Editorial note: Any views expressed in an article published in Nordiclarp.org do not necessarily represent the views of the editors or an endorsement of the article.
This anonymous article was originally published in the Knudepunkt 2023 underground book larp truths ready to see the light (editors unknown). It was then republished in the Solmukohta 2024 book, and has been reprinted from there with the editors’ permission. It has not been edited by Nordiclarp.org.
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Forward by editor Kaisa Kangas for the 2024 Solmukohta book: It has been a tradition to publish a book like this one in connection with SK/KP – a tradition so honored that the lack of an official book last year caused a small outrage (see Pettersson 2023). Even then, there was an underground pdf book known as The Secret Book of Butterflies that consisted of short essays by anonymous writers. I have decided to republish some of them here.
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Some years ago, a wonderful thing happened.
Larpers in the four Nordic countries developed a remarkable community and discourse around this phenomenon called ”Nordic larp.” At KP/SK, they met each year, to talk about it and to share thoughts and experiences with each other.
Over time, larpers in other countries heard about this: they read the Nordic larp writings, and imported some of what they found there into their own domestic larping scenes.
Some of them attended KP, and made their own contributions to the developing conversation. They were made welcome by the regulars, who were (mostly) glad that their ideas were being shared more widely. Now, as a result of this, we have a scene that might be called Nordic-inspired international larp.
All over Europe, in the USA, and perhaps elsewhere too: larps are being run for people from a wide range of countries, in the English language, incorporating design and practice elements that were originally developed in Nordic larp.
Who takes part in these ‘international larp’ events?
Usually, a mix of people from the local larping scene, and cosmopolitan types who enjoy larping in other lands.
These include some people from the original Nordic core.
Meanwhile, ”Nordic larps” in the traditional sense are still taking place in the Nordic countries. But they are dwarfed, in number and in coverage, by this new international scene.
The child is devouring the parent.
The same thing can be seen at KP. Not so long ago, it was a 200- 300 person event that was 80% Nordic: now, it’s a 500-600 person event that’s majority non-Nordic.
And, although the superstar system ensures that keynotes and other high-visibility items are still in Nordic hands, the bulk of the programme is provided and presented by international larpers, for an international audience. Is this good or is it bad?
All we can really say is: it’s different.
But is it time to recognize that international larp is its own thing, and deserves its own annual get-together – rather than progressively cannibalizing KP?
Why not a conference that rotates around the countries where international larps take place – or that’s at one fixed location centrally within Europe?
It would probably be cheaper to hire a suitable venue and accommodation in a non-Nordic country, for one thing. And it would probably be easier for most internationals to get to.
And then, what might it mean for KP to get back to being focused on Nordic larp, in the Nordic countries?
Of course, it shouldn’t be oblivious to the rest of the larping world.
But nor should it be dominated by it.
International larp is a tremendous thing, and it deserves to thrive and grow. But not at the expense of the Nordic larp that it borrows so heavily from.
And perhaps KP should not be facilitating such a takeover.
Anonymous. 2024. “Nordic Larp is not ”International Larp”: What is KP for?” In Liminal Encounters: Evolving Discourse in Nordic and Nordic Inspired Larp, edited by Kaisa Kangas, Jonne Arjoranta, and Ruska Kevätkoski. Helsinki, Finland: Ropecon ry.
In the Knutepunkt scene there is a history of larp designers and producers giving retrospectives, where they discuss all of their work. In this talk, here presented in two parts, Dr Stenros takes that format and expands it to other aspects of the community. He gives an overview of the work he has done around larp relating to documentation, community, and research during the past 25 years.
Part 1:
Part 2:
Cover Photo: screenshot from the video. Photo by KP SK on YouTube.
What is it larp designers actually design? How do players actually respond to design decisions? Are there any truths that apply to all the different kinds of larp design? Eirik Fatland presents his unpublished yet influential mid-level theory of what the big picture in larp design looks like. An updated re-run of a classic KP presentation.
Cover Photo: screenshot from the video. Photo by KP SK on YouTube.
Katrine Wind has worked with local producers to re-run her larp Daemon in different countries. The reasons to do so are many! Sustainability, accessibility, and co-creation. In this presentation she shares her experiences from the US, UK, Denmark, and Belgium together with some of the collaborators: Sandy Bailly who is the producer of the Belgian run and Mo Holkar who is the safety person. Mo has also brought larps abroad from his local scene, and provides insights from those experiences. The aim is to hopefully inspire people to bring larps to other communities. It is easier than you think, and we should re-run more larps!
