On Friday and Saturday 11am-4pm beginning at Observatory (at 5-20” intervals), with a performance starting at Hotel Puijonsarvi at twilight. Read more ▸

Heidi Fast invites the listener to a home which is not hers; to a place where both are visitors. This refers to a particular home or a question about dwelling, inhabiting and adopting, to a place which, however, no longer or not quite yet belongs to someone. The performance is a vocal place, an open concert in this home that is quieting down. Fast creates vocal routes for an intimate dialogue in-between the visitor and the material and acustic ”cinders” of the home, the traces of the living and herself. The voice is also glowing to the other apartments in the building opening the home towards the public. Read more ▸

Anus Domini was first performed over 10 years ago and arose from reflections on gender and sexual politics. Read more ▸

Frieze is a line drawing in the wire-netting fence of the tennis court. The line consists of carpet rags woven in the fence and they create natural size human figures in various positions. They are entwined with a circling ornament pattern embroidered with cross-stitching, which joins the figures together.

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The sun, the moon, the stars, fire as well as a TV, a computer screen, illuminated ads and neon lights – the majority of commercial visuality and created images – are based on the fact of looking at material as light or looking at the light source and the attraction of light. Looking at light gives us an impression of looking at something outside from inside. Even if we were watching TV located on the back of a room, we would have a feeling of looking at something which is outside – the outside world. The light, external, attracts us and interiorizing it, the enlightenment or turning into light are subjects that can be found in many religions. Technology required for the ”non-material consumption” actually needs massive production based on raw materials. What are the grounds for the desire to become estranged from the primary existence of substances and for the fascination of the artificial reality of the illusionary world filtered by technology? Read more ▸

A hotel room at the hotel Puijonsarvi and the cinema Maxim are combined in a 2-part work which is based on hotel room scenes adapted from famous films. Marilyn Monroe gets intellectual lines and Bruce Lee forgets his punch. The film turns into a performance in the cloud of a popcorn smell. Read more ▸

Reijo Kela writes:

”I suppose it was some time in the early 1970’s when the National Pensions Office (fin. Kansaneläkelaitos) started to use the name KELA. I found it very offensive as concerns our family name Kela. Later as an art maker, I decided that one day I would take advantage of this similarity between the family name Kela and the National Pensions Office KELA. In other words, I would make a performance for a KELA office. Read more ▸

While strolling around various areas within the airport building Aileen Lambert will intermittently approach and exhale onto various glass surfaces, windows, doors, partitions, leaving a trail of breath marks fading behind her. The personal, visceral, intimate gesture of breathing and creating breath marks is a metaphor for life, and our continuous attempt to leave our mark on the world – a vain attempt to leave something behind. Read more ▸

Terrestrial is an ongoing series of performance works by British artist Howard Matthew. Terrestrial is a one-to-one performance which the viewer observes through a telescope and is accompanied by a ‘soundtrack’ played through a set of headphones. Terrestrial has been performed in a variety of locations and environs, from a nocturnal journey across Nottingham city centre, to a sparse harbour-side quay in Hong Kong, through to an inner city neighbourhood of Cleveland, Ohio. Read more ▸

The city hall is the administrational heart and center of each city which represents the people. It is the lap, which, however, seems to hide so much bureaucracy and decision-making filled with mysterious red-tape gibberish in its arms that a layman may feel dizzy just by entering the place through its heavy doors into the grand and echoing hallways – not to mention even daring to publicly protest against those nerve-racking social defects. Read more ▸

C’mon will consist of an all day tennis match played by Tony Schwensen against himself.  The actual performance will entail serving the ball, walking to wherever the ball has landed and then hitting it back over the net. After each hit of the ball the exhortation C’mon will be screamed. The action and the focussing will then be repeated until the cessation of the performance. Read more ▸

In Manuel Vason’s partnerships with artists including Guillermo Goméz-Peña, Franko B, Niko Raes, Ernst Fischer, La Ribot and Helen Spackman, a performance work is either restaged anew or developed specifically for his camera. These projects, works of pure collaboration, differ in principle from conventional performance documentation in that Vason, camera in tow, is always the sole witness to the singular live event, which also takes place in a non-theatrical space of the artists’ choosing. Read more ▸

Tessa Wills works with young people in East London, they make urban choreography together. She investigates what it feels like to transport symbols and evidence of these young people, their disembodied shouts and laughter, messages and enjoyment through video and sound into this youth centre in Kuopio. Read more ▸