This article postulates that MA students of the arts and professional artists need to assess the ... more This article postulates that MA students of the arts and professional artists need to assess the conditions implicated by financialization and its effect on their practice. What are the options, futures, and risks for an artist? How are intangible assets like reputation, loyalty, or affective capacity evaluated, even priced? In institutional contexts, assetization and functioning as investee are already a necessity for the management of value, risk, and volatility. Through processes of privatization, universities are on their way to becoming strategic hubs that, for their part, start to promote self-assetization. These are included in participatory and care activities or collective and processual practices in the arts.At the same time, students and artists are conditioned by their assets worth investing in. They are becoming investees.
This article aims to consider the apparatus of knowledge production and reproduction of it in the... more This article aims to consider the apparatus of knowledge production and reproduction of it in the arts. It makes a connection between the war machines of capitalism and artistic practices, that can be traced back into the renaissance and enlightenment. One significant aspect to pay attention of the notion of expropriation and primitive accumulation and their role, which has been debated in political economy since Adam Smith. In this article it is connected with the concept of laziness, and its strategic representations in the modernist and contemporary art practices. The conclusion is to argue how performance has tactical function for the obstinacy against the neoliberal expropriation and its totality.
Operating within a framework of artistic research, this chapter departs from schizoanalysis towar... more Operating within a framework of artistic research, this chapter departs from schizoanalysis towards an alignment with the non-standard philosophy of François Laruelle. My aim is to articulate this alignment through an exploration of performance art as artistic research. The chapter investigates how practice in the world, which is determined in the last instance of economy, may be regarded differently if the last instance is replaced by the Real, which would rebuke events in the world not through economic relations but through the Real being something unilaterally foreclosed from human thought. This notion of the “last instance” was developed by Louis Althusser (2005, 112–13), from the expression by Friedrich Engels, as the determining force of capitalist economy. However, for Laruelle, determination-in-the-last-instance is the Real where “everything philosophy claims to master is in-the-last-instance thinkable from the One-Real” (Smith 2010, xvi). The determination-in-the-last-instance is an “identity without difference, and without synthesis but not without transcendental priority or duality, of philosophy and of science for example—not against all their possible relations, but against the unitary spirit of philosophical and epistemological hierarchy in these relations” (Laruelle 2013a, 23–24). Practice determined in the last instance of the Real would be radically immanent, where practice would not be about the Real but only from the Real.
The film scholar Ilona Hongisto and I curated a film night titled "The Machinic Desire o... more The film scholar Ilona Hongisto and I curated a film night titled "The Machinic Desire of Cinema." This event was presented at the Sphinx Cinema, Ghent, on 10 December. The programme included two films, Citation City (2018) by Vicki Bennett and In Search of UIQ (2013) by Silvia Maglioni and Graeme Thomson. Before screening the films, there was a short discussion with Maglioni and Thomson about their film-making practice. Citation City is an audiovisual collage by the British artist Vicki Bennett. Working under the name People Like Us, Bennett is a pioneer in sampling, appropriation, and cutting up found footage, original sources, and archives. The second film in the programme, In Search of UIQ, is part of a trilogy that Maglioni and Thomson begun with the film Facs of Life (2009). The trilogy occupies the indistinct field between documentary, fiction, essay, and video art; it began with an archival project based on video footage of Deleuze's courses at Vincennes (1975-76), and continued with a collaborative project with the Ueinzz Theatre Group, São Paulo, and mollecular organization, Helsinki, based on Guattari's screenplay Project for a Film by Kafka (2009b), out of which Maglioni and Thomson created the feature film Disappear One (2015). The trilogy aims to evoke the "missing cinema" practice Guattari connected with schizoanalysis. Cinema as an art form occupies a significant place in the thought of Deleuze and Guattari, and references to film directors in their works are frequent. Until recently, however, Guattari's individual contributions to cinema, and to television in particular, have remained obsolete, even though Guattari had quite actively pursued becoming a film-maker himself.
