Founded in 2000 in Helsinki, the international performance company Oblivia is truly a unique phenomena in the Finnish performance scene. The group transforms larger than life themes into minimalist performances. Oblivia’s group fuses different genres and nationalities. The members are from Finland and the UK have experiences in music, dance and theory, which allows them to play between suspended tension and sense of humor. Since its beginning, the group has attempted to create a common language in the performance. In June 2013, Oblivia will perform its recent work ‘Museum of Postmodern Art’ in the NEW Performance Turku Festival in Turku Finland. The performance is co-produced by at PACT Zollverein and Espoo City Theatre. The premier took place at PACT Zollverein, Essen in November 2012 and the Finnish premier was at Espoo City Theatre in November 2012. The performance is the first in a series of five and part of the five-year project Museum of Postmodern Art – MOPMA. Annika Tudeer, the founding member of Oblivia tells about the history of the group and about her own background in dance.

AT: In the late eighties I trained dance, contact improvisation and what was called new dance then. I then worked as a dancer and choreographer until I started at the Helsinki University in 1994 where I studied literature as a main subject, philosophy, theater studies and gender studies. I belong to the rather self-taught generation that mainly acquired knowledge and experience through training and working. I also did amdram and studenthteatre that was quite important as well. Oblivia was founded in 2000 in Helsinki during the European Cultural Capital year. I had this grand idea of creating a network and collective of artists doing site-specific work. However I had not realized that a collective does not have a leader who decides most things (that was me, of course) and is in charge, but that kind of leadership is better suited in a smaller group. We did 4 site specific pieces during that year that were very popular and had therefore a great start, and in the autumn Anna Krzystek from UK joined us and the smaller Oblivia that is still exists was formed.

I basically wanted to create an alternative working environment to most of what I had experienced in the dance and theater field in Finland, experiment how to work together and have fun and create high quality work, merging theory and art in an organic way, not paying too much attention to theory but rely on the fact that it is there. I was also very interested in structures, all kind of structures: working environmental structures, political structures, artistic structures, architectonical structures, and that was always part for the work somehow. I still organize the practical stuff together with our producer, but the artistic work is purely collective.

 How has the concept developed during the years?

AT: After doing site-specific work for a few years we decided to move into the black box using light and sound and start to explore the black box. It is the most challenging place and also the place for most concentration and innovation in performing arts we think. We are super organized, working away from 10-17 Monday to Friday over 4 months that are divided over the year. The work has evolved a lot, we work over several months with a piece, with pauses in-between where we tour or do other things (me mainly admin and networking). I also think that we have become much more many faceted in the work and how we perform and at the moment we are very much concerned with ideas of collaboration. Which means a lot of discussions and trials and errors. The work becomes richer and bolder all the time. It is minimalistic and maximalist at the same time. We work with an empty stage and fill it with ideas and images that are created in the heads of the audience.

How international are you as a group in terms of performances, touring, attending festivals?

AT: Anna Krzystek lives in Glasgow, so she commutes to Helsinki for rehearsals, we are occasionally on residencies in Europe, and our current project Museum of Postmodern Art that contains 5 performances over 5 years (2012-2016) has first an international premier and then a national premier. We tour as much as we possible internationally and although the growth could be swifter, we are touring quite nicely.

How do you generate and create the concepts, what are the terms of collaboration?

AT: Well, we decide on a theme, and since we like long term planning so the previous project Entertainment Island became a trilogy that was finished in 2010 and has toured since and now we have MOPMA (Museum of Postmodern Art) going. We decide on the big theme that is now art for five years and previously was entertainment. Then we decide on what kind of take we take for each new performance a little before we start to work on it. Then we start to improvise, devise material and do free association and a lot of talking and some field trips. Now we are working on the idea of bad art, and what that means to us and what it foes to us. We talked a lot at the beginning, had a workshop and at the moment we are in the second working phase where we go deeper in the material and slowly start to make sense of it and structure it. Basically we are the three of us (Anna, myself and Timo Fredriksson) working away, popping in and out of impros. But we have worked for 13 years together now so we have a secure sense of being in the studio without outside eyes. We have also started to involve our light and sound designers much more that is wonderful, so they share the process, the talking, and the figuring out a lot from the beginning. They also watch rehearsals and comment.

What is your opinion of the performance field currently, how do art and performance co-exist?

AT: I have a feeling that the field is growing rapidly, and that the boundaries are blurred totally. We have all diverse trainings: Anna studied at the Cunningham studio in New York for several years, you saw my background and Timo is a classical pianist. This kind of heterogenic diversity is perhaps not that common, but nevertheless companies and projects are vibrant and mixed. It is interesting and exciting times we are living in re: performances. Sometimes I am overwhelmed by the quantity of performances, and work and activities and sometimes I miss a feeling of a clear trend and some leading stars and high quality work is not all too common skilled yes, but work that moves me is not that common at the moment. But in general I think that there is a very exciting scene going on at the moment.

Your most important influences?

AT: The old companies like Needcompany, Forced Entertainment, Pina Bausch, John Cage, – the usual suspects…

 Where do you see your project going, how do you balance the work and life, how about the ‘other interventions’?

AT: We are starting to reach out and are discussing several collaborations with other companies, which is a totally new situation. We intend to tour more and more for each year, and also to communicate more with other artists in various ways. Sometimes we feel a little isolated here, so we are working on breaking out from that isolation and become more part of the world, so to say. For me work and life are intertwined since my husband is Timo who is part of the Oblivia core and we have to deal with how to take care of our 9-year-old daughter as well. I have also been very active in founding the Performance center, ESKUS in Helsinki for working: with three studios, and a shared office for companies and individuals in the performance scene and independent scene in Helsinki. We have residencies, rent out spaces and work on different levels to be a supportive structure without being a venue or a production house.

 Oblivia will premier MOPMA 2 (that is the working title, the real title will emerge soon) in mid September in Trondheim, Norway at the Bastard festival. Until then the company will tour MOPMA 1 in Finland and Entertainment Island in Poland…

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