Naturally, one’s performance art is ordered in a chronological manner, yet the viewer may not be aware of those which took place before it.

The works Maurice does often do not carry a title. (And that’s no “untitled” which he considers a title too) He tends to think that a name can draw away the attention from what the piece is (or maybe could be) – just itself. Although his works are performative, he does seem to consider himself a sculptor, or rather, remaining with a sculptural attitude.

I work and live in Iniö, a small island in the baltic sea, west from Turku, Finland. I’m a performance artist but I also teach, write and organise stuff. My favourite way to work is with others.
A lot of my time goes to finding the right questions, then eventually some answers and gradually the way approach it all. After those steps it gets much easier. The rest is often surprising and never linear but at least it’s usually tangible. Many of my performances are favors or gifts to others.

These thematics that are important to me: Equality, equity, sustainability, patience, courage, love and empathy.

mairekaruvuori.com

(b. 1969 in the UK) has been living and working in Tornio, Finland, since 1997. Court is a durational performance artist. Time is one of the most important elements in his work. Often he performs for 8 hours, the length of a work day. Other times he performs throughout an entire event or during the opening hours of the specific venue (museum, institution), in which the event takes place, on each single day.

Lately he has been interested in letting the objects and materials that he uses in his performances determine the duration of his work. He does not consider his performances as solo pieces, since the element of collaboration is inherent in them, be it through his engagement with curators, organizers, artists, viewers, objects, spaces and time. Court’s works are responsive to the site and often the continuous, repetitive action creates a rhythm that runs parallel to that of the site. In all his works he is fundamentally concerned with drawing or writing, as drawing connects line, movement, space and time.

He has exhibited extensively and has been invited to perform at major events such as Das Dicke Ende in Bern Art Museum Switzerland (2018), MA, Art Museum in Rouyn-Noranda Canada (2018), UP-ON Live Art festival Chengdu China (2017), SIGNAL Festival in Brussels Belgium (2017), Beijing Live in China (2016), Viva! Art Action festival in Montreal, Canada (2015), 7a*11d in Toronto, Canada, DigitaLive in Guangzhou, China (2014), SpaceX Gallery Exeter in UK (2012), Guangzhou Live Art Festival in China (2010), ANTI Contemporary Art Festival in Finland (2010), the Venice Biennale (2005) and the Liverpool Biennial (2004).

johncourtnow.com

Performance art is my main discipline since action, process, intuition and reaction are at the core of my interests. I see performance art as a possibility to experiment and learn something new of who we are as humans, beyond representation. The performance art I am interested in unfolds beyond mediating through decorations and production values. I believe in art in a way of what is held in the undefined, what cannot be grasped through exact words. I want to create an art that flows in the undefined and can hold open interpretations, revealing who we are.

In this project, shown in Offside Signal, I combine work from five years ago with recent work. 

It is about fragmentation, lack of context, cropped narratives, bits and pieces floating around, and a red thread, glued together.

mattiaslofqvist.com

Scylla and Charybdis
2025, Westphal brothers
mixed media performative installation

Our installation Scylla and Charybdis for “Offside Signal” consists of two tidal pools in acrylic incubation chambers, each equipped with fixed rubber glove openings that visitors can use to submerge their hands into the water.

The aquariums are connected with a thin silicon hose that passes through a special microscope slide called flow chamber. The microscopic view is relayed as a giant projection onto the walls of the exhibition space.

Using the principle of communicating vessels, the viewer can control the flow of particles and creatures in the microscope slide by altering the water levels by submerging their hands. Minute and gentle control of hand movements will be necessary to create an equilibrium between the
vessels and to keep the microscopic view still enough to observe. The work creates a portal between both worlds, enabling viewers to not only be a spectator but an active agent in this environment.

Uli Westphal, 1980, Bochum, Germany, works and lives in Berlin, Germany. In his works he observes how humans perceive, depict and transform the natural world. He is especially interested in how misconceptions and ideologies shape our view of nature. In recent years he has been focused on the portrayal and transformation of nature through the food industries. Hiswork is multidisciplinary and research based, frequently consisting of collections, classification systems, simulations and experimental set-ups. uliwestphal.com

Thomas Westphal, 1972, Bochum, Germany, works and lives in Helsinki. Working as sculptor he is often using moving images as a building block in the creation of video objects. His concepts originate from physical activity or constructing processes that get re-rooted into kinetic contraptions. thomaswestphal.net

Dragos Alexandrescu’s works combine the digital(video) and the analog(paintings) techniques, in which he explore visually the nature, mostly in close-ups, as moments in time when nothing extraordinary happen. The idea is to induce to the viewer, a state of contemplation of the present moment.

His paintings are random extracts from the videos, an instant moment from the video’s linearity in which something happened or could had happen.

Exhibited together as installations, his works are a visual representation of time, highlighting our understanding of existence in relation to time and being in the moment.

dragos-alexandrescu-artworks.squarespace.com

Covered in note stands struggling to unfold them and fold them again, being stuck in them, trying to get out, on the move with all those not stand on my body.

Installation, papier-mâché, gilded branch 2021 and 2024
video made in collaboration with Linus Johansson and Andrea Lundgren

The work of Helena Wikström seeks to go underground – below the surface. She digs dens, creates tunnels and descends below the earth’s crust and the surface of the water in search of a space of gravity, a space defined by the attraction of our bodies to the ground. In her work there is also a great curiosity about who populates these places, whether they are real beings or mythological figures. The story of the golden branch derives from the Aeneid and is about how Aeneas, in order to descend into the realm of the dead, must find the golden branch and break it from the tree, whereby a new branch would grow.

Helena Wikström (b. 1964 in Tingsryd) lives and works in Holmsund/Umeå. She mainly works with different types of installations containing film, photography, sound art and sculpture, often in collaboration with other artists, musicians and filmmakers. In addition to being involved in the artist-run gallery Verkligheten in Umeå, she works part-time as a curator for Vita kuben, Norrlandsoperan. Her work has been shown at Tromsö film festival, Bildmuseet, LCCA, Riga, National gallery, Prague, SVT and a large number of exhibitions, festivals, projects, nationally and internationally. Represented in several municipalities and county councils, the Modern Museum, Stockholm and the public art agency in Sweden.

Forged Eden
The most essential thing for me in art is direct contact with people and involving the audience in my actions. Meeting people is more important to me than the great need to be understood. This is quite an original approach in the world of performance art, which is, as it were, by definition, the art of the individual. Perhaps that is why I am often invited to represent Finland internationally. Over the past decade I have performed 150 unique actions around the world. I have completely dedicated myself to this practice.

Unfortunately, I have the impression that, apart from a small group of fellow performers, Finland is not particularly proud of me and it was all a pointless sacrifice of a meaningless man. That’s why as a ‘milestone’ of my 30 years living and working in Finland, I would like to prepare a demanding performance ‘Forged Eden’. I intend to make a ten-day journey on foot, pulling my portable, mobile forest behind me, i.e. a cart full of exotic potted plants. I plan to explore bike paths and forest trails from Helsinki to Vaasa. Walking through cities, perhaps I will try to establish contact with passers-by and convince them to accompany me for some time on this journey with their favourite plants, but I don’t care if I won’t succeed. I’m stepping ‘offside’, away from the people, the urban hustle and the art institutions to walk 420 km, in the company of plants that, like me, don’t fit into the landscape.