"Performance art can't be taught". This is the sentence that was repeat... more "Performance art can't be taught". This is the sentence that was repeated when I studied art in the early 1990s in Finland. It felt like a provocation that stirred emotional responses. It is also a demoralizing sentence. I would like to speculate on the function of this argument when regarded from a distance, what it may have caused and what the presumed reasoning behind it was. This approach indicates a point of view where artistic practice is learned in master and apprentice relationships, i.e. a student learns by observing, repeating, failing, repeating again, and failing better, in the footsteps of an apparent master.
Miten tehda asioita esityksella? -tutkimushankkeen esittely ja tyoryhman kokemuksia hankkeen SAR-... more Miten tehda asioita esityksella? -tutkimushankkeen esittely ja tyoryhman kokemuksia hankkeen SAR-konferenssissa jarjestamasta tyopajasta What is Given?
This collectively authored article is a curated response to a set of questions (or fragments of q... more This collectively authored article is a curated response to a set of questions (or fragments of questions) derived from a year-long collaboration focused on the figure of the refugee. Delivered through mixed-media, the responses cover a vast range of territory, from the relation between refugees and global capitalism to the reign of bio- and necro-politics, from analytical philosophies of naming to continental philosophies of territorialized flows, and from conceptual mappings of interstitial space to concrete mappings of “refugee” movements across the globe.While the article addresses many different questions, the authors are concerned primarily with the following: How can performance philosophy conceptualize “crisis” in its methods and subjects of study? How is crisis organized, delivered and received in thought and performance? The form our response has taken is one of arranged fragments that speak to the “trailing off” of thought that so frequently occurs when faced with “big id...
This article postulates that MA students of the arts and professional artists need to assess the ... more This article postulates that MA students of the arts and professional artists need to assess the conditions implicated by financialization and its effect on their practice. What are the options, futures, and risks for an artist? How are intangible assets like reputation, loyalty, or affective capacity evaluated, even priced? In institutional contexts, assetization and functioning as investee are already a necessity for the management of value, risk, and volatility. Through processes of privatization, universities are on their way to becoming strategic hubs that, for their part, start to promote self-assetization. These are included in participatory and care activities or collective and processual practices in the arts.At the same time, students and artists are conditioned by their assets worth investing in. They are becoming investees.
This article aims to consider the apparatus of knowledge production and reproduction of it in the... more This article aims to consider the apparatus of knowledge production and reproduction of it in the arts. It makes a connection between the war machines of capitalism and artistic practices, that can be traced back into the renaissance and enlightenment. One significant aspect to pay attention of the notion of expropriation and primitive accumulation and their role, which has been debated in political economy since Adam Smith. In this article it is connected with the concept of laziness, and its strategic representations in the modernist and contemporary art practices. The conclusion is to argue how performance has tactical function for the obstinacy against the neoliberal expropriation and its totality.
Operating within a framework of artistic research, this chapter departs from schizoanalysis towar... more Operating within a framework of artistic research, this chapter departs from schizoanalysis towards an alignment with the non-standard philosophy of François Laruelle. My aim is to articulate this alignment through an exploration of performance art as artistic research. The chapter investigates how practice in the world, which is determined in the last instance of economy, may be regarded differently if the last instance is replaced by the Real, which would rebuke events in the world not through economic relations but through the Real being something unilaterally foreclosed from human thought. This notion of the “last instance” was developed by Louis Althusser (2005, 112–13), from the expression by Friedrich Engels, as the determining force of capitalist economy. However, for Laruelle, determination-in-the-last-instance is the Real where “everything philosophy claims to master is in-the-last-instance thinkable from the One-Real” (Smith 2010, xvi). The determination-in-the-last-instance is an “identity without difference, and without synthesis but not without transcendental priority or duality, of philosophy and of science for example—not against all their possible relations, but against the unitary spirit of philosophical and epistemological hierarchy in these relations” (Laruelle 2013a, 23–24). Practice determined in the last instance of the Real would be radically immanent, where practice would not be about the Real but only from the Real.
