[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”SOFT TARGET” _builder_version=”4.4.8″][et_pb_column type=”4_4″ _builder_version=”4.4.8″][et_pb_divider color=”#969495″ _builder_version=”4.4.8″ background_color=”#ece9ea” min_height=”40px”][\/et_pb_divider][et_pb_text admin_label=”soft target” _builder_version=”4.4.8″ 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”]<\/p>\n
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SOFT TARGET (2010)<\/b><\/span><\/h2>\n\u00a0<\/h3>\nSynopsis & credits\u00a0<\/b><\/h3>\n
Choreographer Margret Sara Gudjonsdottir accompanied by dancer Johanna Chemnitz, music made by Peter Rehberg(PITA) and text composed from internet spam by Gordon Spragg, confront the idea of the \u201cSelf\u201d in an attempt to tear down the fabric of what separates the subject from the gaze.<\/p>\n
“Consider that there is nothing between us but a fleeting bundle of perceptions. In all eyes we want to be all things differently. I doubt your parents taught you last time I checked. With that in mind, consider this. How are you suppose to know what the right thing to say and do is?… then this is one of the best signs that there is. I think that you are a very interesting person.\u00a0The opposite of love is simply complete and utter indifference. I presume this will come to you as a surprise, but as things unfold, we will know each other better. <\/b>Because the truth is, whether you consider our methods ethical or not…\u00a0 In other words, I know how you feel. You should also know…And now I’m going to get right to the point<\/em>…\u201c\u00a0<\/span>-Gordon Spragg<\/p>\nConcept\/ direction\/choreography<\/b>: Margr\u00e9t Sara Gudj\u00f3nsd\u00f3ttir\/Performance\/choreography<\/b>: Johanna Chemnitz\/Text<\/b>: Gordon Spragg\/Sound<\/b>: Peter Rehberg\/Photo:<\/strong>Tom Akinleminu\/Co-production<\/b>: The city funds of Reykjavik\/ Ballhaus Ost Berlin, Reykjavik Dance Festival.<\/p>\n <\/p>\n
\n\n\nReviews<\/b><\/span><\/h3>\nEqually interesting and affecting is the Icelandic choreographer Margre\u0301t Sara Gudjonsdottir who created the solo Soft Target for the dancer Johanna Chemnitz. It begins in the thick darkness where a man\u2019s voice disturbs our minds with
nonsense. The dancer, dressed only in bra and shorts, exposes every muscle and twitch. Her eyes are closed at first her and she seems to shrink instinctively from something. The dancer tries to orient herself in both her own body and space, like an animal that is frightened out of his burrow and blinking against the light, to us who see her. The electronic sound is amplified to the pain threshold while the dancer switches with pressure between various movement fragments. She reflects in our eyes but is also trapped in it \u2013 a soft target. Soft Target is a consistent and thought-provoking unpleasant solo that leaves traces in the viewer\u2019s body and raises awareness of how we read of the environment.<\/p>\n
Anna Angstrom, 22.05.2012<\/em>
SvD Kultur Sweden<\/em><\/p>\nEffective and clever;\u201cSoft Target\u201d manages to reinvent the wheel
The incredibly simple concept behind the performance is intimidatingly effective, pure, clever and persistent… Soft Target is an exceptionally thought out piece both physiologically and psychological. Managing to be captivating as well challenging it is a true piece of art that transcends itself.
O\u0308rjan Abrahamsson 14.10.2012<\/em>
Dagens Nyheter, Stockholm<\/em><\/p>\n <\/p>\n<\/div>\n
Documentation<\/strong><\/h3>\n<\/div>\n<\/div>\n[\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/videosweb\/Soft%20Target.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/videosweb\/Soft%20Target.mp4″ image_src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/06\/fondnoir.jpg” thumbnail_overlay_color=”rgba(0,0,0,0.6)” _builder_version=”4.4.8″ 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”][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”Variations on Closer(2012″ _builder_version=”4.4.8″][et_pb_column type=”4_4″ _builder_version=”4.4.8″][et_pb_divider color=”#969495″ _builder_version=”4.4.8″ background_color=”#ece9ea” min_height=”40px”][\/et_pb_divider][et_pb_text admin_label=”Variations on Closer(2012)” _builder_version=”4.4.8″ text_font=”Dosis||||||||” text_text_color=”#8e8e8e” header_text_align=”center” header_text_color=”#595758″ header_3_font=”Dosis||||||||” 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”]<\/p>\n
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\n\n\nVariations on Closer (2012)<\/strong><\/h2>\n <\/p>\n
Synopsis & credits<\/b><\/span><\/h3>\n <\/p>\n<\/div>\n<\/div>\n<\/div>\n
In Variations on Closer different variations of closeness between an individual and his observers is investigated. The audience\u00a0are challenged by 3 female performers, whom extensively conceal and reveal them to the limited perception of themselves. Offering them their expertise in manipulation and representation of performative stunts. Confusing, un arming and seducing the audience into their own disorienting reality. The observers and performers alike are offered a chance to renegotiate their feelings associated with living outside one’s own body as well as living through the bodies of others and\u00a0are confronted with the role of their own gaze and their ever shifting feelings of empathy, attraction, intimacy and alienation.\u00a0The soundtrack was created by music maker Peter Rehberg (PITA).<\/p>\n
Concept\/direction\/choreography<\/b>: Margr\u00e9t Sara Gudj\u00f3nsd\u00f3ttir\/Performers\/choreography<\/b>: Laura Siegmund, Marie Ursin\/Johanna Chemnitz, Angela Schubot\/Sound<\/b>: Peter Rehberg;\u00a0original composed sound track by Peter Rehberg with an excerpt from an additional track titled Mannhattan\/ Eagle Rock by Pocahaunted from the album Live From The New Age\/Photo:<\/b> Tom Akinleminu, painting by Marion Bataillard\/Co-production:\u00a0<\/b>MDT\u00a0<\/span>Stockholm (SE), RAS kulturhus Sandnes(NO), Les Grandes Traversees festival Bordeaux (FR)\/Residency support:\u00a0<\/span><\/b>WP Zimmer Antwerpen (BE), Sommer.bar \u2013Tanz im august Berlin (GE), Barneys Crossing Cologne (GE)\/Special thanks to<\/b>: Sonia Franken, Eike Siegmund,\u00a0 <\/span>Anja R\u00f6ttgerkamp, Andrea Lutz\/Ashtanga Studio Berlin, Jared and Angela productions, <\/i>jill Emerson(SMC), <\/i>Gotische saal Berlin, Benjamin Schalike, Thomas Schaupp.<\/p>\n <\/p>\n