Cover Photo: screenshot from the video. Photo by KP SK on YouTube.
Solmukohta 2020 is over and you can find all the talks here! This years Finnish edition of the Nordic larp conference Knutepunkt was held online, as the Covid-19 pandemic made physically meeting up impossible.
The program was streamed as video and we’ve gathered all recordings of talks here, together with transcripts and slides where available.
Solmukohta 2020 Keynote speakers: Kjell Hedgard Hugaas, Sarah Lynne Bowman, Usva Seregina and Jonaya Kemper.
Sarah Lynne Bowman – Integrating Larp Experiences
In this keynote, Dr. Sarah Lynne Bowman will discuss the importance of integration practices for concretizing and completing transformative processes after larps end and daily life resumes. She will present different techniques for integrating transformative experiences into our off-game lives, including creative expression, intellectual analysis, emotional processing, mindful transitioning to daily life, interpersonal processing, and community building.
Kjell Hedgard Hugaas – Designing for Transformative Impacts
In this keynote, Kjell Hedgard Hugaas will make the case for why we should design larps that invite the potential for transformative impacts on players. He will discuss the importance of transparency and intentionality when designing for impacts in domains such as emotional processing, social cohesion, educational goals, and political aims.
Larps and larp related events have started to become more common for children, but there’s a gap between ages 12 and 18. They’re not children anymore, yet not old enough to attend adult-themed larps. We are at risk of losing this age group if there are no games for them, when there’s often no big reason to exclude them. Janina Kahela has organized several larps for children and separately for teens as participants of “grown up larps”. After a short intro the program will host open discussion in the comment section on the subject.
Kaisa Kangas – Seaside Prison – Designing Larp for Wider Cultural Audiences
Seaside Prison is a blackbox larp financially supported by Finnish Cultural Foundation, about life in Gaza. Lately, art and entertainment in general have been going towards interactive and immersive dimensions, and there has been interest towards the larp toolbox among, for example, performance artists. However, wider cultural audiences often find traditional larps hard to approach since they take a lot of time and require preparation. One of the ideas behind Seaside Prison is to create a package that is easier to approach. The larp is run in a theatre environment and employs sound, light, and video projection. Could this be a joint future for larp and theatre? In this talk we discuss how the larp was created, its aims, and the possible futures for larp in the culture establishment.
Mátyás Hartyándi – Larp – Oddity, Hypernym or what?
A talk about the future and self-definition of larps for those who are interested in overlapping activities and/or multidisciplinary cooperations. As the meaning and praxis of Nordic larps evolved and expanded during the last two decades, some of its larps became nearly indistinguishable from other established forms of role-playing (e.g. process drama or socio drama). Is this a bug or a feature? What type of relations can enrich larp? And (how) should we react to these changes? Larp has the potential to become a new, inclusive, and all-encompassing umbrella movement, but inbred ignorance in its circles might also limit its recognition in favor of more established forms. How can the larp movement stay geniune yet be open to change? And what kind of role should larping take in the eyes of outsiders?
In this talk, the speaker will offer an overview and typology of different kinds of safewords and gestures currently in use, a consideration of what requirements and parameters need to be taken into account in choosing safewords for a larp, and an evaluation of benefits, risks and problems that might arise with different types of safewords.
The focus is on finding safewords that contribute to the creation of a “brave space”.
Alessandro G. – Designing Nostalgia – Techniques for Larp about Memory and Ageing
In this talk we will explore how larp design can deal with memory, past, and ageing. Is it possible to use those factors to enhance our larp experience? Are there specific techniques? Can we use nostalgia as a design tool? We will explore these themes and present design solutions and case studies based on sound, non-linear timelines, smell, objects, character writing and transpartent design. Expect a dynamic and enaging talk, open to questions.
Charles Bo Nielsen – Bad Romance
Content warning: sexual assault, violence
How to use bad romance to play more comfortably with people you have less chemistry with. It can often be easier to play romance that doesn’t work out well, because it gives a good excuse to keep intimacy to a minimum while still having a lot of meaningful relational play. This talk will also include more non-binary examples, after some well founded critisism of that lacking in an earlier talk on romance. Expect lots of awkward romance memes!