The film scholar Ilona Hongisto and I curated a film night titled "The Machinic Desire o... more The film scholar Ilona Hongisto and I curated a film night titled "The Machinic Desire of Cinema." This event was presented at the Sphinx Cinema, Ghent, on 10 December. The programme included two films, Citation City (2018) by Vicki Bennett and In Search of UIQ (2013) by Silvia Maglioni and Graeme Thomson. Before screening the films, there was a short discussion with Maglioni and Thomson about their film-making practice. Citation City is an audiovisual collage by the British artist Vicki Bennett. Working under the name People Like Us, Bennett is a pioneer in sampling, appropriation, and cutting up found footage, original sources, and archives. The second film in the programme, In Search of UIQ, is part of a trilogy that Maglioni and Thomson begun with the film Facs of Life (2009). The trilogy occupies the indistinct field between documentary, fiction, essay, and video art; it began with an archival project based on video footage of Deleuze's courses at Vincennes (1975-76), and continued with a collaborative project with the Ueinzz Theatre Group, São Paulo, and mollecular organization, Helsinki, based on Guattari's screenplay Project for a Film by Kafka (2009b), out of which Maglioni and Thomson created the feature film Disappear One (2015). The trilogy aims to evoke the "missing cinema" practice Guattari connected with schizoanalysis. Cinema as an art form occupies a significant place in the thought of Deleuze and Guattari, and references to film directors in their works are frequent. Until recently, however, Guattari's individual contributions to cinema, and to television in particular, have remained obsolete, even though Guattari had quite actively pursued becoming a film-maker himself.
"Performance art can't be taught". This is the sentence that was repeat... more "Performance art can't be taught". This is the sentence that was repeated when I studied art in the early 1990s in Finland. It felt like a provocation that stirred emotional responses. It is also a demoralizing sentence. I would like to speculate on the function of this argument when regarded from a distance, what it may have caused and what the presumed reasoning behind it was. This approach indicates a point of view where artistic practice is learned in master and apprentice relationships, i.e. a student learns by observing, repeating, failing, repeating again, and failing better, in the footsteps of an apparent master.
Miten tehda asioita esityksella? -tutkimushankkeen esittely ja tyoryhman kokemuksia hankkeen SAR-... more Miten tehda asioita esityksella? -tutkimushankkeen esittely ja tyoryhman kokemuksia hankkeen SAR-konferenssissa jarjestamasta tyopajasta What is Given?
This collectively authored article is a curated response to a set of questions (or fragments of q... more This collectively authored article is a curated response to a set of questions (or fragments of questions) derived from a year-long collaboration focused on the figure of the refugee. Delivered through mixed-media, the responses cover a vast range of territory, from the relation between refugees and global capitalism to the reign of bio- and necro-politics, from analytical philosophies of naming to continental philosophies of territorialized flows, and from conceptual mappings of interstitial space to concrete mappings of “refugee” movements across the globe.While the article addresses many different questions, the authors are concerned primarily with the following: How can performance philosophy conceptualize “crisis” in its methods and subjects of study? How is crisis organized, delivered and received in thought and performance? The form our response has taken is one of arranged fragments that speak to the “trailing off” of thought that so frequently occurs when faced with “big id...
Activating Dissonance: 20 Years of Live Art Education in Finland Kohti epäsuhtaisuuden kirjoa: 20 vuotta esitystaiteen opetusta Suomessa, 2021
The book presents the Live Art and Performance Studies MA programme in Helsinki. With articles by... more The book presents the Live Art and Performance Studies MA programme in Helsinki. With articles by Anna Jensen, Christine Langinauer, Nora Rinne and Harriet Rabe von Froreich and Tero Nauha. Photographs by Antti Ahonen.
