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Program text on the occasion of "SAM" by Aron Blom and "Trash Talk" by
Salka Ardal Rosengren & Mikko Hyvnen at MDT, March 30 + April 1-2 2011.
Printed, folded and stapled on a Konica Minolta Bizhub C220 All-in-one
Color Copier in a special cost price edition.
Copyright (c) 2011 MDT and authors. All rights reserved.
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Imagie we are i a sma theatre eue
smewhere i Wester Eurpe. Its .
pm, the ights are dimmed, the perrmer
steps i the direti the prseium,
takes his r her pae behid a eter
ad starts takig. Thats a that seems thappe i the eyes a thse preset. Yet,
smethig dieret as happes, ad it is
mst the time erked by thse wh
are kig at a stage. Preisey beause
their sesry atteti is absrbed by the
ati the stage, thse preset d t
tie that the atteti eery sige
spetatr disappears i a etie gaze
(whih urse iudes a etie
ear whe text r musi is used). Hw tuderstad this gaze r, mre geeray,
this desati etie sesry
atteti? As a autmus sia medium
that udameta r eery srt ie
perrmig art, besides r istae the
medium text i the theatre r the bdy-
as-medium i dae. This medium is per
deiti a temprary ad tiget
prdut that emerges agai ad agai
r t! durig a perrmae. Dae rtheatre makers d urse atiipate
pubi atteti durig the preparati ad
the rehearsas a piee. They try t diret
r steer this simutaeusy desired ad
eared medium by meas the timig
a perrmae ad a kids rhetria
deies (suh as jkig, isutig the pubi
r just gig stage aked) . Yet the
simutaeusy stitutie ad tiget
ature the etie atteti durig aie perrmae at be stimuated r
tred: the risk gig ie is the risk
beig rted with the bak he
sattered atteti r a distrated audiee.
A prerbia atteti ud des r des
t emerge, ad whe it des, it has y
partiay resee eets, Athugh this
atteti is aythig but umediated (a
pit t whih I wi retur at the ed this
essay), the desati the dieret
idiidua pereptis it a autmus
quasi-reaity is a tempra eet i the
strit sese: a passig mmet i time.
Durig a partiuar perrmae, this te
happes seera times, aways with dieretutmes, s that it is prbaby mre
apprpriate t speak a series eets
ad, sequety, a iherety istabe
medium.
The sia medium etie sesry
atteti is t just the passie sum the
dieret idiidua pereptis, but a
atie, ee trasrmatie, quasi-reaity.
Eidety, the idiidua atteti eerysige member the audiee tributes
t the emergee a etie gaze (ad/
r a etie ear). The eemets the
medium d ideed sist idiidua
pereptis, but their mutua upigs
geerate a autmus surpus eet. It is
remiiset the prdutiity iterati
eets i s-aed mpex systems, but
e ud as we reer t the semati ad
rhetria autmy a simpe phrase ireati t the wrds that are its stituet
eemets. The media autmy etie
atteti is rmed by its apaity t
trasrm, r istae, sme simpe steps
a stage it meaigu memets,
r t hage a reatiey g-astig
siee the perrmers it a prud
statemet. As, as eery spetatr kws,
the mmetary etie atteti may
greaty ifuee idiidua perepti.Simutaeusy, it is itse argey ifueed
by the era way the audiee behaes.
Ideed, either idiidua etrati r
the emergee a etie atteti is
pssibe withut the siee ad adequate
behaiur thse attedig a perrmae.
We take it r grated that, e the
ights are dimmed, the spetatrs beme
THE PolITIcS o collEcTIvE ATTEnTIon
Authr: Rudi laermas (). The pitis etie atteti. I: Gehm S.,
Husema P., Wike K. (Eds.), Kwedge i mti: perspeties artisti
ad sietii researh i dae (pp. -). Bieeed:. Trasript verag.
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siet ad attetie, thus trasrmig
themsees it a audiee. Atuay,
this ruia pat betwee perrmae
ad audiee is a histria ad sia
strut. At east i the West, it is the
utme briefy speakig the
burgeis redeiti the arts. Histria
researh ideed shws that durig the rstha the th etury siee ad se-
restrait did t yet predmiate i theatre
eues r durig musi perrmaes.
