A 6 hour durational performance-collaboration, around the village of Mooste and its surroundings. 2 scheduled times for the audience to view the action. Otherwise the process was continuous, starting from the individual performance of K.K. and ending with the collaborational sound performance with Michael Northam, in the evening.

Working with objects, found objects and environments. There were no rules for the collaboration, literally anything was allowed, unless one reacted to the action of the other.

Overall method was walking and the stimulation of walking to the actions. Actions revolving around the theme of a head. Not preconceived idea, but realized afterwards. Process of dismanteling the face and presenting the head. This was represented through the actions of various forms throughout the performance.

It is not correct to talk about improvisation to describe this performance. It would be more accurate to use a composition of words such as catching the flow, and losing it, maybe catching it again. You catch, you lose, you let go or you force it. Breaks and flows.

Repercussions of the actions. When one dismantles the face, and finds the head, when one attempts to dismantle the social construction of a face, then, what is a human? It was an obvious shock to find the equality in brutality and still being human. What is the difference of the ethics in blood and rational ethics, morality and law?

The audience. It had occasional chances to find the performance. The places were set in time, but not what would happen, or if only one of the performers would appear. Majority of the performance happened without any audience and any documentation. What is the validity of an action like this? I could ask a similar question, what is the validity of an action on the stage, which seems to be physically immobile, yet you feel a sensation, a movement?

Moreover, in somewhat pragmatic way, when the audience eventually meets these two performers, for instance in the crossing of two roads, in the dusk, they can sense that the performers did not came from a bar having a chit-chat and a pint of beer. Therefore, it is meaningless to know what happened when there was no-one to see, and yet its nothing mysterious.

Whatever has happened is flowing in the moment, which the audience is experiencing in the crossing. There is nothing mysterious. Its very clear and simple. Maybe more simple we are used to nowdays. Not a face but a head. Performance is a flow. Flow of desire and a line of flight. (Tero)

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