Dasha Mazurka

Dasha Mazurka

Self-Interview of an Imaginary Author


What is your opinion on mediocrity as a conscious artistic identity?

Hmmm. . .


Could you mention some of the things that you have given attention to in your artistic work?

Authorship in relation to artwork / work in art – imaginary author

The market, its expectations and border conditions for artworks and artistic work

Collaboration, co-operation, co-authorship

Socratic doubt in artistic work


How do you see the relation between the artists and the programmers or artistic directors of theaters and festivals? Basically, between the people who decide on which work is to be presented to the public and the people who create the work.


Lately I have perceived a tendency of artists becoming commodities of programming to an extent that it seems that the authorship in relation to artworks has shifted from the artists to the people who chose what works are being presented. It’s obvious that directors and programmers have the authorship of the event which facilitates the artwork, but it seems to me that currently this has shifted to consider also the artwork itself to some extend, which is a violation to artists rights to the work they have created. This is a conflict and it becomes visible quite well for example in the communication and marketing of the artworks executed by the institutions facilitating the performances.



How do you see the relation between the authorship, artwork and the work in art – what does the imaginary authorship do?

Fictional authorship suggests a possibility of freedom, I think. Of course one could argue what kind of possibility of freedom we are talking about, while even mentioning freedom sounds like the ultimate naivety in the present context of art industrialization/utilization?

Well, I should agree, not much freedom is given at our disposal, but somewhere there lies the open proposition for the social game. Exactly that proposition suggests a tiny illusion of freedom and distance towards all messy interrelations of artistic intentions – productional intentions – global-local – artistic integrity/artwork – art market/product – personal-public and etc.

Oh, and as well, it gives a sense that one creates entire entity, not just a product, but a bit more than that.




What do you think about artistic consistency?

When did artistic consistency become as unquestionable positive constitution of artistic identity? Isn’t it one of those “easy to utilize” issues for production and promotional systems?




What place the notion of toposophy has in your practice as an artist?

As an artist, I am starting more and more turn towards this concept and more and more I start recognizing something in my artistic integrity, which connects strongly with locality I am originated. It does not feel like cultural, historical contexts of locality would narrow me, but on contrary it is like reconsidering the connection between locality and one’s identity as a cosmos with powerful communicative source.



Thank you.


Thank you.




The self-interview is written by Andrius Katinas and Veli Lehtovaara as a reflection and closure of the creation Doubt in Frame / Queen of Sweden Killed Descartes, which was commissioned by Moving in November -festival 2011. Dasha Mazurka working group included artists Andrius Katinas, Veli Lehtovaara, Maria Saivosalmi, Mikko Hyvönen and Jukka Huitila.



Moving in November festival has coproduced new works by Finnish dance artists for over ten years, To celebrate its 30th anniversary, the festival has invited artists 2007–2016 to write and discuss their artistic practice. These texts are published in the festival catalogue. On the Birthday Brunch on Oct. 5, 2016, the artists will discuss the texts together with the audience.

 > Read all artist texts