Reviews<\/b><\/span><\/h3>\n\n\n\n\n\n\n“Choreographers have tried in a variety of ways to challenge the traditional relationship between spectator and performer since the radical re-workings of dance in the sixties. Icelandic choreographer Margre\u0301t Sara Gu\u00f0jo\u0301nsdo\u0301ttir continues in the spirit of these liberating experiments with her piece,Variations on Closer. Her work features three highly individualistic looking women, minimalistic dance and experimental, electronic music by Peter Rehberg which becomes another distinct presence on stage. The performers confront the gaze of the audience and manage to expose each one of us as much as they expose themselves. Their powerful command of the gaze deflects ours and becomes a shield to protect their vulnerability…Variations on Closer is hard work. You are implicated in the performance, you cant hide in your seat. You dont get any closer to the protagonists. However it is effective in that it presents women performers who take control and empower themselves not through theatrical devices but through the gaze…The performers confront the gaze of the audience and manage to expose each one of us as much as they expose themselves. Their powerful command of the gaze deflects ours and becomes a shield to protect their vulnerability.<\/p>\n
Josephine Leask,The Dance Insider, London, 3rd of October 2014<\/em><\/p>\n <\/p>\n<\/div>\n
Documentation<\/strong><\/h3>\n\u00a0<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n[\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/videosweb\/VARIATIONS%20ON%20CLOSER.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/videosweb\/VARIATIONS%20ON%20CLOSER.mp4″ image_src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/06\/fondnoir.jpg” thumbnail_overlay_color=”rgba(0,0,0,0.6)” _builder_version=”4.4.8″ 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”][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”Step Right To It(2013)” _builder_version=”4.4.8″][et_pb_column type=”4_4″ _builder_version=”4.4.8″][et_pb_divider color=”#969495″ _builder_version=”4.4.8″ background_color=”#ece9ea” min_height=”40px”][\/et_pb_divider][et_pb_text admin_label=”Step Right To It (2013)” _builder_version=”4.4.8″ 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”]<\/p>\n
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Step Right To It (2013)<\/strong><\/h2>\n <\/p>\n
Synopsis & credits<\/strong><\/h3>\nThe performance \u201cStep Right To It\u201d is an ode to alienation and its hyper personal physical internalization and external disorientation.\u00a0Performers at the edge of the \u201cstage” and under the pressure of the audience gaze and the magnifying effect of stage representation; sound, light, staging. They step to “it” within a self-imposed incapacity to do so. In this very space, which represents time more than space, where IT is supposed to “happen” “between” them and those who have paid to watch them\u00a0What is about to appear is this latent territory, which could only appear in the vacuum of a construct, it is a result of the pressure and power of exposure and from the rejection of it.\u00a0The exchange between movers and viewers leads to two synchronized journeys.<\/p>\n
Concept, direction,choreography<\/b>: Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir\/Performers:<\/b> Marie Ursin, Rodrigo Vilarinho, Louise Dahl and Annie Kay Dahlstr\u00f6m\/Set and Light design<\/b>: Jens Sethzman\/Sound editing<\/b>: David Kiers, tracks:<\/b> Mage by Nic Sarno, Fluro Black by ARP 101 & Elliott Yorke, KTL Tony\/Producers: <\/b>MDT theater Stockholm (SE), DOCH\u00a0University of dance and circus in Stockholm\u00a0(SE)\/Photo:<\/b> Jens Sethzman<\/p>\n
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Reviews<\/strong><\/h3>\nNo flutter of an eyelid is accidental<\/strong><\/p>\n\u201cStep Right To It\u201d, by the Icelandic choreographer Margre\u0301t Sara Gudjo\u0301nsdo\u0301ttir. The four person choreography is minimalist and authoritative in front of its dark blue semi circular curtain. Everything is in slow motion. The performers \u2013 three women, one man dressed in everyday clothes \u2013 crawl on all fours, sometimes with a predatory elegance. They step out of the curtain and sink to the floor again and again, seeming as if they are about to faint or are in pain.\u00a0They enter from the right, disappearing again to the left taking a very long time. Each tired flutter of the eyelid seems choreographed. Almost nothing happens, there is almost no variation, yet the timing is immaculate. A tense anticipation is built in which you await every change of lighting, music or personnel.\u00a0Above all however, the 40 minute long \u201cStep Right To It\u201d shows a completely unique, wilful signature \u2013 all achieved with the least amount of original movement. There is a very special mixture, there is rigour and there is dramaturgy. That is also something not so easily copied.
Sylvia Staude , Frankfurter Rundschau 10.06.2014<\/em><\/p>\n <\/p>\n
Documentation<\/strong><\/h3>\n[\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/videosweb\/step%20right%20to%20it.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/videosweb\/step%20right%20to%20it.mp4″ image_src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/06\/fondnoir.jpg” thumbnail_overlay_color=”rgba(0,0,0,0.6)” _builder_version=”4.4.8″ 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”][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”Blind Spotting (2014)” _builder_version=”4.4.8″][et_pb_column type=”4_4″ _builder_version=”4.4.8″][et_pb_divider color=”#969495″ _builder_version=”4.4.8″ background_color=”#ece9ea” min_height=”40px”][\/et_pb_divider][et_pb_text admin_label=”Blind Spotting (2014)” _builder_version=”4.4.8″ 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″]<\/p>\n
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Blind Spotting (2014)<\/strong><\/h2>\n\u00a0<\/h3>\nSynopsis &credits<\/strong><\/h3>\nExhaustion as a diagnosis of our time, isolation as the means of choice – with an ensemble of eight dancers, Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir enters the blind spot in Blind Spotting in the incessant noise of everyday life. In impressive and at the same time disturbing images, they expose the vulnerability of the fragile bodies of our achievement-oriented society and sharpen the eye for power in its supposed weakness.
