Performances for Pets

Performances for Pets in collaboration with Alex Bailey, is a performance created for house-hold pets, performed at their homes.

APFA12 APFA11   APFA8  APFA6 APFA5    APFA1

Performances for Pets is a performance created for domestic pets. Through research into pet’s tastes and interests and with consultation from pet behavioural therapists and psychologists this performance is an attempt to bring an experience of theatre and contemporary art to domestic pets. Each performance is adjusted to the specific audience member’s character and willingness to engage or interact.

Website

Video documentation on Vimeo

Presented at Stromereien Festival Zürich (curated by Stefan Wagner and Gunda Zeeb); International Figurentheater Festival Erlangen & #CATCONTENT at Kunstpalais Erlangen, Germany (curated by Ina Neddermayer); Brut, Vienna, supported by SHIFT; Animal Dances at Sophiensaele, Berlin (curated by Martin Nachbar and Maximilian Haas); Bristol Biennale 2016, Bristol.

Animal Jokes (for Animals)

A performance (45 min) for humans in collaboration with Alex Bailey.The internet is saturated with video’s of animals acting “funny,” ranging from compilations in which cats fail to perform certain actions to dogs dancing to pop music. In short, the idea of humans using animals to have fun is widespread. Animal Jokes (for Animals) attempts to reverse this dominant regime and imagine humorous moments, acts and attempts at fun, as seen from the perspective of the pet animal proper. Animal Jokes (for Animals) consists of a series of physical and mental “jokes” imagining a type of humour that humans do not have access to. This performance was first performed at Salon Klimbim at the Vienna Secession (curated by Fahim Amir).

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photos by Luca Ghedini.

XING, Bologna (invited by Silvia Fanti); “John Smith, the Posthuman” (curated by Niekolaas Lekkerkerk & Sally Müller) Bonnefanten Museum, Maastricht; WUK Performing Arts, Vienna (review).

 

V NU Performance Festival: So Far So Good

NPF

So Far So Good is a festival presenting artists and artworks, artists with and without artworks, performances with and without audiences, maybe even audiences without performances; in other words various constructions of performativity and performance-based productions.

Artists: Simon Asencio (F), Alex Bailey (UK), Djana Covic (DE/NL), Dora García (E), Uschi Geller Experience (D), Krõõt Juurak (EE/A), Chicks on Speed (DE/E/US/AUS), Rytis Saladžius (LT), Alissa Snaider (EE)

Curated by: Krõõt Juurak

19-22 November 2014 at Kanuti Gildi SAAL, Tallinn.

Festival Newspaper PDF

Internal Conflict

“Internal Conflict” is an ongoing improvisational intra-institutional performance, manifesting as signs of internal conflict within a team. The aim is to give a random bystander, the public or media the impression of inner tensions and slight unprofessionalism within the team. This “performance” can be witnessed as seemingly accidental more or less obvious incidents, for example a quarrel, misunderstandings during a public announcement, general mood in the office etc. This performative condition and its potential consequences expose the tension between emotional labour and the constructed professional personality of the performer.

(c)krõõt juurak

Photo: Kate Strain, Emma Panza, Aneta Rostowska, Renata Cervetto, Kris Dittel, Lara Khaldi: Participants of the Curatorial Programme De Appel for the exhibition “Father Can’t You See I’m Burning?”

De Appel Curatorial Program: “Father Can’t you See I’m Burning” (2014)

Nu Performance Festival: So Far So Good, Tallinn (curated by myself) (2014)

SOAP at Niuwe Vide, Haarlem. Curated by Nathalie Hartjes (2015)

The Place of the Grave

 

Kroots

Video (Tanzquartier Wien)

A girl was playing in the house and suddenly the Grave came to the girl and said: »Little girl, little girl, you can play here but you have to close the doors and windows.« The girl said yes and continued to play. Then the Grave came a second time and said: »Little girl, little girl, you can play here but you have to remember to close the doors and windows.« The girl said yes again and continued to play. For the third time the Grave came to the girl and said: »Little girl, little girl, you can play here but you have to remember to close the doors and windows.« The girl said yes, and continued to play. 

This lecture explores notions of disappearance, expectancy, and the duty of the artist to believe in their own work. Somewhere between the deeply engaging and the uncomfortably real, Krõõt’s delivery is that of the stand-offish stand-up tragi-comic.

evening programme TQW

Video

Presented at Tanzquartier Wien; DREAD – Fear in the Age of Technological Acceleration (curated by Juha Van Hetzelfde) Het Eye Cinema, Amsterdam; “Centre for Dying on Stage” (curated by Kate Strain) Project Arts Centre Dublin, Ireland; Vestibular (curated by Monika Lipsic, Alissa Snaider, Jurgis Paskevicius and Aapo Nikkanen) CAC, Vilnius

 

Bad Mood

moth

Bad Mood is a mood and cannot be performed but rather the mood performs itself through people and situations. Originally conceived to be on display during the exhibition about humour called “Three Artists Walk into a Bar” curated by the Black Swan, De Appel curatorial program. Bad Mood has since then influenced the writing of Krõõt Juurak’s Master Thesis of Fine Arts at the Sandberg Institute and is represented by the gallery Galerie International.

