Non-Human Performance (or Performance by Non-Humans), which started on March 1, 2010, it is an ongoing, “endless” performance, with the duration that exceeds the human lifespan. It explores the boundaries of performance and performative societies by asking whether performance has an exterior or an end. Non-Human Performance is almost entirely based on the agencies of non-humans, apart from its theoretical and institutional frame created by humans. The performance is located on the recreational area in Northern Helsinki, on the highest point of the city, which used to be the ancient seashore of the post Ice-Age Yoldia sea. Non-Human Performance is based on leaving the performance and its actors as they are, but how long? The animals, plants and weather phenomena on the site act as long as allowed by humans – or longer, after the humans. This performance is a thread of Chronopolitics – III Memo of Time (see below year 2010).
performances
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memo performances
Kemi – Memos of Trees (2022–23)
Kemi - II Memo of Trees
Kiasma Theatre/ Museum of Contemporary Art Kiasma Helsinki
Premiere 9th December 2022
Tampere Theatre Festival, main programme, August 2023
Kemi - Memo of Trees
Kemi City Theatre
Premiere 9th April 2022
Memos of Time – performances with and for non-humans (2006— )
Chronopolitics with Dogs and Plants in Hamburg
Nordwind festival/ Urban Species, Kampnagel October 18th
Chronopolitics with Dogs and Plants in Berlin
Nordwind festival/ Urban Species, Dock 11 August 16th
Chronopolitics with Dogs and Plants in Helsinki
The starting point of this interspecies performance is the question about our relationship to non-human actors – especially to our nearest companion species dogs and plants. It focuses to the act of reading and explores what happens to a human reader when our witness is something other than a human being, with another kind of a body/stem and ways of responding?
Esitystaiteen keskus, Suvilahti, Helsinki March 14th
Chronopolitics with Dogs and Trees in Stanford
This interspecies performance is a durational exploration into night-time reading, imagination and sleeping in the company of non-humans. It widens the sphere of performance to a collective consisting of human and non-human actors.
Tuija Kokkonen in collaboration with Alan Read
Performance Studies international #19 Conference, Stanford University, California 
A Performance with an Ocean View (and a Dog/for a Dog). A documentary video installation.
performance platform, body affects festival, Berlin July 2012.
http://performance-platform.de/programme/
Chronopolitics — III Memo of Time
An endless performance began 1.3.2010. Chronopolitics branches into a performance by non-humans in northern Helsinki and a web performance, which both continue all the time, and into a nomadic live performance, which first appearance was in March 2010. The starting points of the performance are a vision of a world without animals, but filled with representations of animals; our difficulties to perceive duration, and the question, does performance have an exterior anymore. The performers consist of people of different ages, robodogs and other machines, and beings and processes of nature. 
A Performance with an Ocean View (and a Dog/for a Dog) — II Memo of Time
The two interlinked performances focus on weather, time, potentiality and non-human co-performers. Human actors worked and performed with the clouds, ants, trees, rocks, dogs, rain, and tens of thousands of others. (and a Dog) was performed on an ancient shore of a post Ice Age Yoldia Sea in a suburb of Helsinki and (for a Dog) on a potential future seashore on the roof of a city centre department store. 
Mr Nilsson — I Memo of Time
The performance addresses humans’ relations to other animals and death through the imagination, the new knowledge of evolutionary ecology, and the everyday links between humans and machines. Mr Nilsson asks what is a human, at the age of global performance - and ends up to be an attempt to recall animals. 
Catchment Area – Memos of Freedom (1999—2003)
Catchment Area – III Memo of Freedom
Catchment Area – II Memo of Freedom
Catchment Area – I Memo of Freedom
The five-year project consisted of three performances, an installation, and series of discussions in Kiasma Theatre/Museum of Contemporary Art, Helsinki. The basis of the presentation was a geographical catchment area, weak action, and questioning the anthropocentrism of the theatre and performance. 
Maus and Orlovski – Memos of Love in the City (1997)
The three performances of the first memo series were performed around Helsinki during spring 1997 and the radio play broadcasted 1998. They explored boundaries of performance, and relations between event and ecology as relationships to the self, to the others, and to the environment/nature. 