The expetati geuie bdiy se-
tr ad a distaed, primariy midu
atteti was y graduay impsed withi
artisti spaes, rst ad remst by the
ew urba burgeis eite. They did this
beause (party iidig with the rst
geeratis ew artisti pressias)they saraised thse segmets theatre,
musi, supture r iterature that were
sidered t embdy the best makid
t use a amus phrase the British pet
ad riti Matthew Ard i cuture ad
Aarhy() (rigiay pubished i ). I
this iew, partiipati i the arts beame
syymus with the study pereti.
The et utme was a thrugh puriati
seera utura geres, resutig i thewe-kw distiti betwee high (r
sared) uture ad w (r ppuar)
uture. Thus a a t diret bdiy r
emtia iemet, r istae big
r iterim appause ad udy etiated
euragemets, beame tab durig
artisti eets. I rder t tempate
the deeper meaigs a wrk art,
siee ad etrati were a must:
y i this way ud Immaue Katsamus iteresseses Whbehage()
(disiterested peasure) the hamark
eery aestheti experiee be reaised.
This mde partiipati geeraised
withi the ew sphere high uture the
mder way readig a text as the basi
mde i euters with wrks art. The
ew burgeis mde iitiated equiaee
betwee the arts, siee ad se-tr,
tempati, ad readig the meaig(r dedig the message). I trast a
mre urestraied iemet was awed,
ee expeted, durig the attedae
the arius rms ppuar etertaimet,
suh as the ew gere abaret r a
kids sprts eets.
rm a brader histria pit iew,
muh a be said r the thesis that
the th etury redeiti uture
tiued a muh ger press i whihrst the aristray, the the burgeisie
tried t distiguish itse rm the pepe
by meas a high ee physia ad
aetie se-tr. or, t paraphrase
the amus study by sigist nrbert
Eias(), the s-aed press iiisati
that aeerated durig the eary-mder
perid withi urt ires was tiued by
the ew sia eite that tk er emi
ad pitia pwer by the ed the thetury. Yet, with bemig burgeis i the
iiisati press, the primary us se-
restrait as shited rm the demstratie
shwig gd maers ad a reed,
highy eabrated pubi behaiur t the
siet partiipati i the sphere high
uture. The we-kw Germa ti
Bidug egitimised this shit; it was
as i Germay that the ew reigi
Art ahieed its rst mmetum with theGesamtkustwerk Rihard Wager ad
the estspiee i Bayreuth. What happeed
t the burgeis mde arts partiipati?
nt-withstadig the disurse pst-
mderity ad the reatie ersi i the
distiti betwee high ad w uture,
siee ad se-restrait sti the rue i
museums r durig pubi artisti eets. At
a rst gae, the basi parameters this
mde are as respeted by perrmaeartists wh jyusy apprpriate expressis
ppuar uture. T just e exampe:
i the rst ersi Jrme Bes muh
disussed The Shw Must G o, the
perrmers iustrate i a ery itera way the
tet we-kw pp sgs. Athugh
the umber pubi aughs eiited, t say
thig their etie itesity, was
muh higher tha durig a reguar theatre
pay r a straightrward hregraphy,the audiee remaied seated ad did
t start t ye ag with the sgs, et
ae start up a party. like may ther
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artists, Be rsses the symbi distiti
betwee high ad w uture i his wrk,
yet he eies ad presets this rss-
er ardig t the era ies the
dmiat partiipati mde emtia
se-tr ad a primariy text-rieted
mdus perepti ad appreiati. oe
may therere argue that the perrmigarts remai mder (t mderist!) as
g as they rey the medium etie
atteti as the ditiig rame r the
prduti ad the reepti idiidua
wrks.
