Claire Blundell Jones slips across drawing, performance, video and installations using dark humour to tickle at subjects most would avoid discussing, such as wasting time, alienation, intimacy, death, shame and doubt. Her wobbly-lined drawings or performance props try to lighten these heavy themes such as education sponsorship or death. There is also an endeavour to interact with and critique public spaces and galleries. It is all about trying to make the invisible visible. Examples include spending an exhibition drifting on a coracle just outside the gallery (2012), spooning strangers (2010) or using a leaf-blower to escort tumbleweeds around cities (2006-13).
John Court was born in 1969 in Bromley, in the county of Kent in England. He graduated from Camberwell School of Art, London in 1994 and from Norwich School of Art and Design in 1997 with a 1st class Honours degree in Sculpture.
He moved to Finland in 1997, and lives and works in Lapland, close to the Arctic Circle. He was recently awarded a prestigious three year grant by the Arts Council of Finland.
His output includes performance, sculpture and Video, but he considers all his work to be fundamentally concerned with drawing, in that drawing connects the elements of line, movement, space and time.
Time is also a particularly significant element of his performances – endurance pieces always based on the unit of the eight hour working day.
John Court deals with issues of physical endurance by pushing his body to its absolute limits. A recent work which took place north of the Arctic Circle involved walking 200 metres in a straight line over 8 hours.
In this 8 hour performance for Liverpool, he creates a drawing as his body comes into contact with 2000 pencil leads on 3 square metres of paper until there is a recording left by the movement. Liverpool Live, Liverpool Biennial 2004 Live Art Programme catalogue
John Court suffers from severe dyslexia (reading disability). He began drawing at the age of nineteen, using it as a means to comprehend and come to terms with the difficulties and negative experiences he had gone through at school, thereby gaining self-confidence and learning to read and write in his own way.
Letters appear to him as interesting visual forms rather than comprehensible symbols; and letters and words, the mastering of them through repetition, playing with their meanings, and creating new meanings, are central to the drawings and performances of John Court.
Court’s performances have captivated audiences worldwide at events such as Infr’Action Venezia in Venice Italy (2013) SpaceX Gallery Exeter in UK (2012) Guangzhou Live Art Festival in China, ANTI Contemporary Art Festival in Finland (both 2010), the Venice Biennale (2005) and the Liverpool Biennial (2004).
In this performance we will witness the artist bringing together other aspects of his interdisciplinary practice including sculpture and drawing. The performance can be seen as a way of marking time as we witness the artist pushing his body beyond exhaustion. Throughout the performance slight movements will provide the only sounds as the artist remains silent, void of engagement with the audience.
Court will interweave personal experiences encountered throughout his life, from childhood to the present day. We will witness interactions with modified versions of familiar objects encountered throughout education such as desks, dictionaries, pencils and paper that will only function with support from the artist. Encounters with these objects will reference the difficulties that Court encountered throughout his education, the artist left school unable to read or write. The physical endurance of the 8 hour day references his experience of manual labour, having worked on building sites in and around London for many years before being introduced to art. We will then experience elements of alienation and solitude, referencing Court’s experience of living in rural Lapland, unable to speak, read or write the native language.
Court will also reference his relationship with the space in part by responding directly to its unique architecture. Spontaneous acts will reference the moment in which the artist finds himself.
This work offers an insight into the process Court endures in producing his work, some individual pieces taking up to 400 hours to complete.
Karianne Stensland was born in 1969 in Bodø, Norway. She received her MFA from the Trondheim Academy of Fine Art in 2005. She was one of the initiators of the Marienborg artist community and Project Room in Trondheim (2005–2010). From 2002–2007, Stensland collaborated with the Scandinavian feminist performance group High Heel Sisters. In 2014 Stensland was awarded the NTNU artist prize, and chosen as artist of the year for the county of Sør-Trøndelag. In recent years she has participated in exhibitions such as the Norwegian Sculpture Biennale, Vigelandsmuseet, Lips Painted Red, Trondheim Kunstmuseum, Constant. Decay. / RAKE Visningsrom, Trondheim.
The driving force in my work is the investigation and reformulation of gender, power and rank. My work comprise elements of mixed media, often presented through performance, video or installations. Improvising both the work process and the methods used, results in a haphazardness that lends the projects an aspect of coincidences and humour. I merge experiences of visual arts and theatre into my artistic practice.
BIOGRAPHY, Katri Kainulainen
Born 1978, lives and works in Helsinki, Finland.
Katri Kainulainen is a second generation performance artist who lives and works in Helsinki, Finland. Her performances combine humor and flirt with issues of society. She is also active as a curator and organizer of performance art events. Kainulainen has shown her work at performance art festivals both in Finland and internationally: latest performances at Live Action Sweden in Gothenburg, Performance Art Links (PALS) in Stockholm, Tonight in Helsinki,
Infr´action Sète in France and Infr´action Venezia in Italy.
BIOGRAPHY, Maximilian Latva
Born 1966, lives and works in Helsinki, Finland.
Maximilian Latva is a sound and visual artist based in Helsinki, Finland. Latva has worked as a musician, composer, producer, sound engineer and DJ. In 2001 he founded the Ylivoima Recording Studio in Suomenlinna, Helsinki.
Since 1999 he has created music for dance, contemporary circus productions, short films, video works and installations for both national and international venues.
Mid-2000’s he was a member of the experimental pop performance group Selfish Shellfish.
