Festivaalikatalogi

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Festivaalikatalogi s. 3 “Yeah.” s. 4 Esitykset / Performances s. 4 Dries Verhoeven: Ceci n’est pas… s. 6 Markus Öhrn, Nya Rampen & Institutet: Bis zum Tod “Yeah.” s. 8 Terike Haapoja & Laura Gustafsson: Oikeusjuttu EVA NEKLYAEVA, s. 10 Maija Hirvanen: Days Without Names HELSINKI, AUGUST 14TH, 2014 s. 12 Kimmo Modig: Court of Helburg s. 14 Iggy Malmborg: b o n e r This text begins while I’m sitting at Juha Zizek’s concept of love as a political s. 16 Juha Valkeapää & Taito Hoffrén: Ten Journeys to a Place Where Nothing Happens Valkeapää’s living room, waiting for his category starts with love as a disruptive, violent beloved. Let’s wait for two more minutes, force that ruins the accepted way of things. s. 17 Juha Valkeapää: Juha Valkeapää 50 yrs Juha says. Maybe five more. Let’s wait a little Love that will tear us apart again. longer. We are sitting here, waiting. Adele plays Bell Hooks writes: “In truth, true love is all s. 18 Maike Lond: Ten Journeys to a Place Where Nothing Happens in the background. about work. […] To truly flourish, love requires Most probably, the beloved will not come. But an ongoing commitment to constructive s. 20 LIFE as WORK (Pekko Koskinen & Johannes Ekholm) it is not certain. We are almost sure she doesn’t struggle and change”. exist. But this is not definitive. While the feeling of crisis is urgent and s. 22 Vibes Juha draws our attention to one line in all-permeating, it is still exciting to work at a s. 27 Suomen Taidepoliittinen Tapahtuma / Finnish Arts Policy Event – Make Arts Policy Adele’s song: time that presents an opportunity to redefine “Sometimes it lasts in love and sometimes it the place of art in society, in public space, in s. 30 Huippukokous / Summit hurts instead. Yeah.” relation to the art field itself. A few years ago, Juha particularly likes the “Yeah”. In his we believed that the need for change meant s. 32 Ministry of Movement Affairs opinion, it shows a special kind of maturity of the change was already happening. Today, we the young singer–songwriter. are just only discovering the scope of required s. 34 Alexandra Pirici: Turning Monument A few weeks before that, I’m hanging out commitment. with Anne Juren in Rakvere, at Baltoscandal My favorite read this summer, Jacob s. 36 Minna Henriksson: Politiikan taide Festival. The sun is either not set yet or already Wren’s latest book Polyamorous Love Story, up, the way you can never be quite sure only in surprisingly ends with a happy moment of a s. 38 nadaproductions: WAR the middle of Northern summer. Anne talks about loving couple, after weaving layers and layers s. 40 Seminaari ja Käsikirja / Seminar and Handbook how it is impossible to provoke anyone on stage of dark stories about art, sex and violence. A anymore. She mentions Zizek, who apparently group of New Filmmakers are making films s. 41 Oheisohjelmisto / Additional programme said in one of his lectures that to really mess with without camera, by scripting and directing their the system, one should fall in love. lives as if these were movies. Mascot Front is a s. 48 Festival Lounge + Party On the following day, Anne accidentally terrorist organization that might or might not be dislocates her shoulder on stage while perfor- an art movement. s. 51 Projektit ja verkostot / Projects and networks ming. The audience does not believe the injury In the book, the search for new forms of art is real and refuses to leave, thinking it’s all part is somehow directly connected to the search for s. 62 Festivaalitiimi, yhteistyökumppanit / Festival team, partners of the show. new ways to love. s. 63 Aikataulu / Schedule A few months ago, I’m standing on The events in the book take place in a world Vaasankatu street, watching a performance where art is in crisis, the society is in violent s. 64 Esityspaikat ja liput / Venues and tickets called Angry Woman through a glass wall. struggle, and artists and activists are looking Inside the gallery, 5 very cool female artists for new strategies to work, to engage, to dressed in black underwear take turns create change, to make sense. But at the same screaming and trashing the place. The gallery time, to blur fiction and reality, to establish crowd cheers on. A couple of people stop by, multiple points of view, to battle dualities, to be Olemme tänä vuonna pyytäneet taiteilijoita kirjoittamaan taiteilijoista looking worried, and ask what’s going on. “It’s transgressive and unpredictable. art”, someone explains. Immediately, they calm It is a world that looks suspiciously like the festivaaliesitteeseen. Tekstit pohjautuvat haastatteluvideoihin, jotka down and walk away. world where we live now. löytyvät festivaalin kotisivuilta ja kootusti Vimeosta. / This year, we asked artists to write about artists for the festival brochure. The texts are based on interview videos that can be found on the festival website and on Vimeo. vimeo.com/balticcircle ESITYKSET / PERFORMANCES 2 3 DRIES VERHOEVEN (NED): 9.