Jost L. Hansen – Solmukohta TV
Solmukohta TV (also SKTV, KPTV, or SK-KPTV) is a sketch show about larpers, made by larpers. SK/KPTV is a tradition that started at Knudepunkt 2015 in Denmark. The show used to involve just the four host countries, but last year we opened up so any country can submit their videos to include even more people in the fun. This new tradition will continue at SK20. Come and watch whatever madness participants have come up with!
Usva S. – Living or Larping Consumer Culture? Exploring the Commodification of Larp
In the recent years, we have witnessed a definitive growth of the larp community and a growth in recognition of larp in wider culture as a legitimised activity. As larp begins to be more present in society, the wider culture also penetrates the social structures of larp as a community and an activity, one of the central outcomes of which is the commodification of larp. In this talk, I discuss how larp is becoming commodified, what that means, and what the repercussions of this development are for specific events as well as the community at large.
Russians love mechanics and philosophy. In this talk, we’ll tell you about some best practices in Russian larp mechanics, and also explain how they work to enlighten these larps’ ideas or to move the story forward.
Using music for fighting, origami for science, duct tape for flashbacks, pins for sex… we can continue this list forever!
Mikko Heimola, Nino Hynninen, Jukka Seppänen – Shearing Sheep and Holding Ballots – Community Building in a Post-Apocalyptic Campaign
Content warning: pandemic
Second Year (Toinen vuosi) was a 4-part larp campaign about building a community of survivors immediately following an apocalyptic pandemic. The larp focused on community building and practical aspects of survival – how a group of strangers coordinates their interests, how norms and institutions develop over time, and how consultants build a chicken coop. The presentation discusses pros and cons of this setting for a larp and what aspects should be given special attention in larp design.
Eleanor Saitta, Johanna Koljonen, Martin Nielsen – Maps, Loops, and Larps
Have you ever thought about what you actually do when you larp? How you understand the game around you and decide what to do next? Have you thought about that awkward period at the start of a game where nothing connects yet? In this talk, Johanna, Martin, and Eleanor will try to make sense of the way we manage information and make decisions during play.
Elzbieta Glowacka, Karolina Fedyk – Never Prepared, Always Ready
Numerous larps, particularly sandbox larps, give the players the opportunity to engage in preplay – be it short scenes in the form of play-by-forum rpg, memes, quizzes, or letters to and from the characters. Not all playing styles are conducive for preplay. While such tools can improve the experience, they are not for everyone, and in certain rare cases they might even affect the larp negatively. In our talk, we’d like to share our thoughts on how to recognise such situations and approach preplay, or lack thereof, in ways that will be beneficial for all the larp participants.
This presentation aims to address alternative approaches to sandbox larp preparations and techniques of getting in character for people who can’t or don’t want to engage preplay in forms mentioned above, and more. It covers both exploration of one’s role and outward-oriented means of getting to know your character through costume, practical tools to approach character creation and designing character arcs. Finally, it addresses FOMO and ways of alleviating it, to make the game as enjoyable and memorable as possible. Might also contain topics of attention and focus, simple mnemotechniques, tools for relation building like mind maps, and onions.
Lindsay Wolgel – Larp/Theatre Crossover in NYC
This is a talk about the larp/theatre crossover work currently emerging in NYC, based on the projects Lindsay has been a part of in the past year as a professional actor in New York. Productions include Sinking Ship Creations’ Off-Off Broadway show The Mortality Machine, Calculations by Caroline Murphy of Incantrix Productions, OASIS Travel Agency (an immersive theatre/nightlife/alternate reality game blend with participatory elements by Silver Dream Factory) and more! Discussion includes the experience of being a hired facilitator/actor in these pieces as well as the trend of commercial “immersive experiences” in NYC.
From Twitter and Facebook to custom-created platforms, social media has been used in larp both in- and off-game. This talk looks at the various social media platforms, their pros and cons, and how they have been employed or faked in various larps. We also take a peek at the future of social media in larp.
Kol Ford – Mind the Gap: Barriers to larping for people from backgrounds of structural poverty
Larpers that come from a background of structural poverty face significant barriers when attempting to fully participate in larps. This talk looks at the challenges faced by such individuals both as participants and as organisers as well as presents the strategies developed by poorer larpers. By looking at the strategies that are already being adopted, we can see what we can all do as a community. Existing larp structures, such as subsidised tickets and crewing, work really well, but a lot more can be done!