Bes perrmae wrk is te assiated,
ad righty s, with that Mare Duhamp,
the dye aat-gardism. T a arge
extet, the histry the th eturyaat-garde has bee a exteded pay with,
smetimes ee a ere batte agaist, the
passiity the audiee withi the dieret
artisti disipies. This mes as surprise
i the ight Peter Brgers ifuetia
aut aat-gardism.() r ardig
t the iterary therist Brger, wh tries t
reate a mm ramewrk r uturism,
Dadaism, Surreaism ad cstrutiism i
a era way, the histria aat-gardequestied the autmy the arts i the
ame the pssibiity a emaipatig
merger the arts ad daiy ie. It is
highy istrutie that withi the traditis
Dadaism ad Surreaism, the arius
attempts t reate mre diret rms
pubi iemet agai ad agai drew
ppuar uture geres, partiuary abaret
ad medy. Ater their reewa durig the
s ad the eary s, with the wrk liig Theatre, whih is prbaby sti kw
best, bth traditis wet udergrud
ad made rm withi the sphere the
perrmig arts r mre subte rms
iemet with the era passiity the
audiee (witess Bes The Shw Must G o
ad may ther exampes).
Withi temprary art, the aat-garde
dream the pitiay iberatig ptetia a diret merger art ad daiy ie has
beme a margia bet. Yet withi the ream
the perrmig arts, temprary dae
has reety deeped a strikig refexiity
regardig audiee partiipati ad the
medium etie atteti. Sme artists
sti questi the era mde passie
partiipati ad aim at a mre diret bdiy
iemet. Prttypia exampes are the
Highway prjet by Meg Stuart, the arius
exursis it the ed istaati art byBris charmatz, r the perrmaes withi
uusua pubi settigs by Patriia Prtea
ad the Deep Bue etie. I geera,
these ad reated prjets try t putuate
the s-aed urth wa that distaes the
spetatrs rm the perrmers ad aws
the audiee t hide away i the dark. Thus,
Thmas lehme i Statie ad Meg Stuart
Au de Tish! paed the audiee arud a
tabe. lehme ee mpetey reersed theres ad asked members the audiee
t tak abut their pressis. Yet the
exampes a mre diret iemet
the audiee are reatiey rare ad d t
iustrate the mre geera iterest withi
temprary dae i the medium
etie atteti. Des this iterest as
hae a wider pitia ad sieta reeae?
I rder t aswer this questi, I seyrey the reet writigs the reh
phispher Jaques Raire.() I his
iew, eery pitia rder impies a
aways spei distributi isibiity ad
pereptiity. Sme sia grups a, thers
at, raise pubi issues i a egitimate
way. This pwer reatiship impies the
itera iisibiity withi the pubi sphere
arius etie ad disursie subjets
that are t sidered t be part themmuity. I temprary siety, this
impsiti a partiuar rder isibiity,
ad ee pubi atteti as suh, is rst
ad remst the wrk the mass media i
their bradest sese (iudig adertisig,
r istae). Mass media mmuiati
struts ad reprdues a highy seetie
represetati ie. What is primariy et
ut the piture, iteray ad guratiey,
...is the hetergeeity ad autmy daiy ie. Bth are preisey the subjet
may temprary dae perrmaes,
whih take issues rdiariy usee r
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made iisibe ia arius apprpriatis
daiy memets ad pstures. Mass
media mmuiati egates the sheer
aymity the bdy aked ad thed
at the same time, the mpex eedbak
betwee the bdy as a ameess bigia
etity ad its arius artiuatis ardig
t geder-spei, ass-deed r ethiutura des. ctemprary dae takes
up this simutaeusy geeri ad mediated
bdy as its primary materia, kwig
that it is aways aready ised, ee
i the ways it is ked at. This refexiity
eessariy ies spei epts
represetati ad partiipati. lkig
at maiestatis the bdy erked
withi the spetae siety, this is hw
e ud summarise the subjet thsetemprary dae perrmaes that
take a mre refexie stae. Ideed, a quite
imprtat part temprary dae is
the geera er t apprpriate epts
isibiity r pereptiity ad it regards
itse, impiity r expiity, as begig
t a uter- pubi. May temprary
dae prdutis d t just rey the
medium etie atteti but try
t re-artiuate it beause it is ieitabyieted by the dmiat ways that
temprary mass media mmuiati
uses t raise ad diret sesry perepti.
