performance | [paer-'for'-mans] protocols | [proe-to-'koels']
The first part of performance protocols Nordic Sessions # 3 will be held in Helsinki from September 18.-27. 2021. The thematic frame for this edition is soundings in performance and includes different ways to use sound as a tool, material, and theme, spanning from music compositions to performance art exploring a conceptual use of sound. This frames both amplified and non-amplified sound, performances in public space, and active listening exercises.
The performances and scores presented at the Helsinki events will activate a wide range of concepts such as e. g. a ceremony for a park, animal soundings, participation, electrical power relations, public space and safety, Krispr sounds, the sound of real-estate data, as well as the triggering of pleasure and pain. The events will take place in the art spaces Third Space (exhibition and performance sessions) and Akusmata (performance program), and outside in public space.
The artists contributing to performance protocols Nordic Sessions # 3 are: Ana Gutieszca (MX/FI); Jenna Jauhiainen (FI); Essi Kausalainen (FI); Petri Kuljuntausta (FI); Tero Nauha (FI); Timo Viialainen (FI), Eero Yli-Vakkuri & Tina Mariane Krogh Madsen (FI/DK). As well as remote scores by Eva Sjuve (SE), and Malte Steiner (DE/DK).
All participating artists will exhibit their scores at Third Space. The exhibition will open on September 18. and close on September 27. and includes the performance sessions “Trigger-Happy” by Jenna Jauhiainen. The performance program in Akusmata will take place on September 22. and 23. with performances by Ana Gutieszca, Petri Kuljuntausta, Tero Nauha, and Timo Viialainen as well as a participatory score by Eva Sjuve. Public space performances will be on September 18., where Essi Kausalainen performs “Cosmos Garden” at the opening event, and on September 24., where Eero Yli-Vakkuri & Tina Mariane Krogh Madsen perform their collaboration “Safety as Ambience”.
performance protocols interventions are single projects by one artist or artist entity, which are shown and activated at relevant times and in-between exhibitions and events. The second online intervention also has listening in focus, so-called listening protocols created in Reykjavík, Iceland just on the brink of the Covid19 lock-down in March 2020 at the SÌM artist-residency. Listening Scores [Reykjavík] is a publication of seven scores which have been adapted to fit both the local and the global in their wording for their online release.
performance protocols interventions are single projects by one artist or artist entity, which are shown and activated at relevant times and in-between exhibitions and events. The first online intervention have listening in focus and are created during the Covid19 lock-down. # 1 is a sonic meditation by musician and composer Jane Rigler (US) with the title Absorb (2020). It is an open proposition to engage and relate.
performance protocols opened its first online exhibition on June 27. 2019 with a dedication to “walking protocols,” where the act of walking is explored as artistic means, tool, and concept
in performance instructions. This is the first of two exhibitions / events around this theme. Walking Protocols I features two types of works, 1) protocols created especially for the viewer to engage with and perform. 2) instructions created by a performer to be performed by themselves with an invitation for the audience to join in. The first type of works additionally distinguishes between acts that are to be created in solitude and in a group dynamic, as social practice.
The playful, Dadaist approach to the protocol can be seen in claus ejner’s Performance about evolution, which is created specifically for the first performance protocols exhibition. This protocol, as with other of ejener’s works, has a critical glimpse in the eye, with repetition as a central element. Repetition is also a crucial element in Ilya Noé’s Deascent. This protocol is based on her durational performance for the the 12th Biennale of Shanghai in 2018 that invites others to “surrogate” and adapt that performance to their own place, time, and situation. The piece is additionally created for escalators, and in this way dependent on a specific infrastructure that is often found in bigger towns and cities.
Non-verbal, group dynamics and power play will be exposed in Aleks Slota’s Destinations Unknown, an instruction created specifically for this exhibition. The collective action is additionally key in Anette Friedrich Johannessen’s Active Body-Lazy Mind, but with a looser structure in relation to the performers relations to each other. Here place and sensation are in focus with a collective frame for performing.
The topic of mourning and butoh walking as the performer’s own practice is seen in Sall Lam Toro’s Lutos de Amor (Grievances of love), which ritualistic form has been adapted to a performance protocol. Also this instruction has a durational approach, which invites to engagement.
CURATORIAL TEXT: WALKING PROTOCOLS AND WALKING AS ARTISTIC PRACTICE (PDF)
PRESS MATERIAL FOR WALKING PROTOCOLS I (ZIP)