Performanssifilosofiaa: esitysten, esiintymisten ja performanssien filosofiasta performanssiajatteluun, 2020
Performanssifilosofiaa: esitysten, esiintymisten ja performanssien filosofiasta performanssiajatt... more Performanssifilosofiaa: esitysten, esiintymisten ja performanssien filosofiasta performanssiajatteluun on ensimmäinen suomenkielinen teos uudelta performanssifilosofian alalta. Performanssifilosofia kysyy, kuinka esitys ajattelee, kuinka esitys, esiintyminen tai performanssi ovat ajattelua ja toimintaa, eivätkä ainoastaan filosofisten kysymysten kuvittamista. Se on siten tutkimusalue ja taiteellinen toimintakenttä, joka tuo yhteen taiteilijoita, tutkijoita ja filosofeja, ja kritisoi taiteen alisteista suhdetta filosofian suhteen. Performanssifilosofia on kehittynyt 2000-luvulla omaksi taiteellisen tutkimuksen alaksi, erottautuen esitystutkimuksesta ja teatterintutkimuksesta. Tämä kehitys on tapahtunut samanaikaisesti uusien posthumanististen avausten kuten uusmaterialistisen ja dekolonialistisen kriittisen ajattelun kanssa. Kirja avaa näitä ajattelun, vallankäytön sekä inhimillisen ja ei-inhimillisen välisiä kehiä, kuten materian ja merkityksen yhteen kietoutumia. Esitykseen oleellisesti kietoutunut näyttämö ja sen ymmärrys voidaan nähdä perustavanlaatuisesti inhimillisenä tai esittäminen voidaan toisaalta käsittää epätavanomaisen ajattelun laajennettuna muotona. Tämä kokoelma sisältää yhtäältä artikkeleita performanssifilosofian luonteesta ja toisaalta artikkeleita, joissa esitetty ajattelu rinnastuu performanssifilosofian kysymyksiin kielen ja esittämisen suhteista sekä ajattelijan positiosta. Kokonaisuus ei pyri määrittelemään performanssifilosofian kenttää vaan tarjoaa ehdotuksia performanssiajattelulle. Teoksen artikkeleja yhdistävät kysymykset ajattelusta, performanssiajattelusta ja esityksellä ajattelusta. Siten se tarjoaa uusia avauksia myös esityksellisyyden merkityksestä ajattelulle ja esityksen ajattelulle. Kokoelma tuo esiin monen kaltaisia ajatteluja, jotka voidaan nähdä esittämisinä ja performansseina. Kokoelmassa ovat mukana Laura Cull Ó Maoilearca, Walter Mignolo, Hamid Dabashi, Esa Kirkkopelto, Karen Barad, John Ò Maoilearca, François Laruelle ja Matthew Goulish, sekä Tero Nauha, Hanna Järvinen, Annette Arlander ja Pilvi Porkola, jotka ovat myös toimittaneet teoksen.
ALE DLACZEGO JA O TO PYTAM? / BUT WHY AM I ASKING THIS, 2020
In this essay, I will look into a possible connection between a few concepts
that are more common... more In this essay, I will look into a possible connection between a few concepts that are more commonly used in philosophy or anthropology. The subject matter of this essay is the pedagogy of performance art, specifically in the context of higher education.
The film scholar Ilona Hongisto and I curated a film night titled "The Machinic Desire of Cinema.... more The film scholar Ilona Hongisto and I curated a film night titled "The Machinic Desire of Cinema." This event was presented at the Sphinx Cinema, Ghent, on 10 December. The programme included two films, Citation City (2018) by Vicki Bennett and In Search of UIQ (2013) by Silvia Maglioni and Graeme Thomson. Before screening the films, there was a short discussion with Maglioni and Thomson about their film-making practice. Citation City is an audiovisual collage by the British artist Vicki Bennett. Working under the name People Like Us, Bennett is a pioneer in sampling, appropriation, and cutting up found footage, original sources, and archives. The second film in the programme, In Search of UIQ, is part of a trilogy that Maglioni and Thomson begun with the film Facs of Life (2009). The trilogy occupies the indistinct field between documentary, fiction, essay, and video art; it began with an archival project based on video footage of Deleuze's courses at Vincennes (1975-76), and continued with a collaborative project with the Ueinzz Theatre Group, São Paulo, and mollecular organization, Helsinki, based on Guattari's screenplay Project for a Film by Kafka (2009b), out of which Maglioni and Thomson created the feature film Disappear One (2015). The trilogy aims to evoke the "missing cinema" practice Guattari connected with schizoanalysis. Cinema as an art form occupies a significant place in the thought of Deleuze and Guattari, and references to film directors in their works are frequent. Until recently, however, Guattari's individual contributions to cinema, and to television in particular, have remained obsolete, even though Guattari had quite actively pursued becoming a film-maker himself.