Who does not know the feeling of exhaustion in everyday life in the big city, the desire to withdraw and close oneself off from the manifold impressions? Demarcation is the keyword of our time. We have learned to reduce our perception to a minimum – and yet there are events and moments that penetrate our consciousness as if from nowhere and touch us.
Poetic, disturbing and uncanny at the same time, the ensemble of eight dancers penetrates to this blind spot of our perception and invites us to jointly grasp the fragile self in our overloaded bodies. Unsettled by the almost boundless empathy with others, this self begins to observe its own gaze and explore its perception. In a dense atmosphere, filled with intimidating intimacy that is hard to escape, the performers, together with their audience, try to sharpen the awareness of the individual presence of the counterpart and to assert a different, vulnerable and fragile body: a body that discovers its own strength in its vulnerability and openness.<\/p>\n
Concept:<\/strong> Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir, Angela Schubot Direction\/choreography, stage & costume design<\/strong>: Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir\/Choreography\/Performance:<\/strong> Louise Dahl, Annie Kay Dahlstr\u00f6m, Catherine Jodoin, Angela Schubot, Laura Siegmund, Suet-Wan Tsang, Marie Ursin, Rodrigo Vilarinho\/Music:<\/strong> Peter Rehberg\/ Lighting design & set design:<\/strong> Andreas Harder\/Dramaturgical consulting:<\/strong> Anja R\u00f6ttgerkamp, Vincent Roumagnac, Thomas Schaupp\/ Production management:<\/strong> Gabi Beier\/Production staff & press:<\/strong> bj\u00f6rn & bj\u00f6rn\/ Photography:<\/strong> David Kiers\/\u00a0Film:<\/strong> Antoine Verbi\u00e9se\/\u00a0Funded by:<\/strong> Hauptstadtkulturfonds\/In co-production with:<\/strong>Life Long Burning Cultural Programme of the European Union 2013-2018, The Cullberg Ballet, MDT Stockholm and with Wilderness dance as part of ke\u00f0ja supported by Culture Programme of the European Union, Nordic Culture Fund and Kultur Kontakt Nord and regional and national sponsors. Supported by Tanzfabrik Berlin and Advancing Performing Arts Project (APAP).<\/p>\n <\/p>\n
Reviews<\/strong><\/h3>\n\u201cThe quality is not just produced by that age old playing with the gaze. There is also a slowness, seemingly born of an endless exhaustion; the infernal silence from which Peter Rehberg\u2019s music is created and of course the quality is produced by the Icelandic choreographer Margre\u0301t Sara Gudjo\u0301nsdo\u0301ttir\u2019s movement art, like a puppet hanging from a string\u201d.<\/p>\n
Arnd Wesemann, tanz, 08\/2014<\/em><\/p>\n <\/p>\n
\u201cAgain and again we see exhausted bodies, retreating within themselves. There is hardly communication between the protagonists. Each one going their toilsome way. Everyone is exhausted. It is in this weakness of the human body where the choreographer searches for the body\u2019s strength and she succeeds, by parading this weakness, without any one secret, in the bright light […] Blind Spotting makes a mirror out of the public and out of the actors in which they mutually look at themselves for three quarters of an hour.\u201d<\/p>\n
Aura Cumita, Neue Deutche presse, 16.06.2014<\/em><\/p>\n <\/p>\n
Documentation<\/strong><\/h3>\n[\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/videosweb\/Blind%20Spotting.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/videosweb\/Blind%20Spotting.mp4″ thumbnail_overlay_color=”rgba(0,0,0,0.6)” _builder_version=”4.4.8″ 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”][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”Spotted (2014)” _builder_version=”4.4.8″][et_pb_column type=”4_4″ _builder_version=”4.4.8″][et_pb_divider color=”#969495″ _builder_version=”4.4.8″ background_color=”#ece9ea” min_height=”40px”][\/et_pb_divider][et_pb_text admin_label=”Spotted (2014)” _builder_version=”4.4.8″ 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”]<\/p>\n
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Spotted (2014)<\/strong><\/h2>\n <\/p>\n
Synopsis & credits<\/strong><\/h3>\nIn 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.\u00a0<\/p>\n
The duet performance \u201cSpotted\u201d is born out of the performance \u201cBlind Spotting\u201d, a performance with an original cast of 8 dancers which premiered at the Sophiensaile theater in Berlin in june 2014<\/em>.\u00a0The \u201cBlind Spotting Performance Seri\u201c includes at this point; \u201cBlind Spotting\u201d, \u201cBlind Spotting- film version\u201d a film by Antoine Verbi\u00e8se, the duet performance \u201cSpotted\u201d, and the solo performance made for performer Angela Schubot \u201cIn the Blind Spot\u201d (2015).<\/em><\/p>\nDirection\/Choreography\/ Concept\/ Costumes:<\/strong> Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir\/ Music:<\/strong> Peter Rehberg\/Set Design:<\/strong> Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir, Andreas Harder\/Light design:<\/strong> Bj\u00f6rn Kuajara\/Performed by:<\/strong> Louise Dahl, Marie Ursin\/Production:<\/strong> Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir\/Production management<\/strong>: Annie Kay Dahlstr\u00f6m\/Photography:<\/strong> David Kiers and Lasse Dahl\/ Co-Production:<\/strong> Slingan: Atalante Gothenburg, Dansstationen Malm\u00f6, MDT\/Thanks go to:<\/strong> Flutgraben Berlin Public and Private studio, Zohar Frank, Lasse Dahl.<\/p>\n <\/p>\n
