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[Turo-Kimmo Lehtonen]

Kiasma järjestää vuorovaikutteisen hankkeen, jossa käsitellään mielenosoituksia ja katutilaa. Mukana taiteilijoina ovat brasilialainen Mauricio Dias ja sveitsiläinen Walter Riedweg. Hankkeesta kiinnostuneet voivat ottaa yhteyttä Marita Muukkoseen: Marita Muukkonen Nordiskt Institut för Samtidskonst, NIFCA Sveaborg B28, 00190 Helsingfors, FIN www.nifca.org tfn. +358 (0)40 5040 112 Lisää tietoa taiteilijoista ja hankkeesta alla. terv. Turo-Kimmo   Dias & Riedweg Sosiaalisten prosessien taidetta - Kohtaamisia turvallisten ja turvattomien maailmojen rajapinnoilla (työversio)  Brasilialainen Mauricio Dias ja sveitsiläinen Walter Riedweg ovat tehneet taideprojekteja valtaväestön varjossa ja reunamilla elävien väestöryhmien - kuten katulasten, vartijoiden, siirtolaisten, pakolaisten ja miesprostituoitujen - todellisuuksista. Projektit on toteutettu ympäri maailmaa: Brasiliassa, USA:ssa ja Euroopan eri maissa. Dias ja Riedweg ovat merkittäviä pioneereja nopeasti laajentuneissa taidesuuntauksissa, joissa tutkitaan ja kuvataan sosiaalisten suhteiden jännitteitä ja nimetään niitä uusista näkökulmista.   Taitelijat kuvaavat lähtökohtiaan mm. seuraavasti: "Toinen alkaa siitä missä aistimme kohtaavat maailman". Nimeäminen tapahtuu jatkuvasti muuttuvana resonanssina. Tullakseen kuulluksi, sanoakseen jotakin, saavuttaakseen läsnäolon elämässä yksilön on löydettävä paikka, jossa mieli pääsee virtaamaan sisään ja ulos. Muutoin olemassaolo jähmettyy. Runous ja eroottisuus ovat läsnä kaikessa elämässä, taloudellisista oloista riippumatta.     Tavat, joilla määrittelemme toinen toistemme ainutlaatuisuutta, ovat kompleksisia ja jännitteisiä. Poeettisen kentällä kukin erityinen maailmankuva voi tulla kyseenalaistetuksi. Ja sillä kentällä on myös kiinnostavaa kuulla Toista.   ”Työmme ei pyri arvioimaan, tuomitsemaan, luokittelemaan, opettamaan, parantamaan, kehittämään tai edes muuttamaan mitään Toisten elämässä". Ne ovat prosesseja, joissa ryhmä ihmisiä tulee lähemmäksi toisiaan, ja joissa reaktiot kohtaamisiin ja niiden tulokset on tallennettu pääosin videoinstallaatioina, yksilöllisinä ja/tai yhteiskunnallisina tarinoina ja kuvina.   