The talk is aimed at larpers who are interested in doing what they can to help larpers from poor backgrounds to participate. The goal is to open a discussion about what we can do to help more people feel welcome and included in our hobby. We will talk openly and frankly about the difficulties that we face as participants and organisers, as well as explore ways in which larpers are already addressing the above described problems. We will further explore common barriers faced by the various types of poverty, the unique problems faced by their different circumstances, and the benefits of widening participation to include people from poor backgrounds.
Josefin Westborg, Anders Berned, Kol Ford, Mike Pohjola – 500 Magic Schools for Children and Youth
This programme item brings together the NGOs, companies and other entities that run magic schools for kids and youth. Each organisation will be presented with a focus on what they have in common, what they do differently and why, and how they can inspire each other. The aim is to create knowledge exchange and inspire others to start up magic schools. One goal in the programme is to agree on when we would like to have 500 magic schools for kids in Europe (and how to get the funds to start it up).
Mika Loponen – Turku Manifesto 20 Year Memorial Burnin’
20 years after the first Solmukohta of the Millennium, we gather to celebrate the first great political act of Finnish larp: the publishing of The Turku Manifesto – and it’s subsequent burning as an act of political vandalism. Loved and loathed for two decades, the proponents and the opponents of the manifesto agree on one thing: no larp related work prior to the manifesto has affected the art form as deeply – nor has been discussed as heatedly and widely. At the 20 year memorial burning, we delve deeply into the uncompromising vision of the publication – and then burn the hell out of it. Hosted by Mika Loponen, the original arsonist, with A VERY SURPRISING SURPRISE GUEST!
Chris Bergstresser – Peacock – a Global Larp Clearinghouse
Getting information about larps in the hands of players is an ongoing struggle for organizers. And finding out what larps are being run is equally challenging for players. I have a proposal — and a prototype — for a larp clearinghouse named Peacock. It includes standards for larp data and a website to share that information.
This talk will show the basic features of the system, along with the design decisions, to be followed by a discussion about the remaining steps to reach a public beta.
Thomas B., Mélanie Dorey, Michael Freudenthal – Is Immersive Theatre the Future of Larp?
Content warning: sexual assault
Thomas B. is an opinionated connoisseur of larp, dilettante larpwright, and immersive theatre debutante. While repeatedly ranting about the word “immersive”, Thomas will cover highlights of larp-ish events such as Assassin’s Creed in Napoléon’s mausoleum, costume parties in Versailles, a murder mystery in the prison cell of the Marquis de Sade, physically chasing the plot train in NYC, and larping with unprepared actors in theatre basements. Mélanie & Michael co-wrote The Lost Generation, an immersive theatre party focused on seamless narrative design. They will present a vision from the field as well as examples from their design. All attendees welcome, no prior experience necessary.
Late contribution. This video was not part of Solmukohta 2020 online programme.
Let’s take a larp design perspective on our current (Western) life/culture, analysing the roles we get offered to play in our contemporary societies as if it were a Nordic Larp. What world design are we exposed to? Which factions, which campaigns can we choose? What conditions, items, and degrees of freedom are we given? Can we influence the narrative, goals, or ending? Through a game design perspective we might gain a deeper understanding of our agency, rewards, and challenges.
All Talks
You can also fin all talks in this YouTube playlist:
Update 2020-05-01: Added “Life As Bad Larp Design” by Herwig Kopp.
Larp design idea where what you see is what you get. The environment is perceived as authentic, everything works as it should affording participants to engage in authentic activity for real, and participants perform immersive role-play.
The things that enable a person to (role-)play and to do things they would never do in everyday life while in character. Alibi is value neutral (“It says so in the character description”) and can be used in a positive (“We have all agreed to explore these themes together in a physical way”) or a negative way (“I was drunk at the time”).
Approaching every larp as a new work and designing everything from scratch. As opposed to either iterating on a local tradition, or using the same larp system, such as Mind’s Eye Theatre, in multiple larps.
A genre of larp played with minimalist setting, with carefully curated props, and controlled light and sound. Often played in theatre black boxes. A room in a longform larp devoted to acting out scenes out of temporal sequence is also sometimes called blackbox, although a better term for that is meta room.
Longform larp that targets an international audience, features an expensive venue, high participation fee, and is hyped before and after. They usually have a high concept idea, often based on existing intellectual property. Originally, the term was critical of this type of larps.
Shorter larps, with their length measured in hours, often taking place in a small venue and with participants in single or low double digits. Low demands for scenography and costuming make chamber larps easier to package and restage.