In recent years he has focused on his own music and video works and visual and performance art. His works have been presented at Mad House Helsinki, Gallery Suomesta in Berlin and Stockholm Independent Art Fair.
ARTIST STATEMENT, performing together
In performance I am myself. Through performance one can process a part of you, a part that needs to be communicated with. So joint performances are an interesting way of being with someone you are close with… Which is kind of the way we got to know each other, actually. It is really quite extraordinary, looking at someone and acting in front of an audience. A moment where time stops. It is a form of parallel reality, sharing of which is rather magical.
I wouldn’t enter a situation like that with just anyone. There’s something very intimate. With most people, it would be impossible for me to share space that way. I trust her as a person and as an artist… It is an exceptional moment in life. If there were a performance every day, one could possibly be freed of certain fears. Or more likely, there’d be psychosis.
Born 1960 in Norway, Johannessen works within performance artist’s books, video and installations since the early eighties. His work is minimalist and poetic, and at times with a touch of humour. He is his own publisher and has produced more than 70 books, many of them translated into English. The books vary from just one sentence to short stories or just pictures. He has created 250 different performances and has presented his work extensively in Europe, and in some countries in Asia and America. In 2007 he had a larger exhibition, presenting installation video and performances in Bergen Art Museum. Part of the exhibition was retrospective.
Presence in the situation is fundamental to my work. I try to keep whatever
else as open as possible so as not to precondition the possibilities. This
is the starting point. At the same time, however, I am concerned with
finding situations that can generate qualities I have not experienced
before. I frequently minimize to one image and then create microscopic
variations within this frame. At other times the situation has more complex
implications, but remains within a poetical minimalist expression. I mainly
work with performances, installations and books. The works are often
related to place.
Nigel Rolfe is recognized as a seminal figure in performance art, in its history and among current world practitioners.
Born in the Isle of Wight in 1950, Rolfe has lived and worked in Dublin, Ireland since 1974. He has worked intensively and made significant contributions as an artist, curator, activist and scholar. Rolfe is an elected member of the Irish association of artists, Aosdana. His work—spanning live performance, photography, video and sound—has received international acclaim and has been presented in five continents, in more than 30 countries. Rolfe has created live performances throughout Europe, in the former Eastern Block, in North and South America, in the Far East—in China, Korea and Japan. De Appel in Amsterdam, Franklin Furnace in New York, and the Institute of Contemporary Art in London were early champions of Rolfe’s installation and performance work. Major retrospectives of his work have been held at the Irish Museum Of Modern Art in Dublin and at the Musee D’Art Moderne de la Ville De Paris. He has exhibited in the Dublin, Paris, Sao Paulo, Busan, Kwangju and Venice Biennales and presented in numerous international art fairs. Rolfe is represented by Green On Red Gallery in Dublin; Galerie Polaris in Paris; and Jayne H Baum in New York.
The central contention of Rolfe’s practice is that art making is a live and vital engagement. He studied sculpture and in the 1970’s used the term “Sculptures In Motion” to describe his work using materials across time—long before the term performance was put forward as any descriptor. Later these direct material engagements became highly produced and staged. Rolfe employed multi-media to articulate his largely political and activist voice as an artist. The demands Rolfe placed on large-scale production 1980s led to his ongoing research and engagement with audio and video/film production. Hand On Face was shown worldwide to an audience of 600 million people in 67 countries at the Concert To release Nelson Mandela in 1988 at Wembley Stadium in London. Rolfe continues to install sound and video work produced at broadcast standard. He employs video not as a tool of documentation but to investigate and test his own physical and psychological limits, using his body as a site for challenging his limitations and revealing vulnerability.
Nigel Rolfe’s work engages sociopolitical concerns of have and have-not and fault lines in society. Since moving to Ireland he has been consistently involved in such issues both locally and directly. At the time of the death of Ann Lovett, a fifteen-year-old schoolgirl from Granard, County Longford, who died giving birth beside a grotto on 31 January 1984, Rolfe wrote Middle of The Island. Recorded by Christy Moore and Sinead O’Conner, this song has become a world music classic and epitaph as monument and marker to her short life and sad end. Rolfe’s work with sound and audio production includes a number of internationally distributed recordings that have widespread recognition, notably Lament on Real World Records, 1992. Lament, a recording of traditional musicians created as a monument to the loss of life in Irelands urban war “The Troubles”, was listed as one of Rolling Stone Magazines best albums of all-time, and described as “a stunning piece of work…each track is a call to the spirits of life in the face of devastation.”
My name is Vincent Campos and I was born in 1988, on a Wednesday particularly. I was always attracted since my childhood to story telling and also I invented stories with some puppets , dolls created with toilet paper. Seriously I began to start playing violin around 12 and then I enrolled in theatre practice in my High school and in other groups. I decided at 20 after 2 years of university in literature and science language to prepare the entrance exam of national schools of art and so one year later, I entered at the National school of fine art of Dijon where I spent 5 years. I ‘m now graduated of my master since June.
In my practice I’m interested about people interaction with my installations. I try to focus on the relationship between them and what they will experienced.
I question myself about shifts, burlesque, absurdity. Rituals,Transformation, fragility, instability interest me a lot. I like to play with environment, place and relate a poetic point of view with my actions. Presence is at the center of my work. Territory, directions,resonance are some points of reflexions.
Also, I experiment sound in my work like a material, an experience that can be felt with our entire body. I Work on objects created or founded and their particularities to reveal their potentiality. I mainly work on intsallation/sculpture, performance but also writing and etching/drawing.