Reviews\u00a0\u00a0<\/strong><\/h3>\nAnd we wait: <\/strong>Andrew Edwards is both excruciatingly bored and enormously impressed by Margre\u0301t Sara Gu\u00f0jo\u0301nsdo\u0301ttir\u2019s inertia-ridden show.<\/strong><\/p>\nThe 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\u2019s 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.<\/p>\n
Andrew Edwards Exeunt Magazine, 06\/05\/2017<\/em><\/p>\n <\/p>\n
Breathtaking view of our times on exposure<\/strong><\/p>\n\u201cThe Icelandic choreographer Margre\u0301t Sara Gu\u00f0jo\u0301nsdo\u0301ttir, 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\u201d.<\/p>\n
Anna Angstro\u0308m SvD Kultur, 24\/11\/2014<\/em><\/p>\n <\/p>\n
With minimalistic precision<\/strong><\/p>\nThis 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 \u0301s hard to differentiate between the artistically crafted physical work and the bigger picture of the performance. It \u0301s simply all existing there together as one.<\/p>\n
Ingela Brovik, Danstidningen, 03\/12\/2014<\/em><\/p>\n <\/p>\n
Documentation<\/strong><\/h3>\n[\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/videosweb\/Spotted.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/videosweb\/Spotted.mp4″ image_src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/06\/fondnoir.jpg” thumbnail_overlay_color=”rgba(0,0,0,0.6)” _builder_version=”4.4.8″ 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”][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”In the blind spot (2015)” _builder_version=”4.4.8″][et_pb_column type=”4_4″ _builder_version=”4.4.8″][et_pb_divider color=”#969495″ _builder_version=”4.4.8″ background_color=”#ece9ea” min_height=”40px”][\/et_pb_divider][et_pb_text admin_label=”In the blind spot (2015)” _builder_version=”4.4.8″ 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”]<\/p>\n
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<\/strong><\/h2>\nIn the blind spot (2015)<\/strong><\/h2>\n <\/p>\n
Synopsis & credits<\/strong><\/h3>\n\u201cIn the Blind Spot\u201d takes the notion of letting go as it\u00b4s starting point and leads the body to the edge of collapse and utter surrendering. It strives to transform the supposed weakness of the spent body into something positive and celebrate it as the refusal of the achievement imperative,the fullness of its fragility revealing the unseen location of the non-resistant resistance. \u201cIn the Blind Spot\u201d expounds a very physical movement language, extracting the usual limits of identity and (self) assertion by its very softness. With limitless non-aggression it reveals and provokes simultaneously. The performance radically puts the singular body as the centerpiece. As if under a magnifying glass, hidden insides are brought to light.<\/span><\/p>\nThe performance \u201cIn the Blind Spot\u201d belongs to the \u201cBlind Spotting Performance Series\u201c launched in 2014 by Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir. It is simultaneously the first part of Angela Schubot\u2019s 2015 solo trilogy \u201cK\u00f6rper ohne Macht\u201d (Powerless Bodies).<\/span><\/p>\nDirection, Choreography, Costume, Set design:<\/strong> Margret Sara Gu\u00f0j\u00f3nsd\u00f3ttir\/Performer\/choreography:<\/strong> Angela Schubot\/ Music:<\/strong> Peter Rehberg\/Light<\/strong>: Martin Beeretz\/ Thanks to:<\/strong> Zohar Frank\/Company management, PR:<\/strong> bj\u00f6rn & bj\u00f6rn. Photos:<\/strong> Benjakon\/Co-production:<\/strong> produced by Angela Schubot in collaboration with SOPHIENS\u00c6LE, HAU Hebbel am Ufer, CDC Uz\u00e8s Danse, Theater Freiburg, Schwankhalle Bremen and ImPulsTanz Wien, MDT Stockholm. Funded by the Hauptstadtkulturfonds. Supported by Tanzfabrik Berlin and ada Studio.<\/p>\nReviews<\/strong><\/h3>\nA soft punch in the face against the performance requirements<\/strong><\/p>\n\u201c In the blind spot is one of the most interesting new pieces by Margret Sara Gu\u00f0jo\u0301nsdo\u0301ttir.
The non-performing body can have an extra charge \u2013 that provocation in a targeted community, as a target for various projections or concentration levels of the audience\u2019s consciousness in a dance performance. All this and much more is available in the Icelandic choreographers Margre\u0301t Sara Gu\u00f0jo\u0301nsdo\u0301ttirs consistently drilling work… she has stood out as one of the most interesting new artists presence to follow. The austere, minimalist and for both dancers and audience endurance demanding form is even more extreme than in previous work…deeply fascinating and scary… where physical transformation and social criticism go hand in hand. \u201cIn the blind spot\u201d can be seen as an act of defiance, a soft punch in the face to contemporary ideals\u201d.