A temprary dae perrmae that
takes it aut this simpe at therere
deeps arius eessariy risky tatis
t re-egtiate the siaised ature
sesry atteti. Sme the better kw
predures are the use ide ameras ad
digita images, the swig dw r thetrary the speedig up memets,
the sheer repetiti pses r gestures, ad
the perrmae eary upereiabe
mir-memets. These ad reated rms
pubi bdy wrk try t destabiise the
dmiat mdes perepti, whih a
us are amiiar with thrugh tat
with temprary mass media. They d
t questi the burgeis mde arts
partiipati, but take it up as a pssibiity
t reate rms etie atteti thatdier rm the es geerated by teeisi,
Hywd m, r gamur phtgraphy.
ctemprary mass media mmuiati,
i the brad sese, has beme the primary
sieta rame r the prduti pubi
atteti i a sieta dmais, iudig
pitis. This is t surprisig, sie t
raise pubi atteti ad t reate sia
isibiity is the priipa mmdity themass media system. As suh, this system
equas a atteti regime, a apturig
mahie that tries t raise, x ad rame
sesry perepti. The perrmig arts
at aid reprduig r disputig the
dmiae the mass media sie they
wrk with the ery same medium sesry
atteti, abeit i a etie ad s-aed
ie situati Yet it is t this ie harater
as suh matters, but the way e deas withthe etiisati sesry perepti
that is: with the priipa medium
the perrmig arts. The deisie pit is
t take up, r t, the at e tiget
ad ditia etie atteti
durig a ie perrmae as the pssibe
reshadwig a mmuity yet t me
a tgetheress that may aude t the
shared isibiity withi a mmuity withut
serets.
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Reerees
Ard, Matthew: cuture ad Aarhy, oxrd: oxrd Uiersity Press .
Brger, Peter: Thery the Aat-Garde, Mieapis: Uiersity Miesta Press .
Eias, nrbert: The ciiizig Press, oxrd: Bakwe .
Kat, Immaue: The critique judgmet, ld: Der Pubiatis .
leie, lawree (): Highbrw/wbrw. The Emergee cutura Hierarhy i Ameria,
Bst: Harard Uiersity Press.
luhma, nikas (): The Medium Art, i: idem: Essays Se-Reeree, new Yrk:cumbia Uiersity Press, pp. -.
luhma, nikas (): The Reaity the Mass Media, oxrd: Pity Press.
Raire, Jaques: Disagreemet: Pitis ad Phisphy, Mieapis: Uiersity Miesta
Press .
Raire, Jaques: The Pitis Aesthetis, ld/new Yrk: ctiuum .
Smithuijse, cas (): Ee erbazede stite. Kassieke muziek, gedragsreges e siae
tre i de ertzaa, Amsterdam: BekmaI stihtig.
ntes
. Matthew Ard: cuture ad Aarhy, oxrd: oxrd Uiersity Press .. c. Immaue Kat: The critique Judgmet, ld: Der Pubiatis .
. I c. nrbert Eias: The ciiizig Press, oxrd: Bakwe .
. c. Peter Brger: Thery the Aat-Garde, Mieapis: Uiersity Miesta Press .
. c. Jaques Raire: Disagreemet: Pitis ad Phisphy, Mieapis: Uiersity
Miesta Press , ad idem: The Pitis Aesthetis, ld/new Yrk: ctiuum .
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- In the time of working, what kind of methods of working do
you plan to employ?
So I would like. This is also how I. How I say like.... I
would like to have uhmm.... so not ending up in this kind of
ok have a vague idea and we go into studio and like ehh it'shard to grap on to things or it's hard to start uhmm a work
process so I would like to have that's why this training
thing that I talked before I ... I would it could be nice to
have ehmm some routines or we maybe it's also just for us to
kind of warm up or get eh get to know each other better
somehow. That could be included in the in the what we create
later but, ehmm... Sorry what was the question again like
if...
So I would like. This is also how I. How I say like.... I
would like to have uhmm.... so not ending up in this kind of
ok have a vague idea and we go into studio and like ehh it's
hard to grap on to things or it's hard to start uhmm a work
process so I would like to have that's why this training
thing that I talked before I ... I would it could be nice to
have ehmm some routines or we maybe it's also just for us to
kind of warm up or get eh get to know each other better
somehow. That could be included in the in the what we create
later but, ehmm... Sorry what was the question again like
if...