Documentation (Thesis)

Presented at “3 Artists Walk into a Bar”, De Appel Boys School, Amsterdam; “Poppositions” 2015, Brussels; “Lo and Behold” at Manifesta Foundation, Amsterdam, curated by Juliette Jongma.

Scripted Smalltalk

“Scripted Smalltalk” is a 50 min performance where the audience is reading scripted dialogues. The scripts are mostly about almost nothing, the scripts themselves intermingled with other trivial or existential matters: tv series, common fears in theatrical situations that involve audience participation, boredom and fun, chaos and communication, whatever. There is no action on stage, the choreographer/author distributes scripts and microphones and halfway into the show brings candies and vodka. This performance is “choreography” in the literal sense of the word – writing of the chorus.

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photos by Ouidade Soussi-Chiadmi

Co-production Tanzquartier Wien 2009 and Wiener Tanz und Musik Bewegung

SCRIPTED SMALLTALK NASA script

Video excerpt in ETV (Estonian)

Reviews: Tagesspiegel (in German), DN (in Swedish), SIRP (in Estonian)

Performances: Mindaugas Triennial Vilnius 31. August 2012, Under the Mountain festival, Jerusalem 31.July 2012, Kampnagel Hamburg Space for Live Art 30. May 2. June 2012, Arteleku San Sebastian 24. February 2012 (in Spanish), Kanuti Gildi SAAL 2.- 3. February 2012 (in Estonian), Tanzquartier Wien 19. November 2011 (in English), MDT Stockholm 27.August 2011, Laboratoires D’Aubervilliers 31. April 2011 (in French)

Presentation

Presentation

“Presentation” (performance 45 min) is a compilation of eight performances from the past: “Look Look”, “Autodomestication”, “Once Upon”, “Camouflage”, “Burning Down The House”, “Scripted Smalltalk”, “Ride the Wave Dude” and “Presentation (present)”. This performance wonders about archive, portfolio, medley, remix, performance, (self)presentation.

“Presentation” (installation) is a small room where I tell the visitor about one of my performances.

Brut Wien 2012 festival Imagetanz

Austrian Pavillion at Impusltanz Festival Vienna 2012

“Once Upon”

Once Upon is a performance or video of very small things or animals. A kind of an Estonian fairy tale that puts an emphasis on time, extended duration, stating the obvious and all the missing elements in a narrative.

They say folks that can manage big things never can manage little ones.
A proper fairy tale told by a narrating princess. 
A handheld dinosaur speaks prophetic wisdom. 
A mesmerizing adventure video uncovers ancient truths. You’ll see it all in: Once upon.
PS: including special appearance cat, dog and bird in ABSOLUTE DARKNESS!!!

Coproduction Kanuti Gildi SAAL, Imagetanz Wien 2006

dramaturgical advice: Berno Odo Polzer

Shown at: “Sõida Tasa Üle Silla” Tartu, Estonia. NIMK, Amsterdam, Xing 2010, Bolgona, Italy; De Singel Antwerpen etc.

Reviews: Helmut Ploebst in Corpus (in german), Petr Karlovsky in Tanznetz (in English), Tiiu Laks in Eesti Päevaleht (in Estonian), Hanno Soans in Postimees (in Estonian)

Autodomestication

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A performative research project about the work of domestic pets as contemporary affective workers. The labour of pets resembles the affective and emotional labour associated with the creative industries. Artists and pets can be seen as colleagues from different species, working their way to be flexible and adjusted to the challenges posed by the capitalist society.

50 min

MDT Stockholm, as part of lecture series on performance at the Theaterschool Stockholm 31.August 2011

Espacio Carbonesi, Xing Bologna 22.April 2010

co-production: Tanzquartier Wien 2008 (with aftertalk by Fahim Amir)

AUTODOMESTICATION BLOG

Video (excerpt from lecture)

Video (research)

Look Look

Look Look

Look Look is a choreographic transcription of the creative process at play in the world of fashion. Devised in the manner of a fashion show in front of an imaginary mirror (the audience), the starting point for the work was the desire to to show the techniques of the designer Eva Blut, as well as the catwalk attitude differences when the clothes are worn by two different people. Anne Juren and Krõõt Juurak perform a number of poses inspired by the clothing. The body and the image change, mutating from a stereotypical fashion figure to an everyday posture, from a clearly identifiable form to a hybrid, plastiform, more difficult to recognise.

by and with: Anne Juren and Krõõt Juurak

Co-production: Juren/Juurak and Tanzquartier Wien, Unit F (2007)

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Antistatic 2011 

Kampnagel Sommerfestival 2010

etc.