This article aims to consider the apparatus of knowledge production and reproduction of it in the... more This article aims to consider the apparatus of knowledge production and reproduction of it in the arts. It makes a connection between the war machines of capitalism and artistic practices, that can be traced back into the renaissance and enlightenment. One significant aspect to pay attention of the notion of expropriation and primitive accumulation and their role, which has been debated in political economy since Adam Smith. In this article it is connected with the concept of laziness, and its strategic representations in the modernist and contemporary art practices. The conclusion is to argue how performance has tactical function for the obstinacy against the neoliberal expropriation and its totality.
Abstract
The aim of this article is to articulate a difference between the concept of the Other a... more Abstract The aim of this article is to articulate a difference between the concept of the Other and the axiomatic placeholder of the X. The axiomatic is that, what decodes our relationships without clear signification. The axiomatic X is a necessity for any performance practice, since in my argument, it is a placeholder for an indeterminacy of the Other. For this, I introduce the method of ‘fictioning’ as the diverging perspective. I propose to regard artistic practice from the point of view where the Other turns into an opaque X – as a ‘posture’ of the Other. In this article, I present ideas I have been working within my postdoctoral project that concern the complex relationship between thought and performance. In this research, my aim is to combine some aspects of the posthumanist philosophical debates and experimental performance art practice in artistic research. I am conducting this research as a postdoctoral fellow at the Academy of Finland funded postdoctoral research project How to Do Things with Performance?
PERFORMANCE ARTIST’S WORKBOOK On teaching and learning performance art – essays and exercises, 2017
"Performance art can't be taught". This is the sentence that was repeated when I studied art in t... more "Performance art can't be taught". This is the sentence that was repeated when I studied art in the early 1990s in Finland. It felt like a provocation that stirred emotional responses. It is also a demoralizing sentence. I would like to speculate on the function of this argument when regarded from a distance, what it may have caused and what the presumed reasoning behind it was. This approach indicates a point of view where artistic practice is learned in master and apprentice relationships, i.e. a student learns by observing, repeating, failing, repeating again, and failing better, in the footsteps of an apparent master.
The Dark Precursor Deleuze and Artistic Research, 2018
Operating within a framework of artistic research, this chapter departs from schizoanalysis towar... more Operating within a framework of artistic research, this chapter departs from schizoanalysis towards an alignment with the non-standard philosophy of François Laruelle. My aim is to articulate this alignment through an exploration of performance art as artistic research. The chapter investigates how practice in the world, which is determined in the last instance of economy, may be regarded differently if the last instance is replaced by the Real, which would rebuke events in the world not through economic relations but through the Real being something unilaterally foreclosed from human thought. This notion of the “last instance” was developed by Louis Althusser (2005, 112–13), from the expression by Friedrich Engels, as the determining force of capitalist economy. However, for Laruelle, determination-in-the-last-instance is the Real where “everything philosophy claims to master is in-the-last-instance thinkable from the One-Real” (Smith 2010, xvi). The determination-in-the-last-instance is an “identity without difference, and without synthesis but not without transcendental priority or duality, of philosophy and of science for example—not against all their possible relations, but against the unitary spirit of philosophical and epistemological hierarchy in these relations” (Laruelle 2013a, 23–24). Practice determined in the last instance of the Real would be radically immanent, where practice would not be about the Real but only from the Real.