The fictional persona a participant portrays during runtime. Sometimes also used to refer to the character description that is an inspiration for the character actually played.
The material on which a participant bases their performance of a character during runtime. Usually takes the form of text describing character background, motivation, goals, and contacts. In some traditions these can be very long and individually tailored, in others they are not used at all.
Permission to do something particularly impactful to another participant’s character (e.g. give permission to another participant that they can kill your character).
Larpmaker organised post-runtime event, where participants and designers talk about what they just did together. Can be structured or relatively free-flowing. Usually the goal is to put the runtime in perspective, to share stories, or to meet the other participants without the masks the characters provide.
The cooldown period after the runtime of a larp, when the participant is leaving the fiction and the character behind, and gearing up to return to everyday life outside the larp. Sometimes also called aftercare.
The process by which a participant divests themselves of the physical embodiment of their character, often used as a method to attempt to prevent or reduce bleed.
Anything that can be changed and made choices about that can impact the experience that is being designed. In larp, everything is a designable surface: the typeface of the website, the soundscape, the interaction patterns, character names, toilet temperature.
Things that exist inside of the fiction are part of the diegesis. For example, music during runtime is part of the diegesis if the characters can hear it, and non-diegetic if only the players hear it.
Something that exists inside of the fiction is diegetic. In a larp participants can address, react to, and interact with things that are diegetic, without breaking character. See diegesis.
The process of incrementally increasing or decreasing the intensity of a scene to come to the optimal atmosphere for all participants involved. Sometimes there is a specific metatechnique for signalling desired (de)escalation.
Prior consent by participants and/or organisers to certain, immutable narrative beats or outcomes. A conscious design decision that presumes that how something happens or someone feels about it happening can be just as interesting to explore as if it happens.
As the name implies, freeform scenarios have no standard form. They typically last a few hours, are usually played without costumes, props, or special lighting in whatever space is available, often feature heavy use of inventive bespoke mechanics and metatechniques, and are sometimes heavily gamemastered. In the Nordic countries, these used to be considered halfway between tabletop role-playing and larps; today, in the international discourse, they are lumped together with larps.
A runtime story facilitator for a larp, keeping track of plot flow, solving narrative problems, and, if applicable, making rule-system calls. Sometimes but not always one of the larpwrights.
The amount of competence in the ensemble of participants. Running a larp for a group of participants where some have prior experience is much easier than running a larp for a group with only beginners. If there is enough experience in the room, beginners can learn by following the example set by more experienced participants.
A term with multiple meanings, usually relating to how far the participant is engaged with the fiction of the larp. One common usage is in the sense of character immersion, that is, the participant experiencing the diegetic world through the eyes and mind of the character. Sometimes the word is used to mean immersion into the setting or the milieu, as in 360° illusion, or even engagement with the story as in narrative immersion.
In a larp, a participant is pretending to be a character, but is also pretending that everyone else is their character. The feedback from the other participants enhances the character immersion, creating a cycle called inter-immersion.
Annual conference devoted to larp and larp design traveling between Norway, Sweden, Denmark, and Finland that began in Oslo in 1997. The name of the event always reflects the local language. The whole tradition is discussed under the original, Norwegian name.
An infatuation with another participant, or maybe just their character, that a player develops during runtime due to playing a romance with them. See also bleed.
A set of rules for larping if they can be separated from the individual larp, i.e. multiple larps are run with the same system of rules. Some larps use complex rule mechanics to explain what characters can and cannot do, and those rules can be printed as books. This is the opposite of bespoke rules.
The author(s) of a larp. The person or group who defines the larp’s vision, world, workshop structure, characters, etc. A synonym for larp designer from an era before game studies terminology colonised larp discourse. Also, a person who creates larps.
Metaphor for the separate space of playing. The time and space of the larp, in which characters are played and different rules apply than normal; upheld by a social contract.
In larps where the skills of the characters are important, and they are markedly different from those of the participants, these actions are expressed through replacements that simulate things that are impossible, undesired, or too intimate (e.g. violence and sex). In some traditions, mechanics imply points, levels or other numerical systems representing skills.
A dedicated room in a longform larp devoted to acting out scenes out of temporal sequence. Often features a runtime gamemaster. Sometimes also called a blackbox.
