‘La Vie de Bohème and Dramaturgy of Boulevardisation. An Auto-Bio-Geo-Graphic Art Performance’, by Romeo Kodra.

THE IDEA: The performance, realized thanks to the support of ESPOO CITY and its CULTURE UNIT, is held in the framework of an ongoing artistic research project “Iconology and Iconographies of Boulevard: from Boulevard to Boulevardization and BoulevARTization”.

THE METHODOLOGY: Mainly, the topic imposes iconography as a method of the research, but also iconology, which will consist in collecting, classifying images (‘image’ intended as ‘bild’: see in Hans Belting) and discourses of boulevardisation through their cultural analysis. Altogether, this methodological approach serves to define the mythological archetypes (Carl Jung) inscribed within wider contemporary urban and cultural iconography, starting from the mythologem (Károly Kerény) of “opposites’ separation/conjunction” (the boulevardisation as a key passage from industrial to post-industrial paradigm) as well as the archetypal image of “the industrious”.

THE CONTEXT: Helsinki’s and Uusimaa’s last urban plan provides more densification, thanks to the concept of boulevardisation (transformation of highways in boulevards), seen not only as a solution for the challenge of a greener city but also as the solution of demographic changes (namely, the arrival of migrants). Yet, the plan lack to prioritize its challenges: by making more space for the green (densification of asphalt and cement is a contradiction in terms with a greener city); and assure the participation of migrants (none has asked the migrants if they would prefer a more dense Helsinki). Yet, assured, through urban densification, are the consequent profits for few corporate groups that will build the new boulevards. Therefore, future conflicts are easy to predict between migrants and Finns, passive spectators of the boulevardisation as well as environmental and cultural upheavals. For the performance, the chosen context is the iconic middle of Engel‘s North and South Esplanadi , the monumental Runeberg‘s and Suomi-neito‘s complex in Helsinki’s Boulevardi.

THE SYSTEMIC MACHINE: In underdeveloped transitional societies (HEAVEN FORBID!!! NOT IN FINLAND!!!) the systemic machine for corporate profits works thanks to the involvement of several “play-role-actors”:
STEP 1 – private companies with interests in densification/boulevardisation support politicians and political parties.
STEP 2 – the politicians/political parties propose the plan in the public institution/municipality/region.
STEP 3 – the public institution asks for advice from independent academics/experts.
STEP 4 – the independent academics/experts are supported with grants for their personal projects by private foundations owned by the above-mentioned private companies with interests in densification/boulevardisation.

THE “ROLE OF THE ARTIST”: The inspiration, or better to say the first modulation of the performance builds on Aki Kaurismäki’s “Boheemielämää” and his main character, the Albanian artist and illegal migrant Rodolfo, which in this case is re-conceptualized as a carnival perversion in a new postindustrial-bohemian-migrant-artist with no principles, convictions, or scruples (CAUTION: The performer was born in Albania, but any reference to the Albanian Artist Prime Minister – actually in his third mandate -, who, in 1992, the year of Kaurismäki’s film, was himself a “bohémien” migrant artist living in Paris, and especially any reference to his green-washing and art-washing urban development policies, are purely coincidental!!!). The performance is also a modulation of Carmelo Bene’s “Pinocchio”, a piece of wood/nature/otherness (evoking the “greener” approach of the boulevardisation), which from a migrant/other becomes, as Bene’s Pinocchio, a right-minded man and good member/artist of a boulevardized society. Lastly, the performance is a further modulation on Paul Klee’s works, but here the polyphony is based not on combining, stratifying, approaching the colors towards each other but erasing them and highlighting the line. For this, the starting point is the paradoxical polyphonic painting of Paul Klee “Ventriloquist and Crier in the Moor” as well as Klee’s belief that “A line is a dot that went for a walk”.

La prostituée du boulevard de Clichy et l’inspecteur qui la surveille ont tous les deux de mauvais souliers et tous les deux ont mal aux pieds d’avoir arpenté des kilomètres de bitume. Georges Simenon

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