Ptarmigan existed as a project space in Vallila from 2009-2011 and a mobile curatorial/creative platform until 2014. We no longer exist as an organised collective, but this website will continue to serve as an archive of the activities produced as/at Ptarmigan during these years.
During the Dimanche Rouge Estonia-Finland-France festival Oksasenkatu 11 will be host to three long duration performances, one urban dance intervention and an improvised electronic orchestra of homemade instruments.
Saturday 19th October:
Klo 11:00-17:30 Peter Shaw (Canada), Corporal Outis (USA) // long durational performances
Klo 13:00-17:00 Vloeistof (Netherlands) // urban dance performance starting outside Oksasenkatu 11
Klo 17:00-17:30 Krachkisten Orchestra (Germany) // sound performance with homemade instruments
Sunday 20th October:
Klo 11:00-18:00 Jeffery Byrd (USA), Corporal Outis (USA) // long durational performance
********************************
THIS IS (NOT ABOUT) EXPERIENCE - Peter Shaw (Canada)
For the first six hours, there will be a camera on a tripod, so that the audience may photograph and/or video the performance. The artist will start out in blue socks, blue pants, blue shirt, and blue mask. He will, then, spend another six hours constructing a suit from chicken wire, with himself as mold. He will replace, piece by piece, the clothes with the wire. Starting with the feet, then going up towards the head, ending with the arms, he will cage himself as tightly as possible. Finally, the artist will put the blue clothes on top of the wire suit. Sealed in, he will leave, taking everything with him in a suitcase. He will then walk for 3 kilometers to the city centre, and begin to remove the chicken wire, stepping on it, and placing it back in the suitcase.
Peter Shaw was born and raised in Ottawa, Canada. Currently studying in the Theatre Department at Concordia University, Montreal, he has also worked on public performance interventions in Berlin and Erlangen, Germany. He frequently performs as a solo artist, but has worked on larger group theatre and performance projects. Shaw has also worked with sound installation, video art, and electroacoustic music. His performance practice attempts to explore various degrees and thresholds of pain and endurance, as well as researching and redefining methods of documentation, reception, and interaction. - http://dimancherougefestivals.org/2013/09/05/peter-shaw-canada/
********************************
Welcome to the Outside World by Vloiestof (Netherlands)
On Saturday 19th October 13:00-17:00 dutch dance company Vloeistof will perform 'Welcome to the Outside World' nearby Oksasenkatu 11. The meeting point for the performance is Oksasenkatu 11 gallery where a festival attendent will assist audiences.
“A dance experience that provides you with a different perspective on dance”.
We would love to invite you to participate in ths special urban dance experience, taking place in a secret location in the streets of Helsinki....
Times: 13:00 / 13.45 / 14.30 / 15.15 / 16.00 / 16.45
The audience view the performance from inside a car: 5 spectators per performance (6 performances a day)
Participation is free but advanced registration is required. To reserve your place please send an email with your name, number of places you wish to reserve and preferred time and date to publiciteit@vloeistof.nl
'Welcome to the Outside World'
in a car you can surreptitiously and unabashedly spy on the passersby. You are part of the whole, but separated from the outside world. Protected by the cage of glass and steel you are an anonymous voyeur who sees and experiences intimacy. You become aware of yourself as a voyeur. Vloeistof places its dancers in the un-orchestrated reality of a road. Cyclists, cars, trucks and pedestrians pass by. The frame of the window provides the cadre though which all things seem to have a purpose. What do I see? Where should I look? Who is a part of the plot? Who is watching? What are my expectations? In this setting Vloeistof uses a suspension that teases. With subtle distortions and interventions the choreographer-duo in a striking manner discloses behaviour in the urban environment.
********************************
Krachkisten Orchestra (Germany)
The Krachkisten Orchestra produces improvised electronic sound using homemade analogue instruments, and incorporates the styles of various genres including noise, polka, electro and hip hop. The Krachkisten Orchester’s homemade instruments were inspired by Luigi Russolo, who invented the “Intonarumori” over a 100 years ago. Each instrument has a unique sound generator, taken from toys, alarm systems and simple laboratory instruments.
The Krachkisten Orchestra is a German-based group that was founded in 2009. Consisting of between 9-15 members, the ensemble is constantly growing and searching for non-musicians or dilettantes and new monophonic sounds. Tintin Patrone (Christina Köhler) is a German musical instrument sculptresses, musician and performance artist. She resides and works in Hamburg. Inspired by Punk Rock music and attitudes, Tintin Patrone examines the interface and coherence between music, art, sound and gesture, using methods of Futurism and Fluxus. She operates in an area of art and music ranging between the activities of an instrument maker, performance-artist and ‘krachmacheur.’ Above all, she is concerned to create free space which is marked by self-determined creativity and a feeling of responsibility for one another.
www.tintinpatrone.com / www.dimancherougefestivals.org/2013/09/05/krachkisten-orchestra-germany/
********************************
If you can dish it out, I can take it - Corporal Outis (USA)
In “If You Can Dish it out, I Can Take It,” Corporal Outis will watch several other durational performance works presented in the festival from beginning to end. He will be anonymously (but conspicuously) dressed in the white shiny armor of a Stormtrooper. Most people wander in and out of durational performance works, watching only bits and pieces. Corporal Outis will dedicate himself to watching them in their entirety, an endurance performance in its own right, where the audience member’s gaze is a form of active, constant surveillance. You are welcome to watch Corporal Outis as he watches the other artists’ performances.
Corporal Outis is a conceptual and performance artist interested in mapping systems of being and perception onto one another, exploring the points at which those systems are analogous and the points at which they are not. CO’s work tends to be characterized by a sense of humor, an exploration of the aesthetics of presentation, and a tension between data and phenomena. CO makes work that is friendly and accessible to the average person while also posing experimental propositions about the field for consideration by other artists. CO believes art can be entertaining without sacrificing its sophistication or depth.
********************************
Symphony #3 (480 Beautiful Notes) - Jeffery Byrd (USA)
“One of the great challenges of modern life is to find beauty and meaning in our daily existence. So many of us live with boring routines that we complete simply to awake tomorrow and do it again. I would like to create a performance that engages these issues. Ordinary Post-It notes are normally used for the most mundane communication. Can these small and lovely bits of paper be employed to create poetry? Can repetitive action lead us to beauty?”
Jeffery Byrd is a performance and video artist who has presented work all over the globe. He has exhibited in over 75 group exhibitions and 15 solo exhibitions, and has performed at such notable venues as the Lincoln Center in New York and the Institute of Contemporary Art in Boston. Byrd is a frequent lecturer at art schools and universities, including Parson’s School of Design in New York, University of the Arts in Philadelphia, the School of the Museum of Fine Arts in Boston and the School of the Art Institute of Chicago.
www.jefferybyrd.com / www//dimancherougefestivals.org/2013/09/05/jeffery-byrd-usa/
********************************
Photo credit: Jeffery Byrd, ‘Symphony #1′ Photograph by Henry Chan, 2010
