Floating Ghost

Float­ing Ghost

At Mani­festa 10 On Board & What Is Monu­mental Today? Symposium

In rela­tion to the cur­rent geo­pol­it­ical situ­ation, a strong dicho­tomy between Rus­sia and the West­ern world has gained new value as a means to artic­u­late cul­tural and polit­ical dif­fer­ences in European dis­cus­sions. Debates in the art field around Mani­festa 10 in St.Petersburg also seem to high­light dif­fer­ences and ant­ag­on­isms between con­di­tions for art and artists in St.Petersburg and the West­ern art field. Europe how­ever still seems to be under a regime of glob­al­ized and net­worked fin­ance cap­it­al­ism. Finnish for­eign min­is­ter Erkki Tuomi­oja recently stated that mar­ket forces have already pun­ished Russia.

Float­ing Ghost is a per­form­ance and video pro­gram cur­ated by Jussi Koitela for the Mani­festa 10 On Board pro­ject and What is Monu­mental Today? Sym­posium. The pro­ject addresses the neo­lib­eral con­di­tion of free­dom and oblig­a­tion from the per­spect­ive of cur­rent chal­lenges in daily life con­di­tions and deve­pop­ment of imma­ter­ial tech­nol­gies in the North­ern and East­ern Europe through works by Anna Breu, Tero Nauha and Anna Johans­son. The second part of the pro­ject is being con­duc­ted at What Is Monu­mental Today? Sym­posium at Eure­pean Uni­ver­sity at St. Petersburg/Smolny Insti­tute, St. Peters­burg show­ing video works by Tero Nauha, Pekka Niskanen and Anna Johansson .

The devel­op­ment of the neo­lib­eral cap­ital in the last few dec­ades has intro­duced us to a float­ing cur­rency, float­ing share prices, and other ”float­ing” eco­nomic instru­ments that have trans­lated to gen­eral liv­ing con­di­tions and value sys­tems mak­ing daily life pre­cari­ous and unre­li­able. This “float­ing” life style and the accel­er­at­ing abstrac­tion of cap­ital com­bined and the devel­op­ment of digital com­mu­nic­a­tion imposes a new sus­pi­cions on free­dom and oblig­a­tion. Are there rights bey­ond eco­nom­ical rights? What are our oblig­a­tions to the mater­ial and imma­ter­ial con­di­tions of daily life?


Part 1

Mani­festa 10 On Board

Per­form­ances by Tero Nauha and Anna Breu, video by Anna Johansson



Part 2

What Is Monu­mental Today? Symposium

Videos by Tero Nauha, Pekka Niskanen and Anna Johansson



Anna Breu


Per­fermance in two acts

Anna Breu is a cross-disciplinary artist col­lect­ive, using mov­ing image, sound and per­form­ance as its primary medi­ums. The group shares a shame­less interest towards art lan­guage and dys­lexic con­fu­sion as the basis of their artistic practice.


Tero Nauha

Life in Bytom


Bytom is a former min­ing town in Upper Silesia, Poland. This area is fam­ous for its min­ing industry, which, how­ever, has almost dis­ap­peared dur­ing the past twenty years of eco­nomic trans­form­a­tion. Bytom is an exem­plary example of the trans­form­a­tion, which neo-liberal polit­ics pro­duces. In 2011 I was invited by the cur­ator Stan­isław Ruk­sza from CSW Kronika to do a pro­ject in Bytom, and for this reason, vis­ited this city on sev­eral occa­sions in 2012. These vis­its were com­posed of work­shops, inter­views, field trips and other events, which aimed to pro­duce source mater­ial for an effect­ive inter­pret­a­tion of the situ­ation. Even­tu­ally, the final res­ults were presen­ted at the Kronika as a scrip­ted per­form­ance, install­a­tion and a video piece.

Dur­ing my vis­its, I encountered many indi­vidual and sin­gu­lar stor­ies and events, which revealed things not par­tic­u­lar only to Poland, but as signs of a gen­eral trans­ition in neo-liberal Europe. At first, my rather the­or­et­ical research circled around the prob­lem of eco­nomic trans­form­a­tion, or as I call it: a mess of cap­it­al­ism. Mess has no cer­tain centre, which in the case of Bytom is in straight dis­sym­metry with the pre­vi­ous, state con­trolled social­ism in Poland. How­ever, right from the start, after the first meet­ings with Ruk­sza, one aspect of Bytom became clear, that Bytom is not going through a con­trolled trans­form­a­tion period, but rather a series of arbit­rary changes. He called Bytom, “the Detroit of Poland.” In other words, a place without an ideo­logy or roadmap, but a mess of col­lapsing build­ings and infra­struc­tures where no one knows how long the dur­a­tion of this pro­cess will be or what forms it will take. It is the pre­cari­ous­ness of this mess, where my endeav­our took place, and where I asked myself what could a per­form­ance do?


Anna Johans­son


Per­form­ance video

Deliv­er­ing the 110 most searched phrases on Google in the main street of Umeå. Is there a dif­fer­ence in how we behave in the designed pub­lic spaces com­pared to the digital ones? Our digital activ­ity trans­formed to the pub­lic space. The con­stantly chan­ging lan­guage. A clash between private and public.


Pekka Niskanen

Vir­tual War

Doc­u­ment­ary Film

The Chechen refugees of West­ern Europe are exper­i­enced users of com­puters. The broken fam­il­ies con­stantly keep in touch by email and Skype Inter­net phonecalls. To bal­ance the insec­ur­ity that fills their every­day life, the Chechens in dia­spora have a need to cre­ate a uni­fy­ing vir­tual world, a haven that would be pre­pared for hack­ers’ attacks and even a vir­tual war. The refugees want to build a place in Second Life where at least their avatars can be safe. A vir­tual trauma cen­ter for refugees recov­er­ing from the war, a mosque, a cinema and a press con­fer­ence cen­ter were all planned to be a part of Vir­tual Chechnya.