In autumn 2024, Reality Research Center (RRC) explored the relationship between performance, documentation, reality and memory in the frame of Moving in November. RRC members, artists Alina Sakko and Emma Fält were invited to recall two works from the Moving in November in 2022 without having witnessed them: Matilda Aaltonen and Veli Lehtovaara’s Performing Animalities – A Praxis and Tuomas Laitinen’s Audience Body. Is it possible to remember a performance without having experienced it?

In her site-specific performance, Exercise on empathy [a score for performing a human], Alina Sakko continues her work from last year.

“I had the honor of spending time with the archive materials of Performing Animalities – A Praxis and wondering what began to take shape in my own artistic work through the artistic work of Aaltonen and Lehtovaara. Worlds were opening up and I felt it at my core. The performance gesture took place at Sörnäinen metro station 16.11.2024.
This year, I will return to the memories of my thoughts and dances from last autumn. I will ask myself, what do I want to relive and share from the moments at Sörnäinen metro station, what do I want to give more time to, what can remain as memories at the metro station, and what kind of desires and questions does the new space bring up.”
Alina Sakko

Score of being an animal

-I behave according to the social rules the society has made.
-My eyes might be on the sides of my head.
-I have limbs. Some amount.
-I have no limbs.
-I want to be accepted?
-My coccyx might continue as a tail.
-I have names for things.
-Arms might be wings, arms might be arms, there might be no arms. I might want to fly.
-I might know how to jump really high and far.
-I know theories explained by words that explain my existence.
-I want to be loved?
+everything

 

This performance is a part of the Focus on the Local Landscape within the frame of Moving in November

Alina Sakko is a dance artist interested in researching the accessibility of contemporary dance on experiential and conceptual levels. Through her performance practice she asks and practices what it means to be ‘fully something now’. Her choreographies are dances between the concrete and the abstract, visiting recognisable imagery and poetic landscapes while enjoying casual spectacles. She is interested in kinesthetic empathy as a possibility for dialogue.