A series of site-specific works for exhibition-spaces in the form of an audio-guide. The audio-guide is typically utilised in exhibitions in order to guide the visitor and give information on the exhibition – in this case the audio-guide gives neither information nor guidance but through the act of listening to the audio-guide the visitor herself becomes a kind of a performer in the exhibition.
Audio-guide titled “Raivo Juurak” exhibited at “Dissolution – Raivo Puusemp in Dialogue with” curated by Krist Gruijthuijsen at Tallinn Art Hall Gallery April 2017
Audio-guide titled “NoOr Mertens” exhibited at “KroOt” solo exhibition curated by NoOr Mertens at Kunstverein Langenhagen, July 2017
A performance 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).
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).
“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.
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?”
Kate_Strain_The New Professionals by Kate Strain
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)
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
‘KrõÕt’ the venue normally run by Krõõt Juurak, for a limited time period features works conceived and/or executed by other artists. At the end of the “exhibition” KrõÕt returns the works to their owners.
Exhibited at KroOt, 2013 “Oo”, Venice; “KroOt” 2013 Ellen de Bruijne Projects Amsterdam; KroOt, 2017 Kunstverein Langenhagen;
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
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