In the written part of my doctoral dissertation, I am presenting the artistic works and set them ... more In the written part of my doctoral dissertation, I am presenting the artistic works and set them in a larger context, which I have entitled immanent capitalism. This is an artistic research, where the artworks, their processes or workshops produce knowledge, which will not be fully translatable to a written form. The artworks are performances, live-art projects and works on video. In the presentation of the context, I am presenting the transformation that has taken place starting from the industrialism and modernism, and which have recently been incorporated with new forms of labour and economy. These forms are often referred as cognitive capitalism, affective labour, post-Fordism and neoliberal market economy. I am presenting this context in relation with artistic practice and such concepts or phenomena as trauma, relationality, affect and neuroplasticity. The starting point and the hub of my research are schizoanalysis, which was developed by Gilles Deleuze, Félix Guattari and Jean Oury. In my research I am regarding schizoanalysis in relation with the economy, artistic practice and the paradigmatic change of forms of labour. At the end of the written part, I reflect artistic practice and the artistic works with in relation to immanent capitalism. I present a critique toward the presumed hegemony of capitalism from the point of view of artistic research and I am giving an argument counter to the philosophical assertions of schizoanalysis. In this way, my intention is to produce models for thinking and practice, where artistic practice and research may adhere a function of a critical tool against the presumed immanence of capitalism. The written part has a form of an architectonical drawing of a building, which has two floors. At first, I give a cross-section of the structure, which is followed by the first ‘floor’. In the first floor I present the starting points and question for my performance art practice and artistic research, and this floor includes the description of the artistic works and the processes, which are related with this research in chronological order. The works, which are presented here are: Loop Variation (2008), Tell me about your machines (2012), Life in Bytom (2012), The Astronomer: Experiment (2013) and finally a description of the project Man-a-machine: schizoproduction (2014). In the second floor, I am presenting the theoretical discourses of the research. It begins from the presentation of the conjunction with industrialism, avant-garde and the concept of trauma, which follows a presentation of the relationship between the immaterial labour, artistic practice, relationality and the concepts of affect and neuroplasticity. This part concludes with a presentation of the schizoanalytic practice and theory. The third part is called Foyer, in which I will provide a critical argument both towards the theoretical apparatus presented above and towards my artistic practice and the projects, also. I will present the intricate conjunction between the schizoproduction and immanent capitalism, the function of a heretical practice in artistic practice, the relation between knowledge and knowing and I will conclude in the critique of relationality, processuality and co-operation. In my argument, these three concepts are essentially connected with the philosophy of immanent capitalism. At the end of the written part of my doctoral dissertation, I conclude with a arguments on the possibility for departure, exit or heresy through artistic practice in the context of immanent capitalism.
Kukkia was a group for artistic practices. It was for a moment and not forever. Kukkia was contri... more Kukkia was a group for artistic practices. It was for a moment and not forever. Kukkia was contrived by Karolina Kucia and Tero Nauha in 2004 and composted in 2008. In its practise, Kukkia was to develop an ‘anti-cynical front’ against this general approach to life which has become an imperative. Was it a fighting or atmospheric front? Which one would be more naivé? Kukkia, flowers themselves seem to be strong enough to take on cynicism and naiveté. However, there are elements of defeat in everything – in ourselves, between each other, and in our encounters with other people. Still, anti-cynicism seems a good place to stand.
There is a book about Kukkia published in November 2011. This book assembles some of Kukkia’s concepts and approaches, as well as contributions from the people we had been affected by or worked with – there are texts by John Grzinich and Evelyn Müürsepp from the MoKS artists organisation in Mooste, Estonia; a poetic witness report from Jonimatti Joutsijärvi; a short essay from Franco ’Bifo’ Berardi; illustrations by artist Dwi Setianto and the form of the book by Mika Aalto-Setälä.
Kukkia Book was published in the Baltic Circle Festival on Wednesday 16th of November, 2011.
