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4 minute read

crystal cloud inside

crystal

cloud inside

Elina Pirinen is a Helsinki-based choreographer, dancer, singer-songwriter-musician, curator, artistic director and pedagogue. She often uses large classical music pieces as companions for different corporal, vocal and linguistic performative qualities. She works closely with contemporary feministic psychoanalytical thinking and experiencing, and their potential and importance in stage practice. She collaborates regularly with Zodiak – Center for New Dance, Kiasma Theater of Kiasma Museum of contemporary art, performance art venue Mad House, Theatre Academy of University of the Arts Helsinki and Performance Art Society. She also works with domestic animals in need, is married to a beautiful man and makes romantic baroque-rockmusic with her orchestra.

they thought and thought and worked and studied and wrote and spoke and checked the situation and checked again and thought and worked and studied and wrote and spoke more and checked the situation and checked again and drove to Lidl and then home and in the morning they took over his dreams and the room and the computer and the bank account and the festival and the european network and the bike and the lunch and his colleague’s room and the computer and the bank account and the festival and the producer team and the american network and the bike and the rescue dog and the lunch and his colleague’s room and the technical team and the dreams and the pencils and the papers and the salary and the bladder and the liver and the psychoanalyst and the festival and the producer team member’s aupair and the asian network and the bike and his father’s boat and the lunch and the books and the fatique and his colleague’s fatigue and the room and the mold and the technical team’s testicles and the coffeemachines and the curtains and the rescue dog and the computer and the bank account and the salary and the festival and producer team member’s aupair’s windows and the american network and the bike and the lunch and

the books and his colleague’s books and the mold and the reflections and the obsessions and his colleague’s obsessions and reflections and the invitations and the doors to the secrets and the shadows from the walls and his colleague’s shadows from the walls and his prayers and his colleague’s prayers and loudspeakers and polyamory and rescue rabbit and the new ideas and his colleague’s new ideas and rests and saliva and testicles and his colleague’s saliva and testicles connected to the technical team’s testicles and his colleague’s prostate misery and his colleague’s brain misery and his colleague’s lung misery and the adulthood friends and waved to the smells of the trees in the fogs of the coastline and crystal clouds above the fogs and the smells and they took this over with the ax from Lidl’s summer edition and thought and worked and studied and wrote and spoke and checked the situation like an ax and with the surprising help of the adulthood friends his dreams and his colleagues’ dreams and the rooms and the prostates and the asian and the american and the european networks and the fatigue embraced the essential movement of the ax and the glowing reflection of the blade cauterized the coffeemachines and computers and the organ

miseries and the papers and the father but not the boat and the aupair’s windows and the invitations and the books and the bikes making new materialistic composition for his living colleagues to molest with unconscious lust and especially the technical team’s testicles and the polyamories and the obsessions and the loudspeakers and the new ideas had never felt such a rythmical choreography of an object and therefore with gratefulness dissolved into the mold creating new smells of the trees to grow under the crystal clouds of next summers where the rescue dog and the rescue rabbit and the aupair and the shadows from the walls and the producer team and the lunch and the psychoanalysts and the salaries and the bladders and the livers and the curtains and the bank accounts and the prayers and the salivas and the rests and the pencils and they had a nice ride with the fogs of the coastline through the door of new secrets.

This writing rises from the ultimate desire to do “bad girl’s practice” as an utopian strategy in art making in 2018 – in this case in hard core emancipatory thinking in such reasonable medium as language and it’s targets related to the idea of “the self as an outsider who speaks from that position”. This idea of “the subject as an outsider position” can be seen also as in support of a right-minded chauvinistic academia where writing about art has gone deeply in to and from where linguistic thinking and writing are published as good. My work as a feminist choreographer is to try to re-write these good behaviours every time someone asks me to write and not to obey those justifications set by male myceliums through times. This choreographical language fantasma rises from the ultimate desire of me and my co-voices to think with the tiredness of trying to gain and maintain agency in different male myceliums in dance art. Rather than spending my actual time in jail for murder, I use my fantasmas and do art from them as a revolution.

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