[et_pb_section fb_built=”1″ admin_label=”PERFORMANCES” _builder_version=”4.16″ background_color=”#ece9ea” global_colors_info=”{}”][et_pb_row admin_label=”BOUNDLESS OMINOUS FIELDS (2024)” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text admin_label=”BOUNDLESS OMINOUS FIELDS (2024)” _builder_version=”4.23.1″ text_font=”Dosis||||||||” text_text_color=”#8e8e8e” header_text_align=”center” header_text_color=”#595758″ header_2_font=”|||on|||||” header_2_text_align=”center” header_2_text_color=”#777777″ header_3_font=”Dosis||||||||” header_3_text_align=”left” header_3_text_color=”#000000″ text_orientation=”justified” custom_margin=”|150px||150px|false|false” custom_margin_tablet=”|80px||80px|false|false” custom_margin_phone=”|15px||15px|false|false” custom_margin_last_edited=”on|phone” global_colors_info=”{}”]<\/p>\n
[\/et_pb_text][et_pb_image src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2024\/02\/Boundless_MSG_cSKayacan_WebRes-49s.jpg” title_text=”DSC01110.jpeg.” align=”center” _builder_version=”4.27.4″ _module_preset=”default” animation_style=”fade” animation_duration=”2000ms” global_colors_info=”{}”][\/et_pb_image][et_pb_text admin_label=”BOUNDLESS OMINOUS FIELDS (2024) TEXTE” _builder_version=”4.27.4″ text_font=”Dosis||||||||” text_text_color=”#8e8e8e” header_text_align=”center” header_text_color=”#595758″ header_3_font=”Dosis||||||||” header_3_text_align=”left” header_3_text_color=”#000000″ text_orientation=”justified” custom_margin=”|150px||150px|false|false” custom_margin_tablet=”|80px||80px|false|false” custom_margin_phone=”|15px||15px|false|false” custom_margin_last_edited=”on|phone” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n
<\/p>\n
<\/p>\n
This performance work aims to activate the archaic and energetic transgenerational archives of both performer and spectator.<\/p>\n
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.\u00a0Immersed 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\u00a0 <\/span>altered states of resonance.<\/p>\n Boundless Ominous Fields<\/em> goes a step further into Gu\u00f0j\u00f3nsd\u00f3ttirs 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.<\/p>\n Confronting Hyper reality<\/b><\/p>\n \u201cPhysically, 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.\u00a0<\/span><\/p>\n Margr\u00e8t Sara Gu\u00f0j\u00f3nsd\u00f3ttir<\/i><\/p>\n Direction, choreography, concept: Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir Spatial design: Sofia Palillo Photo credits: Sinem Kayacan \/ Zodiak.<\/p>\n Funded by: The Arts Promotion Centre Finland, The Swedish Cultural Foundation in Finland, Oskar \u00d6flunds Stiftelse, Icelandic-Finnish Cultural Foundation, Eug\u00e8ne, Elisabeth & Birgit Nygr\u00e9ns Stiftelse \u00a0<\/span>Residency support: Saari Residence – Kone Foundation, Ty\u00f6huone \u00a0Helsinki. Zodiak Center for\u00a0<\/span>New Dance Helsinki.<\/p>\n <\/p>\n [\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2025\/04\/Boundless-Ominous-Fields-website-trailer-21.april-2025-opti-.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2025\/04\/Boundless-Ominous-Fields-website-trailer-21.april-2025-opti-.mp4″ image_src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2025\/04\/boundless.jpg” thumbnail_overlay_color=”rgba(0,0,0,0.6)” disabled_on=”off|off|off” _builder_version=”4.27.4″ custom_margin=”|100px||100px|false|false” custom_margin_tablet=”|80px||80px|false|false” custom_margin_phone=”|10px||10px|false|false” custom_margin_last_edited=”on|phone” global_colors_info=”{}”][\/et_pb_video][et_pb_video src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2025\/04\/BOF-final-trailer-1.april-2025.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2025\/04\/BOF-final-trailer-1.april-2025.mp4″ image_src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2024\/12\/Boundless_MSG_cSKayacan_WebRes-1.jpg” thumbnail_overlay_color=”rgba(0,0,0,0.6)” disabled_on=”on|on|on” _builder_version=”4.27.4″ custom_margin=”|100px||100px|false|false” custom_margin_tablet=”|80px||80px|false|false” custom_margin_phone=”|10px||10px|false|false” custom_margin_last_edited=”on|phone” disabled=”on” global_colors_info=”{}”][\/et_pb_video][et_pb_gallery gallery_ids=”2456,2454,2541,2895,2875,2691,2534,2885,2542″ fullwidth=”on” disabled_on=”off|off|off” _builder_version=”4.27.4″ _module_preset=”default” text_orientation=”center” width=”600px” module_alignment=”center” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.27.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_row _builder_version=”4.27.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.3″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" BOUNDLESS OMINOUS FIELDS \u00a0 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.\u00a0Immersed with their epigenetic imprinting they […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"\r\n Ceci est une page d\u2019exemple. C\u2019est diff\u00e9rent d\u2019un article de blog parce qu\u2019elle restera au m\u00eame endroit et appara\u00eetra dans la navigation de votre site (dans la plupart des th\u00e8mes). La plupart des gens commencent par une page \u00ab\u00a0\u00c0 propos\u00a0\u00bb qui les pr\u00e9sente aux visiteurs du site. Cela pourrait ressembler \u00e0 quelque chose comme cela\u00a0:<\/p>\r\n\r\n Bonjour\u00a0! Je suis un m\u00e9canicien qui aspire \u00e0 devenir acteur, et voici mon site. J\u2019habite \u00e0 Bordeaux, j\u2019ai un super chien baptis\u00e9 Russell, et j\u2019aime la vodka-ananas (ainsi qu\u2019\u00eatre surpris par la pluie soudaine lors de longues balades sur la plage au coucher du soleil).<\/p>\r\n<\/blockquote>\r\n\r\n ... ou quelque chose comme cela\u00a0:<\/p>\r\n\r\n La soci\u00e9t\u00e9 123 Machin Truc a \u00e9t\u00e9 cr\u00e9\u00e9e en 1971, et n\u2019a cess\u00e9 de proposer au public des machins-trucs de qualit\u00e9 depuis lors. Situ\u00e9e \u00e0 Saint-Remy-en-Bouzemont-Saint-Genest-et-Isson, 123 Machin Truc emploie 2 000 personnes, et fabrique toutes sortes de bidules super pour la communaut\u00e9 bouzemontoise.<\/p>\r\n<\/blockquote>\r\n\r\nCredits:<\/strong><\/h3>\n
<\/span>Performance, choreography: Karolina Ginman, Marlon Moilanen
Sound & composition: Lucy Railton
Lights design: Sofia Palillo
Spatial concept: Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir<\/span><\/p>\n
<\/span>Production: Karolina Ginman, Marlon Moilanen, Inari Pesonen, Zodiak \u2013 Center for New Dance
<\/span>Trilogy Concept: Karolina Ginman, Marlon Moilanen<\/span><\/p>\n
<\/p>\n\r\n
\r\n