Presented in different forms at the following venues:
7th Annual Conference on the New Materialis... more Presented in different forms at the following venues: 7th Annual Conference on the New Materialisms, September 21-23 2016. Institute of Philosophy and Sociology, Polish Academy of Sciences. Liikelaituri, September 30, 2016, Tampere. How To Do Things With Performance Kick-Off, October 4, Theatre Academy, Helsinki. Theatre.now, October 19, 2016, Kiasma, Helsinki. The performance is for two turntables and Theremin. The vinyl records played has the presentation read by me and pressed on vinyl acetate records. The lecture performance is bilingual, in English and Finnish
This paper focuses on few issues that I worked with on a project, which was commissioned by Vanta... more This paper focuses on few issues that I worked with on a project, which was commissioned by Vantaa Art Museum in February to May 2016. I collaborated with two asylum seekers from Iraq, who are living in Helsinki, and still waiting for the decision on their asylum application. However, I did not focus on the refugee policy of Finland or EU, but rather on the philosophical, and conceptual questions of exception and norm through this project. The final form of this project was presented as an installation and performance. There is also an article published on the same issue at the RUUKKU: Studies in Artistic Research 6 /2016 online publication: http://ruukku-journal.fi/fi/issues/6/
This performative presentation includes a vinyl record, in which the same text has been read and ... more This performative presentation includes a vinyl record, in which the same text has been read and prerecorded. I was mixing this recording with the live reading of the text, and in the end playing a digital Theremin alongside them. In this way there were three different kinds of sound materials in the performance as being the physical utterance of the words, the analogue recording on the acetate vinyl and the digital imitation of the Theremin, played on iPhone and transmitted by Bluetooth to a wireless speaker. Abstract In this presentation, a point of view is being articulated in the relation between a body and the non-standard thought, which has been presented by François Laruelle, Katerina Kolozova, and John Ó Maoilearca in the particular context of performance art practice. The particular focus is on the conjunctions between the voice, body, matter, and thought, where speculation on these conjunctions is being performed. In this way, this presentation will be an attempt to work towards 'non-standard artistic research'. A few projects of mine will be presented, where the focus has been on the sound on vinyl records. The prerecorded narratives of the presenter on a vinyl record and the live voice or other sounds will be mixed. In this meshing of voices and sounds, pre-recorded and live, due to the analogue nature of a vinyl record, the interruptions of sliding, stuttering, or cutting are performed as mutations of thought. The presentation seeks to speculate performatively the conjunction between voice, body, matter, and thought and aims to set alongside the performative with such specific concepts by Laruelle as 'decision', 'posture', or 'cloning'. The presentation seeks to present 'a posture' of a performance art practice with regard to the distinction between the world and the real — the sufficient reason and the indifferent real. A body and a record are captured with the world of conceptual and speculative apparatuses. Still, the argument is that performance is thinking without the sufficient reason of philosophy, alongside the real, as such. Performance art and artistic practice are mixing the material record of the real.
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Papers by Tero Nauha
on ensimmäinen suomenkielinen teos uudelta performanssifilosofian alalta.
Performanssifilosofia kysyy, kuinka esitys ajattelee, kuinka esitys, esiintyminen tai performanssi
ovat ajattelua ja toimintaa, eivätkä ainoastaan filosofisten kysymysten kuvittamista.
Se on siten tutkimusalue ja taiteellinen toimintakenttä, joka tuo yhteen taiteilijoita, tutkijoita
ja filosofeja, ja kritisoi taiteen alisteista suhdetta filosofian suhteen. Performanssifilosofia
on kehittynyt 2000-luvulla omaksi taiteellisen tutkimuksen alaksi, erottautuen esitystutkimuksesta
ja teatterintutkimuksesta. Tämä kehitys on tapahtunut samanaikaisesti uusien
posthumanististen avausten kuten uusmaterialistisen ja dekolonialistisen kriittisen ajattelun
kanssa. Kirja avaa näitä ajattelun, vallankäytön sekä inhimillisen ja ei-inhimillisen välisiä
kehiä, kuten materian ja merkityksen yhteen kietoutumia. Esitykseen oleellisesti kietoutunut
näyttämö ja sen ymmärrys voidaan nähdä perustavanlaatuisesti inhimillisenä tai esittäminen
voidaan toisaalta käsittää epätavanomaisen ajattelun laajennettuna muotona. Tämä kokoelma
sisältää yhtäältä artikkeleita performanssifilosofian luonteesta ja toisaalta artikkeleita, joissa
esitetty ajattelu rinnastuu performanssifilosofian kysymyksiin kielen ja esittämisen suhteista
sekä ajattelijan positiosta. Kokonaisuus ei pyri määrittelemään performanssifilosofian kenttää
vaan tarjoaa ehdotuksia performanssiajattelulle. Teoksen artikkeleja yhdistävät kysymykset
ajattelusta, performanssiajattelusta ja esityksellä ajattelusta. Siten se tarjoaa uusia avauksia
myös esityksellisyyden merkityksestä ajattelulle ja esityksen ajattelulle. Kokoelma tuo esiin
monen kaltaisia ajatteluja, jotka voidaan nähdä esittämisinä ja performansseina.
