Ptarmigan is no longer operating in Helsinki.

This performative event will present the work of four diverse artists from Dartington College of Arts: Cara Davies, Gillian Wylde, Ria Jade Hartley, Worst Wurst, and Samuel Rodgers. Visiting Helsinki for two weeks to work in collaboration with the Theatre Academy, the presenting artists will deliver varied presentations about their work. Presentation form will potentially include a book reading, a game, a score, a performance, a talk, cyberspace interaction, and general discussion.

Cara Davies is a performance artist and digital archivist, working with the mediums of dance, video editing, performance art, multi-media installation, documentation, archives and conceptual research. Interweaving a professional practice with a focus on practice-led research Cara completed her undergraduate studies in Dance and Performing Arts at Chichester University. After working with the University's Digital Archive for Research in the Visual and Performing Arts she has maintained an interdisciplinary connection between her role as a documenter and performer collaborating with a variety of choreographers, musicians, archivists and performance artists.Cara is a founding member of international collective Galloping Guineapigs and has been awarded the Ferdynand Zweigg Memorial Scholarship. Most recently Cara has worked for the documentation team at Marina Abramovic Symposium's 'The Pigs of Today are the Hams of Tomorrow' (Jan 2010), performed with the Sardinian-based collective Carovana (summer 2009- spring 2010) and presented at the Inter-auto-prese-turbance-docu-formativty festival at the Theatre Academy Helsinki (2009) and Exeter University Intermedia Centre's symposium 'Performing Presence: from the live to the simulated' (2009).For this presentation night at Ptarmigan Cara will present Windmills of your Mind Flux Game which is a performative presentation attempting to articulate that which does not have an ending or beginning. It is part of the research series: Tantamount tothe Selfsame Difference.www.caradavies.blogspot.com

Gillian Wylde is an artist making things on her own and sometimes with others. Video-performance activities respond to particularities and specifics of a site & place, context & people, ‘people, people who need people, are very special people’. Central within these processes of response are properties of the pathetic or shoddy, ‘traumedy’, instances of featurelessness, nowotony and/or petty conjectures of the queer.
Critical investigations of ‘agency’; forms of energy (such as mechanical, electrical, or chemical energy) in relation to the video camera, the body (human or animal) and object or thing, are constants through most of the work like maybe a savage smell or hairy logic.
www.15minuteswithyou.org.uk/site/gillian_wylde_.html

WORST WURST presents: ALIEN KIOSK
Benedictine Curtain will briefly talk about her project ALIEN KIOSK. ALIEN KIOSK was a pile of banana boxes (many banana boxes!) on a ply board with wheels, that temporarily formed an excessive, over-straining, hyperactive cell, displaying all-no-any-anti-anti-anti-insider-&-outsider-cross-multi-sub-under-para art and art. ALIEN KIOSK was a one-woman's artists’ initiative by Benedictine Curtain, inviting everybody without a club card to join the party and/or show work. Dickheads, art wankers and misogynist hero revolutionaries were strictly excluded. ALIEN KIOSK was a cake-and-beer picnic for art lovers by art lovers. It took place at Dartington College of Arts, at an event called ALIEN SÉANCE in a village hall on the english countryside and most recently at supernormal festival, UK.

Benedictine Curtain is Boris Becker’s first girlfriend in 1986 (yeeeeeeeessssss, the german tennis player). Her dad is the chief of police in the tiny little country of Monaco.

Ria Jade Hartley is currently completing her MA in Visual Performance: Time Based Practices at Dartington College of Arts, UK. Her practice stems from a performance background, during which time her work has focused on interaction, participation, communication and exchange. Working within the mediums of performance, live art, video, photography, installation and social practices, her work investigates the relationships between audience/performer, space and situation. Her processes offer to engage anyone meaningfully, questioning human relationships as a model of an artwork. 
Where does it begin? Ultimately it’s about communication. Its open ended. It requires your participation. The screen is site. The content is unknown. You are witness, audience, participant, performer. The content is built through interactive engagement. There is dialogue. There is image. There is a system. There is remote participation. There is a connection to physical space. There is a process. There is a relationship between physical and virtual space. There is a relationship between artist, audience, artwork and context. 
BLOGSPOT and YOUTUBE

Samuel Rodgers is a sound-oriented artist and improviser/composer. Time is given to exploring acoustic phenomena, and developing physical/tactile relationships to sounding objects and spaces. Sound recording and reproduction are key in the articulation of these spatial relationships. Samuel has ongoing collaborations with sculptor Stephen Cornford, artist Rob Gawthrop and sonic artist Jack Harris, and is currently completing an MA in Time-based Art Practices at Dartington College of Arts, researching interfacing between live event and recorded artefact.