Anna A\u030angstro\u0308m, Svenska dagbladet, 12\/04\/2016<\/em><\/p>\n <\/p>\n
Documentation<\/strong><\/h3>\n[\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/videosweb\/In%20the%20blind%20spot.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/videosweb\/In%20the%20blind%20spot.mp4″ thumbnail_overlay_color=”rgba(0,0,0,0.6)” _builder_version=”4.4.8″ 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”][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=” Conspiracy Ceremony-HYPERSONIC STATES (2017)” _builder_version=”4.4.8″][et_pb_column type=”4_4″ _builder_version=”4.4.8″][et_pb_divider color=”#969495″ _builder_version=”4.4.8″ background_color=”#ece9ea” min_height=”40px”][\/et_pb_divider][et_pb_text admin_label=” Conspiracy Ceremony-HYPERSONIC STATES (2017)” _builder_version=”4.4.8″ 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”]<\/p>\n
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Conspiracy Ceremony-HYPERSONIC STATES (2017)<\/strong><\/h2>\n <\/p>\n
Synopsis & credits<\/b><\/h3>\n
A symphony of pathologies, sentiments, and physical states originating in the personal emotional body are on display in this latest work by Icelandic choreographer Margr\u00e9t Sara Gudj\u00f3nsd\u00f3ttir. Emotions rush through these bodies without filters. The viewer experiences extreme and at times painfully private states. Portraying the anonymous multitude, the five dancers are ceremonially surrendered to, and moved by, invisible forces, both political and energetic in nature, that are far greater than all of us. The Hyperstates<\/em> form a corporeal language that serves as a doorway into the subconscious. This language is marked by an infinite presence that reveals and provokes in the same moment. It transfers itself into the bodies of the audience as they meet the performers with full intensity. Together, they explore and confront the inner landscape of the de-bordered body, offering up an alternative reality of physical pleasure and pain that comes with surrendering to the Hyperstates<\/em>.<\/p>\nIn Conspiracy\u00a0Ceremony<\/em>\u2013 Hypersonic States<\/em>, Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir <\/span>and her long-term artistic associates continue their in-depth research into a methodology that accesses physiological and emotional sub-worlds. Over a series of works (including the Blind Spotting Performance Series<\/em>), she has developed a new genre of performative body language, and an original working method that directly informs her creative outcomes.<\/p>\nConcept,\u00a0choreography, direction,costumes:\u00a0<\/strong>Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir\/<\/span>\u00a0Choreography\/Performance:<\/b>\u00a0Johanna Chemnitz, Catherine Jodoin, Laura Siegmund, Marie Topp, Suet-Wan Tsang\/\u00a0Music:\u00a0<\/strong>Peter Rehberg\/\u00a0Light design:\u00a0<\/strong>Martin Beeretz \/\u00a0Dramaturgical advice:\u00a0<\/strong>Zeina Hanna\/ Production\u00a0management:\u00a0<\/b>Elena Kr\u00fcskemper\/ Photos:<\/strong> Jeanette Ginslov\/Produced by Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir<\/span> in co-production with:\u00a0<\/strong>L\u00d3KAL \u2013 Performing Arts Reykjav\u00edk and SOPHIENS\u00c6LE. Founded by Senate Department for Culture and Europe.<\/p>\n <\/p>\n
Reviews<\/strong><\/h3>\nInternal emergencies<\/strong><\/p>\nAnd it is true that something incredible happens in this “conspiratorial ceremony” in which Gudjo\u0301nsdo\u0301ttir involves five dancers, most often separately. Little movement, no interaction or claim of communication with the space or the public. The hyper-state is an internal affair. And yet …No one, probably, has ever been so successful in rhyming with a state of choreographic urgency. Many contemporary choreographers have, however, got down to work. Without much result. Feeling what is going on within the body or mind of an interpreter usually requires the viewer to have an acute divining ability.
The Conspiracy Ceremony changes the game. With her research on myofascial release and her personal approach to somatic practices, Margre\u0301t Sara Gu\u00f0jo\u0301nsdo\u0301ttir has opened doors to the invisible and buried body memory. The performers manage, with a minimum of gestures, to create energetic fields that link their bodily presence to very powerful and almost palpable mental ones.<\/p>\n
Date: 22\/05\/2018 Thomas Hahn dansercanalhistorique.fr
BAGNOLET<\/p>\n
\u00a0<\/h6>\nExcerpt from performance material\u00a0<\/b>performed by Laura Siegmund: https:\/\/www.youtube.com\/watch?v=EZzlcE4Z0Gw<\/h6>\n
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HYPER (2017)<\/strong><\/h2>\n <\/p>\n
Synopsis & credits<\/b><\/h3>\n
\u201cGonna get what\u00b4s mine and wild horses couldn\u2019t take it from me. Papa says that I\u2019m a golden child and the whole world\u2019s gonna fall at my feet. It\u2019s all coming to me.\u201d <\/i>Nathalie Merchant<\/b><\/p>\n
With her new commissioned work,\u00a0HYPER<\/b>, Margret Sara Gudjonsdottir holds up a mirror to the hyper visual and rapid society we live in today, by dwelling on and inside the deep tissue, both of this very palpable reality and of the bodies living within it. Performed by four dancers of the Cullbergbaletten ensemble, the work portraits the essence of the grand human drama as a cry from the body. Emotions flush through this body without a filter, allowing the viewer to experience extreme sensorial states through the bodies of the dancers. The performance silently creeps under the audience\u2019s skin, sliding around their inner spaces and confronting the surface as a gateway into what lies beneath and beyond our superficial facade. A disarming performance in its crisp stillness, the work offers access into the healing aspects of examining and confronting the inner reality of the de-bordered body, providing an alternative reality of the physical pleasure and pain that comes with diving into the HYPER states.\u00a0<\/span><\/b><\/p>\nChoreography<\/b>: Margret Sara Gu\u00f0j\u00f3nsd\u00f3ttir\/Music:<\/b> David Kiers and MSG\/Lighting design<\/b>: Martin Beeretz\/Dancers of Cullberg Ballet<\/b>: Adam Sch\u00fctt, Anand Bolder, Eleanor Campbell, Vincent Van der Plas. Produced by the Cullberg Ballet<\/b><\/p>\n\u00a0<\/h3>\nReviews<\/strong><\/h3>\nCullbergbaletten\u2019s \u201cHyper\u201d is ambiguous and impressive,\u00a0<\/b><\/p>\n