–16.11. Ceci n’est pas… SU / SUN 9.11. 11:00–16:00 MA–PE / MON–FRI 10.–14.11. 14:00–19:00 LA–SU / SAT–SUN 15.–16.11. 11:00–16:00 HAASTATTELIJA / INTERVIEW by: MAIJA KARHUNEN, Lasipalatsin aukio / Lasipalatsi Square TANSSIJA, YKSI CECI N’EST PAs… -TEOKSEN TAITEILIJOISTA / DANCER, ONE OF THE ARTISTS IN CECI N´EST PAs… Ilmainen / Free of charge HEINÄKUU / JULY 2014, SKYPE-SESSION HELSINki–AMSTERDAM Esitysten kesto n. 15 minuuttia ja ne toistetaan useita kertoja päivässä. / Performances last approx. 15 minutes and are repeated several times a day. Ceci n’est pas… esittelee kaupunkitilaan asetetussa During eight consecutive days, Ceci n’est pas… presents lasivitriinissä kahdeksan päivän ajan enemmän tai several individuals, more or less exceptional, in a glass box vähemmän harvinaisia ihmisyksilöitä. Teos viittaa tietenkin placed in the busy environment of a city centre. Naturally, näyttelyihin, joissa vain muutama vuosikymmen sitten the piece alludes to the exhibitions held only a few decades asetettiin ihmeteltäväksi erilaisia kummajaisia. Ceci n’est ago, in which all kinds of “freaks” were set on display pas… -teoksessa Dries Verhoeven tuo esiin tämän ajan to be marveled at. In Ceci n’est pas…, Dries Verhoeven kummajaisina pidettyjä, jotka eivät yleensä mahdu nyky- introduces people who are regarded as freaks today and who näyteikkunoiden esittelemään käsitykseen todellisuudesta. do not usually fit the conception of reality we see in shop Lasivitriinin ympärille rakentuvasta keskustelusta syntyy windows. Verhoevenin mukaan esityksen poliittinen potentiaali. Kun According to Verhoeven, the political potential of the katseen kohteena oleva ei voi kuulla keskustelua, kohte- piece is created by the discussion that is formed around the liaisuus ja korrektius höllenevät. Yksi ohikulkija on yhtä display case. When the person being observed can’t hear mieltä, toinen vastaa siihen. Joku ei voi ymmärtää, toinen their observer, the need for politeness and correct speech Ceci n’est pas… kehitettiin Second Cities – Performing Cities Concept: Dries Verhoeven yrittää selittää. Kyseenalaistajalle heitetään vastakysymys. abates. One passer-by expresses an opinion, another one -konseptin yhteydessä ja se sai ensi-iltansa toukokuussa 2013 SPRING- Artistic assistance: Ilon Lodewijks festivaalilla Utrechtissa, Alankomaissa. Ceci n’est pas… on esitetty Technical production: Roel Evenhuis Joku haluaisi jäädä katsomaan kun toinen jo hoputtaa pois. responds to them. Someone cannot understand, another one myös Saksan Mülheimissa ja Hampurissa, Ranskan Strasbourgissa With the co-operation of a great number Teos viittaa tietenkin myös René Magritten maalauk- tries to explain. That who questions is met with a counter ja Poitiers’ssa, Kremsissä Itävallassa sekä Baselissa ja Lausannessa of performers. seen Ceci n’est pas une pipe (”Tämä ei ole piippu”). question. Someone would like to stay and watch while Sveitsissä. Jokainen esitys käsittelee jotakin suurta ja abstraktia mutta another one is already rushing them to go. Dries Verhoeven tunnetaan parhaiten paikkasidonnaisista esityksistään The visiting performance is supported by jatkuvasti muuntuvaa ja siksi kiistanalaista käsitettä, The work makes an obvious allusion to the painting Ceci ja installaatioistaan, joissa katsoja kutsutaan mukaan dynaamiseen The Performing Arts Fund NL. Realised vuorovaikutukseen esiintyjän kanssa. Hänen työnsä erityispiirteitä within the framework of GLOBAL CITY esimerkiksi Rakkautta, Pelkoa tai Ruumista. Käsitteet n’est pas une pipe (“This is not a pipe”) by René Magritte. ovat epätavallisten, visuaalisesti runollisten, teatterillisten kokemusten – LocAL CITY project, funded by the muodostavat ”säännön”, mutta lasikopissa oleva ihminen Every performance deals with a grand notion, such as Love, yhdistäminen kriittiseen näkökulmaan nykypäivän kulttuurinormeista ja Culture Programme of the European Union. on poikkeus ”sääntöön” – tai sitten ei, riippuen siitä mitä Fear or Body, that is, despite its abstract nature, constantly yhteiskunnasta. Verhoeven on tehnyt yhteistyötä monien museoiden ja katsoja teoksessa näkee ja ei näe. Kuvat voivat siis pettää transforming and therefore controversial. The notions kansainvälisten festivaalien kanssa ympäri Euroopan. – eikä todellisuuden ja sen representaatioiden välille voi vetää constitute a “rule” but the person inside the glass box is Ceci n’est pas… was developed within the context of Second Cities yhtäläisyysmerkkejä. an exception to this “rule” – or not, depending on what the – Performing Cities and premiered in May 2013 at SPRING Festival Kahdeksan päivän aikana nähdyistä
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