Toisen kohtaamisissa tuodaan yhteen estetiikka ja etiikka. Poleemisuus seuraa runoutta ja taidetta, joka tekee jokaisen ihmisen ainutlaatuisuuden näkyväksi. Työt luovat toimintakentän, jolla tutkitaan yksityistä tilaa suhteessa julkiseen ja päinvastoin. (Dias & Riedweg: The Other Begins Where our Senses Meet the World. Museu d'Art Contemporani de Barcelona, 2003)   Taiteilijoiden teoksia on luonnehdittu globalisaation tutkielmiksi. Runous ja politiikka lomittuvat. Töitä motivoi sosiaalinen omatunto ja vakaumus kaikkien ihmisarvosta. Vankka eettinen lähtökohta merkitsee kohderyhmän kunnioittamista ja tarvittaessa yksilön suojaamista, ja kuitenkin arkailemattomana suhteena ilmiöön. Dias ja Riedweg tutustuvat kohderyhmän arkeen ja elinehtoihin asumalla heidän kanssaan ja hankkimalla tietoja heidän oloistaan. Havaintoja työstetään yhdessä kuvattavien kanssa mm. työpajoissa. Kussakin hankkeessa kommunikaatiostrategiat on suunniteltu sekä tarkasti rajatuille piireille että laajoille yleisöille. Hankkeet ovat taiteellisesti viimeisteltyjä ja niissä tiivistyy olennainen, ja mullistava.       throw project proposal for KIASMA Dias & Riedweg © 2004     SHORT DESCRIPTION   FACADE WORK FOR KIASMA RESULTING FROM INTERACTIVE PROCESS WHERE PEOPLE ON THE STREETS AND AT THE PARLIAMENT MAKE SPEECHES ABOUT DEMONSTRATIONS, ABOUT THE ACT OF DEMONSTRATING AND THE POLITICAL REASON OF EACH DEMONSTRATION.   BESIDES THE EXPLANATIONS, PEOPLE WILL DEMONSTRATE HOW TO DEMONSTRATE. THEY WILL BE ASKED TO THROW THINGS, WHATEVER THEY CHOOSE, ON GLASS AND ACRYLIC PLATES SET IN FRONT OF THE CAMERA THAT WILL SHOOT THESE SCENES FROM A FRONTAL PLAN. THINGS SUCH AS LIQUIDS, STONES, PAPER, FLOWERS, SPIT, WHATEVER PEOPLE WANT.   ADDED TO THOSE, THERE’LL BE ARCHIVE IMAGES (VIDEO, FILM AND PHOTO) OF THE HISTORY OF DEMONSTRATIONS IN FINLAND, MOSTLY INCLUDING VIEWS OF THE PARLIAMENT OF HELSINKI, WHICH FACES THIS MUSEUM’S FACADE AND STAYS AS IDEAL SPOT TO WATCH THE VIDEO FROM OUTSIDE.   THE VIDEO, SEEN FROM OUTSIDE, IS SOUNDLESS. PEOPLE’S MESSAGES WILL BE WRITTEN OVER THE IMAGES WHILST THEY’RE STATED IN THE PICTURES.   OTHER PEOPLE, VIEWERS OF THE EXHIBITION AT KIASMA, CAN LIVELY INTERACT IN THE VIDEO SCREENING IF THEY CLIMB A SMALL TOWER STRUCTURE BUILT BESIDE THIS SCREEN, OVER WHICH A COMPUTER TERMINAL WILL BE DISPLAYED. VIEWERS CAN SIT AT THIS SORT OF DESK, ILLUMINATED BY RED SPOT LIGHT FROM ABOVE, AND TYPE MESSAGES THAT WILL AUTOMATICALLY APPEAR OVER THE VIDEO SCREEN AND CAN THUS, ALSO BE READ FROM OUTSIDE THE BUILDING FOR A SHORT WHILE.     METHODOLOGY   WE PLAN TO DEVELOP AMONG A GROUP OF STUDENTS FROM DIFFERENT BACKGROUNDS AND CAREERS A FIRST MEETING AT KIASMA, IN WHICH WE SHOULD PRESENT THE CONCEPT OF OUR WORK AND THE PROPOSED PIECE FOR KIASMA. WE WILL SPLIT THE GROUP IN TWO CREWS, ONE TO WORK WITH ARCHIVE IMAGES AND THE OTHER TO WORK, VIDEOTAPING ON THE STREETS, POSSIBLY AT THE PARLIAMENT AS WELL. THIS FIRST MEETING SHOULD BE SCHEDULED FOR WEDNESDAY MORNING, MAY 26TH. THE CHOSEN GROUP, SHOULD, IF POSSIBLE, HAVE AVAIABLE TIME TO WORK FROM WEDNESDAY THROUGH SATURDAY THIS WEEK.   