So I wouldlike. This is also how I. How I say like.... I
would like to have uhmm.... so not ending up in thiskind of
ok have a vague idea and we go into studio and like ehh it's
hard to grap on to things or it's hard to start uhmm a workprocess so I would like to have that's why this training
thing that I talked before I ... I would it could be nice to
have ehmm some routines or we maybe it's also just for us to
kind of warmup or get eh get to knoweach other better
somehow. That could beincluded in the in the what we create
later but, ehmm... Sorrywhat was the question again like
if...
So I wouldlike. This is also how I. How I say like.... I
would like to have uhmm.... so not ending up in this kind of
ok have a vague idea and we go into studio and like ehh it's
hard to grap on to things or it's hard to start uhmma work
process so I would like to have that's why this training
thing that I talked before I ... I would it could be nice to
have ehmmsome routines or we maybe it's also just for us to
kind of warm up or get eh get to know each other better
somehow. That could be included in the in the what we create
later but, ehmm... Sorry what was the question again like
if...
So I wouldlike. Thisis also how I. How I say like.... I
would like to have uhmm.... so not ending up in this kind of
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Se-iteriew by Ar Bm
Q: Hw shud we d this?
A: We ask me sme questis ad I wi try t aswer, ?
Q: ok. D yu wat t start rm the begiig? Whe did yu start t wrk SAM?
A: ok. I thik it started at P.A.R.T.S. smehw. I bega wrkig a s there i the ed
but the I brke my arm ad I was wrkig i tw ther piees at the time s the s had
t wait.Q: Yu brke yur arm?
A: It was a stupid thig.
Q: ok, we. Ad the?
A: S I deided t wrk it ater.
Q: Ad whe was ater?
A: We, I was thikig abut it a bit durig the summer but thikig didt d me muh gd.
Ad the I started t d it i the midde otber ast year.
Q: Why didt the thikig d ay gd?
A: We, I dt kw. I thik I et ike its te misguidig r distratig ad I didt kw hw
t thik abut it. But i the ed it gae me a idea hw t start that I wated t try s...atuay maybe its a bit stupid t tak abut it ike thikig i geera beause there are may
dieret kids thikig ad maybe what I a thikig that ist dig me gd ist ee
thikig, but its a dieret tpi. lets g .
Q: This ud be gd t tak abut thugh?
A: Maybe, but t w.
Q: Yu said that it gae yu a idea hw t start, what was that?
A: We I didt hae a studi t wrk i at the time ause I gt i t MDT ater s I started t
dae the street kid .
Q: ok, we. What did yu d?
A: I was perrmig pubi paes.Q: Hw was that?
A: I dt kw. It et a bit weird.
Q: Ad why did yu d that?
A: We, I remember thikig that It wud be ie t pratie perrmig with a pssibiity
haig a audiee eery time ad beig i paes that are t ike a dae studi.
Q: But ee i yu wud be wathed its t the same thig as i a perrmae, right?
A: Yes, it was a i my head. Ayway it was u t d but t s iterestig whe it ame
t makig the wrk. I mea I thik its u t sptaeusy me smetimes ad t ee
restrited beause where I am but I didt ee ike I wated t make a s rm that
situati ee i it might hae ifueed what I did ater i the studi.Q: S did it ifuee the s?
A: like I said, it might hae but it dest matter s muh. I y did it a ew times.
Q: Ad the yu started t wrk i the studi at MDT?
A: Yes.
Q: Ad hw wud yu desribe that press?
A: I dt kw. We I kid aed it that I d what I d ad the I make a s ut it but
thats t reay what I am wrkig . or maybe the I d what I d part it is a part what I
wrk .
Q: What is that, I d what I d? What d yu mea?
