Irma Optimist and Pekka Luhta curated by Paul Couillard
For this installment of FADO’s ongoing International Visiting Artists series, we feature solo performances by two Finnish artists who incorporate digital media in the form of video projection.
Video has been a staple component of performance art since the technology became accessible to artists with the development of the Portapac in the 1970s. The refinement of projection technologies and the widespread availability and affordability of video recorders has accelerated the dialogue between these two time-based disciplines. What was once a complex and technically challenging relationship has rapidly become relatively commonplace, and the ability to accommodate basic video projection is now standard for most performance art producers.
Video’s strength is its ability to conjure up images that are not readily at hand: recording what has passed, moving through faraway spaces, or manifesting images that are beyond the everyday laws of physics and logic. By contrast, performance art’s strength is that it offers the opportunity for performer and audience to breathe the same air. In performance, the artist can respond spontaneously to the exigencies of the moment.
Contemporary artists have employed a wide range of strategies and have a variety of reasons for combining these two distinct forms. In the case of Irma Optimist and Pekka Luhta, two artists whose works inevitably rely on interactivity and improvisation as key artistic tactics, video projections become the fixed supporting player in an unpredictable larger action. The projections serve as an emblem to reinforce the underlying intentions that compelled the performer to engineer this unstable moment of communion with his or her audience.
While the two artists have distinct and highly individualized practices, they deploy a similar strategy that provides a coherence for their pairing in this series. Both present performance works that stage an intersection of the deconstructive impulses of intellectual or emotional energy (theory in process) with the reconstructive impulses of the material or physical reality of their bodies (theory in practice). They are fearless in their willingness to mine the charms and foibles of their bodies to provide metaphors that demonstrate, disseminate and at the same time problematize theoretical concepts.
For Irma Optimist, who leads a double life as a respected professor of advanced mathematics, female sexuality is the tactic of choice in her performance art works. Using various personas, from sex kitten to the mythical huntress Diana, she seduces, captivates and captures males within her audience in order to explain mathematical formulae. For Pekka Luhta, a prosthetic limb provides the departure point for setting up complex readings of cultural and social theory. Both present works that hint at a slightly surrealist sensibility, employing rapid-fire humour and high-impact visual imagery. A sense of fun generated in the moment where artist and audience come together cushions the later, deeper impact of serious thought that remains.