Synopsis & credits
In Spotted the bodies of the performers become overflowing containers. So oversaturated that they can no longer digest, handle, or decode the external information they receive. Everything pervades the body indiscriminately. Dazed and pervious, almost like a still life, the bodies pose questions of privacy, intimacy, alienation, and vulnerability. Spotted is an investigation of animate objects that cannot escape their existence. The performance portrays the grimaces of perfect individuality, the perversion of a world in which the winners shine with absence.
The duet performance “Spotted” is born out of the performance “Blind Spotting”, a performance with an original cast of 8 dancers which premiered at the Sophiensaile theater in Berlin in june 2014. The “Blind Spotting Performance Seri“ includes at this point; “Blind Spotting”, “Blind Spotting- film version” a film by Antoine Verbièse, the duet performance “Spotted”, and the solo performance made for performer Angela Schubot “In the Blind Spot” (2015).
Direction/Choreography/ Concept/ Costumes: Margrét Sara Guðjónsdóttir/ Music: Peter Rehberg/Set Design: Margrét Sara Guðjónsdóttir, Andreas Harder/Light design: Björn Kuajara/Performed by: Louise Dahl, Marie Ursin/Production: Margrét Sara Guðjónsdóttir/Production management: Annie Kay Dahlström/Photography: David Kiers and Lasse Dahl/ Co-Production: Slingan: Atalante Gothenburg, Dansstationen Malmö, MDT/Thanks go to: Flutgraben Berlin Public and Private studio, Zohar Frank, Lasse Dahl.
And we wait: Andrew Edwards is both excruciatingly bored and enormously impressed by Margrét Sara Guðjónsdóttir’s inertia-ridden show.
The design of the work is brutally effective: a very beautiful kind of ugliness presented to us with notable precision…Throughout, I was never entertained, never distracted, but only ever trying to distract myself from the work. These are some of the work’s most impressive qualities, so well executed that my distractions failed time and again…what ensures SPOTTED is an engaging piece of work, and confirms that it contributes something new to this discourse, is the exceptional affective force it possesses. Not only does it articulate this quality of inertia, but it forces its audience into that state, or perhaps opens up a space in which that state, otherwise felt as an undercurrent or a dust, overwhelms you.
Andrew Edwards Exeunt Magazine, 06/05/2017
Breathtaking view of our times on exposure
“The Icelandic choreographer Margrét Sara Guðjónsdóttir, that resides in Berlin, works with phenomenal consistency. With lightness in execution, she builds to her account an unpleasant scene incorporating the gaze when working with space and time with a heart-stopping complexity evolving around themes such as identity, body and subject versus object (…)The compulsive vulnerability in the performance Spotted clings to the mind as an irritable yet great judgment of our time”.
Anna Angström SvD Kultur, 24/11/2014
With minimalistic precision
This constant flow of information gushing over the non shielded human being comes to a point of no return/ a turning point which creates physical and psychological stress when the exploitation works as if it is integrated on a personal level in the non shielded human being. The dansers Louise Dahl and Marie Ursin give such a strong and impressive performance that it ́s hard to differentiate between the artistically crafted physical work and the bigger picture of the performance. It ́s simply all existing there together as one.
Ingela Brovik, Danstidningen, 03/12/2014