A: Jag et ite. I thik it suds gd. I thik sayig that ame rm hw it et t d what I wasdig at the time. There yu g (augh). n, but I thik that i this wrk I hae bee wrkig r
guidig the wrk rm the iside my experiee whih is the y thig I/we hae. But that
as iudes thigs ike my sese empathy. Ad ther thigs that Im t sure what t a
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them that puts me i paes utside my se. Hm, its a pai i the ek...
Q: What d yu mea by iside my experiee ad that beig the y thig I/we hae?
A: We I guess... or , its t a guess, its hw I ee/thik abut it. Ayway, what was the
questi?
Q: What d yu mea by iside my experiee ad that beig the y thig I/we hae?
A: r exampe, whe my sese empathy is at wrk it is wrkig iside me, it is happeig i
my bdy. But empathy is smethig that is wrkig pepe r maybe thigs that are kid
utside r at east they are t me t me, r maybe the pepe r thigs are wrkig me...what was the questi agai?
Q: What d yu mea by iside my experiee ad that beig the y thig I/we hae?
A: I dt kw ay mre.
Q: ok... It seems ike this rmuati d what I d is smethig that ps?
A: Whe I g i t the studi ad d what I d whih ud be aed mig r daig I
pereie thigs ad I d thigs ad thats ike a p, smetimes.
Q: Hw is that a p?
A: It dest matter. I am bred takig abut this kid thigs.
Q: Yu seem t be a bit araid amig thigs. Are yu?
A: Maybe I am, I dt ike t ee biged t.Q: Are yu biged?
A: I dt kw. I kid hse t t g there i this presses.
A: I eed t g s we hae t ish w.
Q: ok.
A: This was a bit strage, we didt reay get ay where.
Q: nt reay.
A: We. ok.
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Se-iteriew with Saka Arda Rsegre
Q: What is this pratie that yu ad mikk hae bee dig?
S: I dt remember why ad hw, but we started t iite pepe t ur studi, ad we wud
pratie beig tgether with them.
Q: Why did yu wat t sit i rt a audiee, withut kwig what t d?
S: ehh, I thik I was kig t get ser t pepe, r t meet them i a -prtetie
maer. Its ike smetimes it ees that whe yu wak utside the dr yu hae this shied
attitude. Why is it s hard smetimes t ae ther pepe? Hw a we share thughts
ad mmuiate? oy ia wrds ad aguage? Ad i we ai? I thik I try t share my w
eeigs i rder t get ser t the pepe utside me. I at kw what they are thikig
abut, yet I a hae a idea, smehw I smetimes hae the eeig that I share a mmet
with smee, the subway r i ay ther pubi spae, that eeig sharig the same
time. like yu tue i t the timig ather pers, ad beme a bit ser t eah ther.
hm.
Q: aha, yu seem ery emtia abut this, ad w yu wat t tue yur timig with the
audiee?
S: we, maybe. I mea we prpse a situati ad its a theatria set-up, ad thats exaty
what I ike abut this meetig i the theatre, r whie perrmig, yu dt hae t w
thse etia sia rues, r at east t i the same way as ut here.
Q: Beause rmay yu w these sia rues i yur daiy ie?
S: ehh... we, , yes, r smetimes... smetimes I reaize I d it t make myse mrtabe i
a situati, r ee make ther pepe mrtabe.
Thse rues makes it easier i may ways, easier t make ast ersati ad mmuiate
with eah ther. But smetimes its t gd, as i the wrst thig that ud happe is t hae
thig t tak abut. The s i e e .
Q: S what wud yu ike t ahiee with this perrmae?
S: What iterest me with this thig, is hw its beig pereied r a pubi; i they eter urthughts, hw the mid trae (ad bdy-gesture) whe d yu get bred? D yu pae
what is gig ? What d yu see? I wat t put pepes atteti t their psiti as a
idiidua, grup r etie wathig the perrmae. Were t traeig muh i spae,
but imagiati a trae ad atasy ad ideas...
I kw it makes me ery aware hw hard it is t k pepe i the eyes r exampe, ad
why that is hard.
Q: Why is it hard t k pepe i the eyes?
S: Beause its a bit ike kig right it the pers, ad theres a t gig ; ear,happiess, embarrassmet, gig... we, smetimes yu dt see aythig. Sme pepe
are reay gd at hidig what they g thrugh iside, its ike there u-time atiity.