Cullbergbaletten\u2019s \u201cHyper” is a remarkable, compelling masterpiece and a rumination on the \u201cwired\u201d nature of modern life. It is not to be missed, writes \u00d6rjan Abrahamsson.\u00a0While watching the performance I am struck and fascinated by Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir \u2019s choreographic consistency. This impression lingers after the curtain falls, as does my awe at the impressive concentration of the four dancers. I\u2019m also left mildly amused, vaguely bored, and pensive – but not particularly interested, let alone moved.\u00a0It is only later, as I make my way home – alone, having parted ways with my companion – that the performance\u2019s magnetic force begins to sink in. Gradually, my intellect catches up with the intense, physical experience of the ballet. This makes \u201cHyper\u201d a prime example of perhaps the most unique aspect of the greatest choreographic accomplishments.\u00a0<\/span>It takes a fair amount of time for the subconscious and the brain’s limbic system to communicate the physical body’s reactions to consciousness. When this connection finally occurs, the effect is overwhelming. Such is the case with \u201cHyper.\u201d It is shocking. Long-acting.\u00a0Let\u2019s take it from the beginning.When taken at face value, \u201cHyper\u201d is almost provocatively simple. The curtain rises on four dancers. Two are standing, while the other two lie on the floor. Their placement is reminiscent of a crime scene photo. Blue-white floors shimmer against a backdrop of white curtains. During the 50-minute performance, the dancers move convulsively in extreme slow motion. They are never more than three meters from their starting points, yet some small part of their bodies remains in constant motion. It is as if they are trapped in setting cement.\u00a0<\/span><\/p>\nAside from four short song clips, \u201cHyper\u201d is accompanied only by Tibetan throat singing – strange, discordant, and vaguely synthetic. That is all. Yet this is a hyper-professional performance.\u00a0It is not without reason that Gu\u00f0j\u00f3nsd\u00f3ttir has become one of the decade\u2019s most acclaimed and sought-after choreographers. Her work is highly conceptual, yet at the same time, it is of course fundamentally based in the human body. This dichotomy can be seen in Gu\u00f0j\u00f3nsd\u00f3ttir \u2019s early solo, \u201cSoft target,\u201d (DN 14\/10, 2012) which \u201cHyper\u201d resembles in many respects. At the same time, it is a completely different work. Both works are based in the existential, but \u201cHyper\u201d is also a chamber play about the shortcomings of social life.\u00a0<\/span><\/p>\nAs with all significant works of art, \u201cHyper\u201d leaves room for layer upon layer of interpretation. Personally, I find myself hung up on the dystopian undertones of the performance – on its questioning of how today\u2019s stressful news cycles, our inextricably wired lives, and social media affect us. Of how they affect mankind. Rather than increasing our freedom, this interconnectivity creates a lack of patience that is effectively portrayed by the physically stammering, even catatonic individuals on the stage. They also appear unable to communicate with each other.\u00a0At the same time, Gu\u00f0j\u00f3nsd\u00f3ttir offers hope. She demonstrates and reminds the spectator of the sensational physicality of the human body, and, if only we are attentive enough, of its unmistakable presence. In the best case scenario, it is only when we see and recognize our own (and contemporary society\u2019s) spastic condition that we can \u201cchill out,\u201d relax, and be freed.\u00a0In short: \u201cHyper\u201d is a stunning, captivating masterpiece. It is not to be missed.<\/p>\n
01.03.2018 O\u0308rjan Abrahamsson, Dagens Nyheter, Stockholm<\/em><\/p>\n\u00a0<\/h6>\nRehearsal trailer: <\/strong>https:\/\/www.youtube.com\/watch?v=-5lqZSERWks<\/h6>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”PERVASIVE MAGNETIC STIMULI (2018)” _builder_version=”4.4.8″][et_pb_column type=”4_4″ _builder_version=”4.4.8″][et_pb_divider color=”#969495″ _builder_version=”4.4.8″ background_color=”#ece9ea” min_height=”40px”][\/et_pb_divider][et_pb_text admin_label=”PERVASIVE MAGNETIC STIMULI (2018)” _builder_version=”4.4.8″ 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”]<\/p>\n
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PERVASIVE MAGNETIC STIMULI (2018)<\/strong><\/h2>\n <\/p>\n
Synopsis & reviews<\/strong><\/h3>\nOne does not become enlightened by imagining figures of light, but by making the darkness conscious.<\/b><\/p>\n
C G Jung<\/b><\/p>\n
In this latest work for 3 dancers, Gu\u00f0j\u00f3nsd\u00f3ttir opens up a new and unexplored realm of her choreographic methodology and deepens her distinctive and innovative performance aesthetic even further.<\/p>\n
PERVASIVE MAGNETIC STIMULI\u00a0serves as a doorway into the sub- and unconscious.\u00a0Populated by instincts and archetypes,\u00a0C G\u00a0Jung saw\u00a0the Collective Unconscious as an unconscious field that transcends the personal psyche and\u00a0having a physical home localised anatomically in the subcortical centres, the cerebellum and the spinal cord.\u00a0The onstage spectacle and its supporting methodologies represent a realm where appearances and consciously motivated action are not the lived reality of our lives. Forces equally ancient as current and far greater than all of us are explored through a \u00a0language which is marked by an infinite presence that reveals and pervades its environment in the same moment.<\/p>\n
Concept- choreography- direction: <\/b>Margr\u00e9t Sara\u00a0Gu\u00f0j\u00f3nsd\u00f3ttir\/performers\/choreogrpahy:\u00a0<\/b>Johanna Chemnitz, Laura Siegmund, Suet-Wan Tsang\/music: <\/b>Peter Rehberg\/costumes & set design<\/b>: Margr\u00e9t Sara\u00a0Gu\u00f0j\u00f3nsd\u00f3ttir\/light design<\/b>: Margr\u00e9t Sara\u00a0Gu\u00f0j\u00f3nsd\u00f3ttir\u00a0and Martin Beeretz\/production management:<\/b> Elena Kr\u00fcskemper\/Lokal\/ Photos:<\/strong> Zeina Hanna, Ev Schmidhuber\/International\/Distribution:<\/b> Something Great\/Funded by the Hauptstadtkulturfonds Berlin.\u00a0Coproduction:<\/b> Inkonst Malm\u00f6, WP Zimmer Antwerpen.<\/p>\n <\/p>\n
