/ with Tero Nauha

2015 Juli

auf Englisch

Workshop: Approaching the Schizoproduction

for performance artists and for people interested in the conjunctions between artistic practice, performance theory and materialist philosophy.

In his development of schizoanalysis, Félix Guattari emphasizes the significance of a territory to have function, that is to say, how the group subjugates or becomes a subject group – in short: Does it create refrains or repetition of the same or does it produce lines of flight — or lines of escape? In this workshop with objects and materiality, I propose to demote the concepts of territory or becoming-something altogether and propose to think of the heresy of knowing, or knowing without a territory and no becoming. Can we regard performance in this way, without a relation, becoming or context? Can we regard a performance out of the cooperative and collaborative frameworks, which are given in the knowledge production of capitalism as philosophy? A performance without a sufficient reason — a heretic performance? What happens, when objects, bodies and matter are regarded as foreclosed, but still possible to perform alongside the Real? What happens we regard all attempt of relation to objects and people as interpretative attempts to correlate with these objects, ‘own’ body or the matter. Can we create performance without turning objects into concepts or as functions? 60 minutes + discussion

Number of participants limited => please sign up: [email protected] (no fee)

Lecture: Knowledge is not knowing
(free entry)
For in the beginning there is a belief that knowledge is a system you need to tackle and struggle with. There is maybe a need for agonistic desire for revolt, opposition and organization of the resistance. There are several tactics to get your voice heard, so that hegemony would recognize me. I thought I knew it all, and I thought that the theory would help me to solve the conundrums the practice tirelessly produced. I thought if and when I have enough knowledge things would become crystallized and streamlined. However, in the end, this was confusion. In practice I know something, but it is not instantly useful as knowledge, if ever. Of course, in practice there is knowledge, as well, being the production of knowledge, but the knowing is without a territory or a base. The knowing in practice has not reason whatsoever. Knowing is the practice of the heretics, and not the knowledge of the revolutionaries.
Artistic practice is not only a process of becoming-something, but a stratifying and organizational process of logic, presentation, manifestation and representation—it is not schizophrenia but schizoproduction, where economy and exchange thus have a significant place. I will propose to think artistic practice not as ‘revolutionary’ but heretic. Heretics do not propose a ‘revolution’—a repetition with a difference—but choose to think otherwise.

Tero Nauha is a performance and visual artist. He recently finished his PhD in Artistic Research at The Theatre Academy of University of the Arts Helsinki. Recent articles of his can be found online in the RUUKKU and JAR peer-review magazines. His artistic works have been presented in CSW Kronika in Bytom, Poland, Performance Matters in London, New Performance Turku festival and Kiasma Theatre in Helsinki among several other venues. Nauha's research is contextualized in modern biopolitics, where artistic practice is one of the fields where affective and immaterial labour is major line of value production. In this context heterogeneous components take place in artistic practice, and thus disparate knowledges are in relationship within that practice. These knowledges are carnal, discursive and affective. Nauha's aim is to append theoretical apparatus with these knowledges produced by such practice.

Im Rahmen von
Finnisches Performance Festival

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