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Q: ie, but dt yu thik it wud be a he a mess i eerybdy a the time wud express
eery itte thig they ee r g thrugh? Des eerythig hae t be dispay a the time?
S: It prbaby wud be a mess, yes ad , Im t sayig that we shudt hae priay, but
there are s may ways beig with eah ther, ad smetimes we rget that ad ba ba ba
ba ba ba
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Se-iteriew with Mikk Hye
Q: S hw me did yu start t wrk with Saka ad what were yur expetatis abut the
wrk?
A: Hmm, I thik that e iterest r a idea that ame t my mid whe we rst spke abut
abrati was that we wud d smethig expressie. I thik I had this iew beause Saka
has s expressie persaity ad I ike t be expressie smetimes t i I g r it.. Its iet use that i perrmaes t. S I guess e questi was hw t d ways t wrk with
expressis r expressiity i sme sistet eugh maer ad I thught this wud be gd
abrati t try t g r that.
Q: Ad what happeed?
A: We, the ther iterest that we had abut pyig pepe ame atuay rst. We were
thikig abut pyig sequees rm ides, rm pepe i the streets r rm mies.
Ad we eded up pyig ides abut ursees, s there is expressiity ied r sure, but
msty i a quite subte, eeryday maer.
Q: Wud yu a that expressiity, ike are we the expressig smethig a the time?
A: Yea, I wud say s, ee i were t sius abut that. Ad I thik i this piee we are
tryig t highight this kid eeryday expressiity, thig speia, but sti ery speia
i ked sey. Theres ts stupid gestures ad sma expressis whe were tryig t
speak abut thigs r expai smethig. I wated t k at thse materias as a dae
ad hregraphy, ike as a subte ad mpex hregraphy that iudes the thughts
ad emtis ad speeh at sme ee t. other way t k at thse materias wud be
that they are atig wrk where yu hae t ear the sript, with ertai itetis admemets. I dt kw atuay whats the dieree there betwee atig r just earig
memet materias with expressis.... Irs smehw ie t bur thse ies whe perrmig,
ike i its smethig that we hae eared bere, r smethig de mre sptaeusy i
the situati.
Q: Maybe its mre iterestig t tak abut hw its see rm utside. I dt kw i it
matters r pepe wh me t see it i the ed i yu a it atig r daig. What did r
what d yu atuay waa d with thse materias r make rm them?
A: Thats a gd e, a tugh e. I thik its ie t perrm smethig that ks t sspeia but that a beme speia at mmets. Maybe smethig that is there eeryday
whe we speak t eah ther ad that we a k as rih thig that is happeig a the time
ad hse t k at it as a perrmae i we wat t. like the i yu bsere arud, there
are great perrmaes happeig a the time, eery day ad yu a be part them r just
stay bserig.
Q: S yu wat t mix r bur art ad eeryday ie i this ase r what?
A: I guess theyre aways mixed, its just matter degrees r me mre, ike gig twards e
r ther...
Q: ok, ast questi, stay sharp, I wi gie yu te etters radmy ad yu hae t make a
shrt aswer rm eerye them, Ready?
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A: Yes.. what the uk?
Q: ok,
g Gig great!
H haig t thik r t adapt t the situati.
D days passig ast i the ast week
b But are yu sure yu waa tak abut this with audiee?
R right eeige E.T.
ights i a rw!
b bemig a mkey-at
j jesus a yu repeat that?
********.
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MDT is an international co-production platform and a leading venue for
contemporary choreography and performance situated in a reconstructed
torpedo workshop in the Stockholm city center. MDT has since 1986
supported and collaborated with Swedish and international emerging
artists. MDT is supported by Kulturrdet, Kulturfrvaltningen Stockholm
stad and Kulturfrvaltningen Stockholms lns landsting.
MDTSlupskjulsvgen 30
11149 Stockholm, Sweden
+46 (0)86111456
Find all MDT Program Texts on www.mdtsthlm.se
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8/7/2019 Program for Aron Blom "SAM" and Salka Ardal Rosengren & Mikko Hyvnen "Trash Talk"
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