DURING THESE WEEK, ONE CREW WILL GO TO THE ARCHIVES AND START RESEARCHING MATERIALS TO BE COPIED IN DVDS. WE POSSIBLY HAVE TO USE THE EDITING SPACE AT KIASMA FOR SOME HOURS IN ORDER TO COPY MATERIALS AND MAKE INITIAL EDITING. IT WOULD BE OF GREAT HELP IF MARITA COULD MEET WITH THESE STUDENTS TO DEFINE THE GROUP AND WITH THEM, MAKE UP A LIST OF POSSIBLE ARCHIVES, WRITE LETTERS TO GET EVENTUAL PERMITS FOR USE OF IMAGES IN THE ART WORK.   THE SECOND GROUP WILL WORK ON THE STREETS WITH TWO CAMERAS, MICROPHONES TWO ACRYLIC PLATES AND TWO GLASS PLATES, ENTIRELY TRANSPARENT, EACH ONE MEASURING AROUND 70 X 100  X 0,3 CM. THIS GROUP WILL BE WALKING ON POPULAR, BUSY STREETS AND SQUARES AND TALK TO PEOPLE ABOUT THE WORK, PROPOSING TO THEM TO PARTICIPATE IN THE PIECE.   PEOPLE’S PARTICIPATION WILL BE MADE OF INTERVIEWS ABOUT THE CONTENTS OF DEMONSTRATION. WHAT DO PEOPLE THINK THAT THE ACT OF DEMONSTRATING IS; WHAT IT SERVES FOR; WHAT THEY HAVE OR WOULD DEMONSTRATE FOR; WHAT DEMONSTRATIONS THEY CONSIDERED IMPORTANT AND WHAT NOT. THE GOAL IS OBVIOUSLY NOT TO TAKE ONLY POLITICIZED PEOPLE, BUT ALSO PEOPLE WHO POSSIBLY GIVE INDIVIDUAL ANSWERS THAT INSERT SOME ABSURD, UNEXPECTED ANSWERS.   A SECOND LEVEL OF PARTICIPATION IS IF THESE PEOPLE WOULD DEMONSTRATE HOW THEY WOULD DEMONSTRATE FOR OR AGAINST SOMETHING THAT THEY CHOSE. THE SECOND GROUP WILL VIDEOTAPE THESE POSSIBLE STAGED DEMONSTRATIONS. THE GLASS AND ACRYLIC PLATES WILL BE USED AS A TRANSPARENT PROTECTION FOR THE CAMERA, SO THAT PEOPLE CAN THROW THINGS AGAINST THE CAMERA AND THESE THINGS WILL HEAT THE ACRYLIC OR GLASS PLATE AND SO BE FILMED. WE THINK OF CARRYING WITH US A REPERTOIRE OF THINGS TO BE THROWN, SUCH AS TOMATOES, EGGS, STONES, COLOUR, FLOUR, SPRAY, AND OTHER MATERIALS THAT THE OTHER PARTICIPANTS SUGGEST.   WE THINK THAT WE SHOULD TRY TO GET AS MUCH MATERIAL AS POSSIBLE DURING THE MAY SOJOURN, SO THAT WE CAN TAKE THAT BACK TO THE STUDIO (IN RIO) AND ALREADY START EDITING. A FURTHER PART OF THE COLLABORATION WITH THE STUDENTS (NOT NECESSARILY ALL OF THEM, BUT THOSE WHO WISH TO CONTINUE WORKING FOR THE PIECE) SHOULD TAKE PLACE IN OUR THIRD SOJOURN IN HELSINKI, IN SEPTEMBER. IN THIS PART, WE SHOULD FINALIZE SHOOTING (IF NEEDED) AND DEFINE THE BASIS OF THE EDITING AT KIASMA’S STUDIO BECAUSE OF LANGUAGE ISSUES AND CULTURAL CONTEXTS THAT WE POSSIBLY DON’T UNDERSTAND. THIS WILL BE NECESSARY AT LEAST TO USE THE IMAGES THAT WE FIND AT THE ARCHIVES.       