I have considered the weather and momentary states of queerness that appear and evaporate here
and there, on the streets and subways and everywhere. Moments where everything changes yet
nothing much can be seen. I have considered knowing, and different ways of knowing. Whose
knowledge has access to the canons of knowledges, whose to their outskirts? Mainstreams don’t
always have access to the sidestreams. Some bodies of knowledge stay in the sidestreams to be on
their own terms, and this is good. This is also good. My attention is on the sidestreams. I listen to
Tami T. I think of the wind. It is somewhat windy here.
It is as if nothing is happening.
I am not sure what this performance is about. This has now something more to do with than the
beyondness of gender structures. This is about something else as well. Clouds. Or I don’t know.
Something. How to host something as a cloud? How to host something as something? All the time
things are slowly changing and changing. All the time things are clearing out and distancing. They
are not localised. Things do not become defined. There is something all the time. And now
something else, already. Or I don’t know. Something else is happening. There is something else.
Landscapes beyond landscapes.
Something, something, something.
Emilia Kokko (they/them) is a non-binary queer feminist, performance artist, cat lover and actor.
“I work and live in fragile structures. I try to take care of fragile structures.
When I build a performance, I try to approach a point beyond comprehension; a feeling of an inconceivability that is present.
I try to think about accessibilities: who has access to this performance, who can afford it, for whom is there space, for whom is there safety. How to make space. I have been thinking about consent and how important it is that one can leave my performance as easily as possible, if one feels like it. And then perhaps return.”
Working group: Meri Ekola, E. L. Karhu, Emilia Kokko, Markus Lindén, Elina Minn, Hannah Ouramo
Production: Emilia Kokko, Baltic Circle
Supported by: Kone Foundation, Arts Promotion Centre Finland, Teaterstiftelsen Vivicas Vänner and the Finnish Cultural Foundation via Kehä IIII