Reviews<\/strong><\/h3>\nAs I searched for images meanings and content to hang on to, I was left adrift, slowly streaming away from my query, my desire and expectation to find something beneath the surface. This piece becomes a canvas, not a white canvas, but a canvas of fields and energies which set the conditions for a journey to unfold…But this is not just any canvas. As it shapeshifts, Pervasive Magnetic Stimuli allows itself to be what it says it will be: pervasive. Not invasive, but pervasive. My humble advice: Let it do what it has to do. And if you can\u2019t, it most probably will do what it has to do anyway. How or when? That\u2019s for no one to know and each to find out. The collective unconscious has been conjured, but have no fear, we are all here: witnessing, calling, dreaming.<\/p>\n
Chris Gylee, International Notice 1rst. november 2018, http:\/\/internationalnotice.org<\/em><\/p>\n <\/p>\n
I wonder: Whose unconscious is being shown to me as I melt into my chair and pour over the stage of Pervasive Magnetic Stimuli? The choreographer\u2019s? The dancers\u2019? The person\u2019s sitting next to me? My own? What projections am I throwing into this cave?…I am addressed, but I cannot access the faces that I see: they are elsewhere, intoxicated by an energy I cannot touch, an energy I merely savour through the glossy, trance induced look in their eyes…And then I realize: I am being taken. We are being taken. Taken under. We are being taken under as Pervasive Magnetic Stimuli break the mirror, and for a split second allow us to have a glimpse at what lies beneath the surface of our expectations.<\/p>\n
Mariana Nobre Viera, International Notice 1rst. november 2018, http:\/\/ internationalnotice.org<\/em><\/p>\n <\/p>\n
Documentation<\/strong><\/h3>\n[\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/videosweb\/Pervasive%20Magnetic%20Stimuli.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/videosweb\/Pervasive%20Magnetic%20Stimuli.mp4″ image_src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/06\/fondnoir.jpg” thumbnail_overlay_color=”rgba(0,0,0,0.6)” _builder_version=”4.4.8″ 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”][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”MIXED MEDIA INSTALLATION – CONSPIRACY ARCHIVES (2018)” _builder_version=”4.4.8″][et_pb_column type=”4_4″ _builder_version=”4.4.8″][et_pb_divider color=”#969495″ _builder_version=”4.4.8″ background_color=”#ece9ea” min_height=”40px”][\/et_pb_divider][et_pb_text admin_label=”MIXED MEDIA INSTALLATION – CONSPIRACY ARCHIVES (2018)” _builder_version=”4.4.8″ 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”]<\/p>\n
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MIXED MEDIA INSTALLATION – CONSPIRACY ARCHIVES (2018)<\/strong><\/h2>\n<\/h3>\n<\/strong><\/h3>\nSynopsis and credits<\/strong><\/h3>\nUsing Mixed Reality, an archive is created of the studio processes of
choreographer Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir in creating her 2017 performance\u00a0Conspiracy Ceremony – HYPERSONIC STATES.\u00a0<\/em>This intense and powerful choreography was made from\u00a0many hours in the\u00a0studio working with reflective somatic (bodily) practices. The deep and\u00a0meditative quality of the work makes it a fascinating archiving challenge:\u00a0how is it possible to archive the dynamic, moving meditation of the dancers? We experimented with archival design prototypes using 2 different Augmented Reality\u00a0browsers intended to convey some of the qualities of\u00a0Gu\u00f0j\u00f3nsd\u00f3ttir\u2019s work.\u00a0This is an example of research that has philosophical, technological\u00a0and performative qualities.<\/p>\nAn\u00a0artistic research from the Living Archives Research<\/strong>\u00a0Project at Malm\u00f6 University.\u00a0A \u00a0collaboration\u00a0between: Professor in\u00a0philosophy\u00a0<\/strong>\u00a0Susan Kozel, choreographer<\/strong> Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir, Screen dance maker<\/strong> Dr. Jeannette Ginslov, computer specialist<\/strong> Keith Lim and\u00a0Daniel Spikol.\u00a0Dancers:<\/strong> Johanna Chemnitz, Catherine Jodoin, Laura Sigemund, Marie Topp, Suet-Wan Tsang.\u00a0Composer:<\/strong> Peter Rehberg.\u00a0Photographer<\/strong>: Jeannette Ginslov.<\/p>\n <\/p>\n
Links to find further information on the project and publications\u00a0<\/strong><\/h3>\nhttps:\/\/livingarchives.mah.se\/2018\/12\/conspiracy-archives\/
https:\/\/nivel.teak.fi\/adie\/conspiracy-archives\/<\/p>\n
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Documentation<\/strong><\/h3>\n[\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/videosweb\/Conspiracy%20Archives%20Malmo-Oct%2029%202018-opti2.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/videosweb\/Conspiracy%20Archives%20Malmo-Oct%2029%202018-opti2.mp4″ image_src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/06\/fondnoir.jpg” thumbnail_overlay_color=”rgba(0,0,0,0.6)” _builder_version=”4.4.8″ 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”][\/et_pb_video][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"
PERFORMANCES\u00a0 SOFT TARGET (2010) \u00a0 Synopsis & credits\u00a0 Choreographer Margret Sara Gudjonsdottir accompanied by dancer Johanna Chemnitz, music made by Peter Rehberg(PITA) and text composed from internet spam by Gordon Spragg, confront the idea of the \u201cSelf\u201d in an attempt to tear down the fabric of what separates the subject from the gaze. “Consider […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","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
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Synopsis & credits\u00a0<\/b><\/h3>\n
