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The Theatre Season took place during one year in the vicinity of an outdoor stage located in a public park in Helsinki. It was developed through twelve ‘pieces’, tautologically named after the month during which they were taking place: Piece of May, Piece of June, Piece of July… The Theatre Season was based on a double dramaturgy: 1. A readymade strategy that consisted of inviting spectators during a whole year to experience this outdoor theatrical apparatus per se and the perception of the metamorphosis of its close environment as an evolving ongoing ‘piece’. 2. Monthly production of a gesture of mise-en-scène on the site was carried out every first morning of a new month by adding a narrative element in relation to the original function of the site, the staging of outdoor pieces. Prepared or residual scenographic elements (e.g costumes in May, fragments of decor in December...), remnants from past events or settings for future representations, partial modifications of the stage (e.g. paint renewing in July) or of its close surroundings (e.g. addition of artificial flowers in June), were some of the strategies used to mark or trace the site with an expired or forthcoming theatrical performance.

The Theatre Season REDUX consisted of an installation in the main black-box theatre of the Theatre Academy of Helsinki. A 69' looping video was displayed as a part of the installation. The Theatre Season REDUX was implemented at the same time as a performative report of the initial project The Theatre Season and as an autonomous arrangement, i.e. it was addressed not only to spectators who had followed the initial project but also to spectators who had not, by engaging with the question of how a corpus of documents might be generative of another artwork/research narrative. The installation invited the visitors to enter an anticipated memorial-mausoleum for 20th-century outdoor theatre. An exact replica of the small abandoned open-air theatre of The Theatre Season was erected on artificial grass inside the black box. In the video, which was projected on a side-screen, a recycled photo-documentation from The Theatre Season was displayed, interspersed with an inquiry about the contingent experience upon the spectating of the initial project. The Theatre Season REDUX opened the research questions on multitemporality, heterochrony, and idiorrythmie at play meanwhile assembling a secondary narrative based on a restatement of the initial visual documentation and a speculative investigation. Spectators were invited to stay as long as they wanted and to return as many times as they wished. The remade stage and bleachers were accessible to the audience. White cover shoes were distributed at the door.