VIDEO   THE VIDEO WILL BE COMPOSED OF A MIXTURE OF THE ARCHIVE IMAGES AND THE STAGED DEMONSTRATIONS, AS WELL AS OF TEXTS FROM THE INTERVIEWED PEOPLE ABOUT DEMONSTRATIONS AND THE ACT OF DEMONSTRATING.   WE THINK THAT WE WILL MAKE A SOUNDLESS VIDEO WHERE THE SPEECHES WILL BE SET AS TEXT OVER THE IMAGES. THE GROUP OF STUDENTS WILL BE ASKED TO TRANSCRIPT THE SPEECHES TO WRITTEN LANGUAGE AND WE WILL SET IT OVER THE IMAGES. WE SUGGEST TO DO BOTH A FINISH AND AN ENGLISH VERSION. THIS PART OF THE EDITING MUST BE DONE TOGETHER WITH THE GROUP AT KIASMA. THE REST WILL BE DONE IN OUR STUDIO, IN RIO.   THE VIDEO WILL BE PRESENTED IN LOOP, PROJECTED OVER THE FACADE OF THE MUSEUM THAT FACES THE PARLIAMENT. WE WOULD LIKE TO KEEP A ONE-CHANNEL PROJECTION, BUT THIS MUST BE DEFINED WITH KIASMA’S TEAM DEPENDING ON THE MAXIMAL SURFACE THAT CAN BE PROJECTED ON THAT FACADE. THIS MUST BE DEFINED VERY SOON, ACTUALLY BEFORE THE MAY SOJOURN BECAUSE IT WILL ALSO DEFINE HOW TO FILM.       INSTALLATION FORM   THE VIDEO SHOULD BE PROJECTED FROM THE INTERIOR OF THE MUSEUM OVER THE FACADE FACING THE PARLIAMENT. IT SHALL OCCUPY A MAXIMUM SURFACE, ACCORDING TO THE BACK WALL, WHERE THE PROJECTOR IS GOING TO BE AND ACCORDING TO THE PROJECTORS LENSE. THE VIDEO PROJECTION WILL BE INVERSED SO THAT ITS RIGHT  SIDE IS FACING THE PARLIAMENT. IT IS SOUNDLESS. PEOPLE’S STATEMENTS AND QUESTIONS WILL APPEAR WRITTEN OVER THE IMAGES. THE PIECE IS MEANT TO BE SEEN FROM FAR, SO THE MAXIMAL SIZE OF THE PROJECTION IS CRUCIAL.   IN THE SPACE BESIDE THE PROJECTION, ALSO VERY CLOSE TO THE WINDOW, WE WISH TO HAVE A SORT OF PLATFORM, A SMALL TOWER OF AROUND 2 METERS HIGH, ONTO WHICH THE VIEWERS OF THE EXIBITION CAN ACCESS AND THEY WOULD FIND A COMPUTER TERMINAL ON A DESK. WE THINK OF SETTING A SPOT LIGHT OVER IT, IN COLOUR AMBAR (WARM), WHICH TURNS ON WHEN PEOPLE GO UP THERE (SENSOR).   VIEWERS OF THE EXHIBITION AT KIASMA, CAN LIVELY INTERACT IN THE VIDEO SCREENING IF THEY CLIMB THIS SMALL TOWER STRUCTURE BUILT BESIDE THIS SCREEN AND TYPE MESSAGES THAT WILL AUTOMATICALLY APPEAR OVER THE VIDEO SCREEN AND CAN THUS, ALSO BE READ FROM OUTSIDE THE BUILDING FOR A SHORT WHILE.       CHRONOGRAMM   SOJOURNS MAU WAL IN HELSINKI MONDAY, MARCH 15TH – WEDNESDAY, MARCH 17TH  - CONTACT TUESDAY, MAY 25TH –  MONDAY, MAY 31ST - PRESENTATION OF PROPOSAL / BEGIN OF INTERACTION SUNDAY, SEPTEMBER 19TH – FRIDAY, SEPTEMBER 24TH - END OF INTERACTION/ TRANSCRIPTIONS OF TEXTS. SUNDAY, OCTOBER 24TH – SUNDAY, OCTOBER 31ST  - SET UP AND OPENING   OTHER PARTS, OUT OF HELSINKI APRIL – DEVELOPMENT OF CONCEPT AUGUST AND OCTOBER - EDITING