interested in the connections of feminism and performance, performance art, live art, performance-as-research, research on and in performance, or performance studies to join us in exploring various approaches to feminism and performance. How, in what various ways, is feminism performed today? What aspects of feminist thought are important for contemporary performance art? How can performance art contribute to feminist struggles? How to do feminism with performance?

Deadline for proposals is 20 February. Welcome!

In the year 2018…

… HTDTWP published a few texts together – not articles but reports – which are worth listing here. The serious, peer reviewed stuff each one of us published individually, but these reports describe probably much better what we have been up to:

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 and Pilvi Porkola “How to do things with performance in relation to what is given?”. In Ruukku Journal issue 8 (voices) 2018. See here

And we made some joint conference panels and performances:

“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.

“Migrating concepts in performance”, panel at IFTR (International Federation for Theatre Research) conference Theatre and Migration in Belgrad  (see program) 19-23.7 2018.

“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.

“What is Performativity in Finnish?”  panel at Cultural Mobility of Performance and Performativity Studies, Kraków 28-30.5. 2018.

“Regurgitated perspectives – an excerpt”  at The Spring Research Day at Kiasma, 25.4. 2018.

“Regurgitated Perspectives” performance at the 9th SAR conference – International Conference on Artistic Research Artistic Research will Eat Itself at University of Plymouth 11-13.4. 2018.

And then we had our own research days, of course:

Research Day II: Materiality of and in performance 2.3.2018

Research Day III: Performance Pedagogy 16.11.2018

So let’s see what will happen in 2019!

 

Performance Pedagogy … and the post-punk condition

Much is going on next week. The third Research Day with performance pedagogy as the theme is taking place on Friday 16th November at University of the Arts Theatre Academy. See program and link to registration here.

Our key note speaker professor Gavin Butt and the newly appointed professor of performance art and theory Tero Nauha will discuss performance art and the post-punk condition in an event organized in collaboration with Muu at Huuto gallery on Saturday 17th November at 5 pm. See more information here.

Both events are open to everybody, welcome!

(photo of Tero Nauha by Antti Ahonen)

Let’s Talk about Performance!

Conversations on Performance Art continue at Muu gallery on Monday 1 October at 6 pm. The guest this time is Tomasz Szrama, and the topic we begin with is the question of audience participation, or collaboration with the witnesses or whatever you prefer to call your mode of engagement. Tomasz calls his actions “Social encounters of despair” because “they are sort of a social gathering, and ‘despair’ describes their character and reasons to be committed.” More information about Tomasz and his performances is to be found on his website. More information about the event on the Muu webpage or the event on facebook, here.

Please come and share you views!

Call for proposals: Performance pedagogy 16.11. 2018

Research Day III: Performance Pedagogy

Call for proposals

The research project How to do things with performance? organises a third research day focusing on performance pedagogy with professor Gavin Butt as key note speaker on 16 November 2018at University of the Arts Theatre Academy, Auditorium 1.

What are the pedagogical dimensions of performance? Lectures and demonstrations are performances in themselves, but what about the pedagogy of performance and performance art? What can be done for, in, and with performance in a pedagogical situation and what could pedagogy give to performance practice? If performance is a site for learning, how does learning take place in it? What do we learn in performance?

In the research project How to do things with performance? (2016-2020) funded by the Academy of Finland we have looked at pedagogy and performance mainly in the edited collection Performance Artist’s Workbook. On teaching and learning performance art – essays and exercises(Porkola 2017). Influential studies of the pedagogy of performance art such as Performing Pedagogy – Toward an Art of Politicsby Charles Garoian (1999), The Analysis of Performance Art – A Guide to its Theory and Practiceby Anthony Howell (1999) or “Some Thoughts on Teaching Performance Art in Five Parts” by Marilyn Arsem (2011) as well as anthologies such as Stucky and Wimmer’s Teaching Performance Studies(2002) form the background to our discussions.

Despite our interest in performance art we understand performance in a wide sense. Performance studies, performance research and performance-as-research can be understood as the study of various practices and processes besides cultural and artistic performances. As art making in artistic research, performance or performing can function as a central research method or as one way of presenting research results. (Allegue et al. 2009; Hunter & Riley 2009; Kershaw & Nicholson 2011; Nelson 2013; Arlander et.al.2018) Here we are especially interested in the links between pedagogy and performance.

Our key note speaker, professor Gavin Butt,is a transdisciplinary scholar working across the areas of performance studies, queer studies, visual culture, and popular music. Before taking up the Attenborough Chair in Drama: Theatre and Performance at Sussex in September 2016, he was Professor of Visual Cultures and Performance at Goldsmiths, University of London. Butt was the co-director of Performance Matters (2009-2013), a creative research project funded by the Arts and Humanities Research Council, bringing together artists, curators, activists, performance organizers, and academics to investigate the cultural value of performance. He is co-editor of Post-Punk Then and Now, Repeater, 2016. Butt is currently completing a book Being in a Band: The Leeds Art Experiment and the Making of Alternative Culture 1972-1985, which explores the generative nature of collective creation on the eve of neoliberalism. It focuses on the post-punk scene in 1970s and 1980s Leeds, and on group-belonging in theatre and performance, visual art and music making. It is a case study of the radical potential of higher education at a time when access to art school and university was free to all.

We invite everybody interested in the connections of pedagogy and performance art, live art, performance-as-research, research on and in performance, or performance studies to debate these questions and ponder how pedagogy and performance are entangled. How and in what way are things done with performancepedagogy? What can be done with performance art that cannot be done with other forms of performance within a pedagogical situation? What kind of change does performance pedagogy generate?

We are especially interested in performance lectures, demonstrations, interventions, pedagogical experiments, that is, performance pedagogy in action! Please, send abstracts (max 250 words) of proposals for 15 -20 min. contributions and a brief bio, no later than 14 October 2018 to annette.arlander@uniarts.fi

Welcome!

Annette Arlander, Hanna Järvinen, Tero Nauha and Pilvi Porkola

For updates, see here