BOUNDLESS OMINOUS FIELDS
Synopsis
This performance work aims to activate the archaic and energetic transgenerational archives of both performer and spectator.
Two bodies on stage in altered states, traveling through internal archives beyond the personal biographical body and the immediate conscious mind. Channeling rather than presenting or representing. Immersed with their epigenetic imprinting they hover on the borders between the unfamiliar and the hyper familiar, serving as a reflection of and a gateway into human history shared within our subconscious territories carrying altered states of resonance.
Boundless Ominous Fields goes a step further into Guðjónsdóttirs long term phenomenological exploration of altered states of consciousness through embodiment. Created with and for Finnish performers Karolina Ginman and Marlon Moilanen, it is the first work in a trilogy commissioned by the two performers.
Confronting Hyper reality
“Physically, choreographically and dramaturgically I compose performances as highly intensive experiences. The experiences are meant to vibrate energetically at the core of omnipresent pathological states of embodied being, induced by current and ancient conditioning and transference. These embodied pathologies exist in the shadows of what is considered normal life and in conceptual shadows. The work is a gesture to step into this space where it is necessary to stay until a shift happens. The commonality of these pathologies is revealed by being together in these states of incapacity to act, respond, move, feel or escape. Even though this is not a comfortable or comforting space to be in, a soft power of resistance is produced. It is this power that is choreographed, not the movements of bodies but the resonance of the internal movements and energies of the dancers in live performance. The dancers resonate with selected pathologies and formerly unconscious realities that they carry within their bodies, through them we resonate together in a meditative state of reciprocity. The intensity and information ripples outwards. The audience may be confronted by pathology, but this is done to initiate release and transformation and further cognitive processes on the topic, not to re traumatise. This is a different sort of documentary with a different sense of fiction: it is documentation because the dancers bodies have spent many years doing the practice; it is fiction not that it is not real, but that it is hyper-real. The way the dancers vibrate differently is an invitation to a different body state that is a state of affective potential. The dancers bodies offer the potential to attune and align the audience bodies and thoughts.
Margrèt Sara Guðjónsdóttir
Credits:
Direction, choreography, concept: Margrét Sara Guðjónsdóttir
Performance, choreography: Karolina Ginman, Marlon Moilanen
Sound & composition: Lucy Railton
Lights design: Sofia Palillo
Spatial concept: Margrét Sara Guðjónsdóttir
Spatial design: Sofia Palillo
Production: Karolina Ginman, Marlon Moilanen, Inari Pesonen, Zodiak – Center for New Dance
Trilogy Concept: Karolina Ginman, Marlon Moilanen
Photo credits: Sinem Kayacan / Zodiak.
Funded by: The Arts Promotion Centre Finland, The Swedish Cultural Foundation in Finland, Oskar Öflunds Stiftelse, Icelandic-Finnish Cultural Foundation, Eugène, Elisabeth & Birgit Nygréns Stiftelse Residency support: Saari Residence – Kone Foundation, Työhuone Helsinki. Zodiak Center for New Dance Helsinki.
