by n-o-o-n-e

Parasitic Tactics and Monstrous Strategies for the formation of collectivity

 

Imagine that for some reason you cannot get IN, no worries, no worries, there is a way…

Imagine that you have been swallowed by another body, you hope to make it through in one piece.

Something is starting to smell here…

 

This is a training session in parasitic tactics for dealing with IN’s and OUT’s. This is an experiment in social mutation and the monstrous strategies of various WE’s and US’s.

The session includes a series of instructive mini-performances, score-led collective exercises, interacting with performing objects, and the screening of the film We Bites Us. It aims to radically rethink ‘access’, ‘trust’, ‘togetherness’ and ‘organisation’. It may be useful for finding personal and collective ways of managing circumstances that have become unrecognisable, hostile, or overly hospitable.

It is a RIDICAMENT. Ridicament is a baffling confusion between place, body (both collective and individual), property and propriety. Ridicament is a blend of ridiculousness and predicament, where hilarity and unruliness intertwine with the careful unfolding of paths. Ridicament emerges between people, places, and systems. It is an experimental form of collective training in understanding and addressing the realities of precarious living and working, revealing power asymmetries and facilitating encounters. Ridicament happens between occurrences, temporary communities, institutional critique, and speculative fiction.

But why?

Artists – what do ‘you’ need ‘us’ for? If ‘we’ cannot organise art production and ourselves to withstand the political and economic changes in the structure of labour, we will become servants, this way or the other. When we do not find a way to build solidarities across the field and with other precarised groups, we will become an embellishment of the unjust social order. What kind of social mutability is necessary to resist the precarisation of working conditions in post-neoliberal art institutions? This ridicament is one possible answer: parasitic tactics for establishing relations and monstrous strategies for the reopening of narratives.

… and who exactly is n_o_o_n_e?

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

Karolina Kucia (she/they) is a Polish-born/Helsinki-based visual artist working with moving image, object making and performative interventions. Karolina graduated with a Master of Fine Arts in Sculpture and Intermedia from Poznan Academy of Fine Arts in 2004 and earned a Master of Theatre Arts and Drama, in Live Art and Performance Studies from Theatre Academy Helsinki in 2014. She is currently finalizing her doctoral artistic research Monstrous Agencies – Resisting Precarisation: Tools and Models for Collaboration in the Arts at the Performing Arts Research Centre, Uniarts, Helsinki. Her main interests are lapse, glitch, and stutter as well as parasitism and monstrosity in the context of precarisation of labour in post-neoliberal capitalism and the current form of art institutions. Her works were presented in SESC Pinheiros in São Paulo, nGbK in Berlin, Kunsthalle Helsinki and the Museum of Modern Arts in Warsaw among others. She was a fellow at Akademie Schloss Solitude and her work is funded by the Kone Foundation, Finnish Cultural Foundation, Saastamoinen Foundation, and Frame Contemporary Art Finland among others.