Mechanics that allow participants to communicate player to player about their characters, without breaking play. Metatechniques are commonly employed to let participants share their character’s inner thoughts or motivations, or to let participants together establish things about their characters’ shared history and relationship.
A theory of larp design, guiding the designer to make conscious decisions between contradictory virtues of larp design. It consists of a series of faders, such as transparency-secrecy, illustrating that a typical larp cannot feature both high transparency and many secrets.
Narrative is what you are left with after the larp is done, when participants look back on the plot, the story, and the character actions and try to answer the question “what happened in this larp”. The narrative is the choice of events included, and the way they are related to each other, when a story is told. The narrative of a larp continues to change long after the larp has ended.
The acronym is short for non-player character. It refers to a character who follows the larp designer or runtime gamemaster’s instructions. NPCs are typically played by organisers, or a crew dedicated to this purpose. NPCs can be present for the whole duration of the larp, or appear only briefly. The term was inherited from tabletop role-playing games.
Designing in a way that presupposes participation in certain aspects or design elements of the larp, where participants have to actively choose not to participate.
A person who is at least in part responsible for making sure the larp runs. This can include logistics work as well as runtime gamemastering and other activities.
Participants or gamemasters communicating beforehand about the desired playstyle of a scene or larp. This type of calibration is not about the content, but about how the participants approach larp in general and to find common ground: physical or not physical, slow or fast paced, very emotionally intense or with levity.
Sequences of narrative events pre-planned by the larp designers, for example in the form of intrigues written into the character descriptions giving characters motivations for actions during the larp.
Created prior to the run of the larp; often implies that the elements of the larp have been consciously designed and intentionally related to each other.
A collection of legible social behaviours in a given social position. Everyone plays numerous roles (customer, larper, offspring), both out of the larp and within a larp as a character.
Containing few enough rules that the larp can be learned instantly by a novice and that these few rules can be recalled on the spot with little difficulty.
An instance of a full staging and playthrough of a larp. “Some see the first run as a playtest, I see it as a premiere.” (verb) To stage a larp. “We ran House of Cravings last weekend.”
Sandbox design focuses on providing participants with a playable world that reacts to their input, in which participants can freely bring in or create on-site the plots and the drama they find interesting to play out together.
The use of secrecy in larp design is to purposefully prevent participants from knowing things their characters would not know. Common ways to add secrecy are to give participants secret character goals and motivations, and to include surprise happenings during runtime. See also transparency.
North American larp design pattern. Pre-written characters in typically a single-run larp all have often-oppositional goals that they are primarily able to reach by leveraging secrets (hidden information not known to everyone) and powers (game mechanics that permit participants to get other characters to do what their character wishes).
The act of framing and describing who is in a scene, what is happening, and where it is taking place. Hitting particular themes or emotional overtones is particularly desirable.
An abstract larp exercise in which participants physically queue up in order to demonstrate and visualise where their characters lie on a specific status continuum. Examples include oldest to youngest, most powerful to least powerful, or degree of agreement with an ideology.
The theme of a larp is what the larp is about, in contrast to what happens at the larp. Setting clear themes for a larp informs participants about the desired tone and playstyle of the larp, and affects what participants expect they might be likely to experience. Larps divided into acts often have different themes for each act.
The use of transparency in larp design is to purposefully let participants know things their characters would not know. Common ways to add transparency are to let participants read more pre-written characters than just their own, to divide the larp into acts with announced themes, or to tell participants what is going to happen during the larp before it starts. See also secrecy.
The workshop is a structured period of exercises that your participants will do before the start of runtime, to familiarise themselves with each other and the larp mechanics, enabling them to play together. Typically done on-site before runtime.
Cover photo by Massi Hannula, used with permission.
Nordic Larp Talks is a series of short, entertaining, thought-provoking and mind-boggling lectures about projects and ideas from the tradition of Nordic Larp.
This year Nordic Larp Talks will be hosted in Helsinki, Tuesday March 8th at 19:00 and you are of course more than welcome to join us!
The event will be held at Aalto University School of Arts, Design and Architechture (often called “Taik”, Hämeentie 135 C, Helsinki, on the 8th floor which is located about 20 min away from the central station by bus. The evening will be hosted by writer and radio & television host Johanna Koljonen.
Free admission. Doors opens at 18:30.
PROGRAM
19.00 – 21.00 Tuesday March 8th at Aalto University School of Arts, Design and Architecture , Hämeentie 135 C, 8th Floor. The programme will start at 19.00 sharp.