Kokoelmassa ovat mukana Laura Cull Ó Maoilearca, Walter Mignolo, Hamid Dabashi,
Esa Kirkkopelto, Karen Barad, John Ò Maoilearca, François Laruelle ja Matthew Goulish,
sekä Tero Nauha, Hanna Järvinen, Annette Arlander ja Pilvi Porkola, jotka ovat myös toimittaneet
teoksen.
that are more commonly used in philosophy or anthropology. The
subject matter of this essay is the pedagogy of performance art, specifically in the context of higher education.
The aim of this article is to articulate a difference between the concept of the Other and the axiomatic placeholder of the X. The axiomatic is that, what decodes our relationships without clear signification. The axiomatic X is a necessity for any performance practice, since in my argument, it is a placeholder for an indeterminacy of the Other. For this, I introduce the method of ‘fictioning’ as the diverging perspective. I propose to regard artistic practice from the point of view where the Other turns into an opaque X – as a ‘posture’ of the Other. In this article, I present ideas I have been working within my postdoctoral project that concern the complex relationship between thought and performance. In this research, my aim is to combine some aspects of the posthumanist philosophical debates and experimental performance art practice in artistic research. I am conducting this research as a postdoctoral fellow at the Academy of Finland funded postdoctoral research project How to Do Things with Performance?
The written part has a form of an architectonical drawing of a building, which has two floors. At first, I give a cross-section of the structure, which is followed by the first ‘floor’. In the first floor I present the starting points and question for my performance art practice and artistic research, and this floor includes the description of the artistic works and the processes, which are related with this research in chronological order. The works, which are presented here are: Loop Variation (2008), Tell me about your machines (2012), Life in Bytom (2012), The Astronomer: Experiment (2013) and finally a description of the project Man-a-machine: schizoproduction (2014).
In the second floor, I am presenting the theoretical discourses of the research. It begins from the presentation of the conjunction with industrialism, avant-garde and the concept of trauma, which follows a presentation of the relationship between the immaterial labour, artistic practice, relationality and the concepts of affect and neuroplasticity. This part concludes with a presentation of the schizoanalytic practice and theory.
The third part is called Foyer, in which I will provide a critical argument both towards the theoretical apparatus presented above and towards my artistic practice and the projects, also. I will present the intricate conjunction between the schizoproduction and immanent capitalism, the function of a heretical practice in artistic practice, the relation between knowledge and knowing and I will conclude in the critique of relationality, processuality and co-operation. In my argument, these three concepts are essentially connected with the philosophy of immanent capitalism.
At the end of the written part of my doctoral dissertation, I conclude with a arguments on the possibility for departure, exit or heresy through artistic practice in the context of immanent capitalism.
There is a book about Kukkia published in November 2011. This book assembles some of Kukkia’s concepts and approaches, as well as contributions from the people we had been affected by or worked with – there are texts by John Grzinich and Evelyn Müürsepp from the MoKS artists organisation in Mooste, Estonia; a poetic witness report from Jonimatti Joutsijärvi; a short essay from Franco ’Bifo’ Berardi; illustrations by artist Dwi Setianto and the form of the book by Mika Aalto-Setälä.
Kukkia Book was published in the Baltic Circle Festival on Wednesday 16th of November, 2011.
7th Annual Conference on the New Materialisms,
September 21-23 2016. Institute of Philosophy and Sociology,
Polish Academy of Sciences.
Liikelaituri, September 30, 2016, Tampere.
How To Do Things With Performance Kick-Off,
October 4, Theatre Academy, Helsinki.
Theatre.now, October 19, 2016, Kiasma, Helsinki.
The performance is for two turntables and Theremin. The vinyl records played has the presentation read by me and pressed on vinyl acetate records. The lecture performance is bilingual, in English and Finnish
There is also an article published on the same issue at the RUUKKU: Studies in Artistic Research 6 /2016 online publication: http://ruukku-journal.fi/fi/issues/6/