Concept\/ direction\/choreography<\/b>: Margr\u00e9t Sara Gudj\u00f3nsd\u00f3ttir\/Performance\/choreography<\/b>: Johanna Chemnitz\/Text<\/b>: Gordon Spragg\/Sound<\/b>: Peter Rehberg\/Photo:<\/strong>Tom Akinleminu\/Co-production<\/b>: The city funds of Reykjavik\/ Ballhaus Ost Berlin, Reykjavik Dance Festival.<\/p>\n <\/p>\n Equally interesting and affecting is the Icelandic choreographer Margre\u0301t Sara Gudjonsdottir who created the solo Soft Target for the dancer Johanna Chemnitz. It begins in the thick darkness where a man\u2019s voice disturbs our minds with Anna Angstrom, 22.05.2012<\/em> Effective and clever;\u201cSoft Target\u201d manages to reinvent the wheel <\/p>\n<\/div>\n [\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/videosweb\/Soft%20Target.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/videosweb\/Soft%20Target.mp4″ image_src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/06\/fondnoir.jpg” thumbnail_overlay_color=”rgba(0,0,0,0.6)” _builder_version=”4.4.8″ 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”][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”Variations on Closer(2012″ _builder_version=”4.4.8″][et_pb_column type=”4_4″ _builder_version=”4.4.8″][et_pb_divider color=”#969495″ _builder_version=”4.4.8″ background_color=”#ece9ea” min_height=”40px”][\/et_pb_divider][et_pb_text admin_label=”Variations on Closer(2012)” _builder_version=”4.4.8″ text_font=”Dosis||||||||” text_text_color=”#8e8e8e” header_text_align=”center” header_text_color=”#595758″ header_3_font=”Dosis||||||||” 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”]<\/p>\n <\/p>\n <\/p>\n <\/p>\n<\/div>\n<\/div>\n<\/div>\n In Variations on Closer different variations of closeness between an individual and his observers is investigated. The audience\u00a0are challenged by 3 female performers, whom extensively conceal and reveal them to the limited perception of themselves. Offering them their expertise in manipulation and representation of performative stunts. Confusing, un arming and seducing the audience into their own disorienting reality. The observers and performers alike are offered a chance to renegotiate their feelings associated with living outside one’s own body as well as living through the bodies of others and\u00a0are confronted with the role of their own gaze and their ever shifting feelings of empathy, attraction, intimacy and alienation.\u00a0The soundtrack was created by music maker Peter Rehberg (PITA).<\/p>\n Concept\/direction\/choreography<\/b>: Margr\u00e9t Sara Gudj\u00f3nsd\u00f3ttir\/Performers\/choreography<\/b>: Laura Siegmund, Marie Ursin\/Johanna Chemnitz, Angela Schubot\/Sound<\/b>: Peter Rehberg;\u00a0original composed sound track by Peter Rehberg with an excerpt from an additional track titled Mannhattan\/ Eagle Rock by Pocahaunted from the album Live From The New Age\/Photo:<\/b> Tom Akinleminu, painting by Marion Bataillard\/Co-production:\u00a0<\/b>MDT\u00a0<\/span>Stockholm (SE), RAS kulturhus Sandnes(NO), Les Grandes Traversees festival Bordeaux (FR)\/Residency support:\u00a0<\/span><\/b>WP Zimmer Antwerpen (BE), Sommer.bar \u2013Tanz im august Berlin (GE), Barneys Crossing Cologne (GE)\/Special thanks to<\/b>: Sonia Franken, Eike Siegmund,\u00a0 <\/span>Anja R\u00f6ttgerkamp, Andrea Lutz\/Ashtanga Studio Berlin, Jared and Angela productions, <\/i>jill Emerson(SMC), <\/i>Gotische saal Berlin, Benjamin Schalike, Thomas Schaupp.<\/p>\n <\/p>\n “Choreographers have tried in a variety of ways to challenge the traditional relationship between spectator and performer since the radical re-workings of dance in the sixties. Icelandic choreographer Margre\u0301t Sara Gu\u00f0jo\u0301nsdo\u0301ttir continues in the spirit of these liberating experiments with her piece,Variations on Closer. Her work features three highly individualistic looking women, minimalistic dance and experimental, electronic music by Peter Rehberg which becomes another distinct presence on stage. The performers confront the gaze of the audience and manage to expose each one of us as much as they expose themselves. Their powerful command of the gaze deflects ours and becomes a shield to protect their vulnerability…Variations on Closer is hard work. You are implicated in the performance, you cant hide in your seat. You dont get any closer to the protagonists. However it is effective in that it presents women performers who take control and empower themselves not through theatrical devices but through the gaze…The performers confront the gaze of the audience and manage to expose each one of us as much as they expose themselves. Their powerful command of the gaze deflects ours and becomes a shield to protect their vulnerability.<\/p>\n Josephine Leask,The Dance Insider, London, 3rd of October 2014<\/em><\/p>\n <\/p>\n<\/div>\n [\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/videosweb\/VARIATIONS%20ON%20CLOSER.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/videosweb\/VARIATIONS%20ON%20CLOSER.mp4″ image_src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/06\/fondnoir.jpg” thumbnail_overlay_color=”rgba(0,0,0,0.6)” _builder_version=”4.4.8″ 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”][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”Step Right To It(2013)” _builder_version=”4.4.8″][et_pb_column type=”4_4″ _builder_version=”4.4.8″][et_pb_divider color=”#969495″ _builder_version=”4.4.8″ background_color=”#ece9ea” min_height=”40px”][\/et_pb_divider][et_pb_text admin_label=”Step Right To It (2013)” _builder_version=”4.4.8″ 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”]<\/p>\n <\/p>\n <\/p>\n The performance \u201cStep Right To It\u201d is an ode to alienation and its hyper personal physical internalization and external disorientation.\u00a0Performers at the edge of the \u201cstage” and under the pressure of the audience gaze and the magnifying effect of stage representation; sound, light, staging. They step to “it” within a self-imposed incapacity to do so. In this very space, which represents time more than space, where IT is supposed to “happen” “between” them and those who have paid to watch them\u00a0What is about to appear is this latent territory, which could only appear in the vacuum of a construct, it is a result of the pressure and power of exposure and from the rejection of it.\u00a0The exchange between movers and viewers leads to two synchronized journeys.<\/p>\n Concept, direction,choreography<\/b>: Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir\/Performers:<\/b> Marie Ursin, Rodrigo Vilarinho, Louise Dahl and Annie Kay Dahlstr\u00f6m\/Set and Light design<\/b>: Jens Sethzman\/Sound editing<\/b>: David Kiers, tracks:<\/b> Mage by Nic Sarno, Fluro Black by ARP 101 & Elliott Yorke, KTL Tony\/Producers: <\/b>MDT theater Stockholm (SE), DOCH\u00a0University of dance and circus in Stockholm\u00a0(SE)\/Photo:<\/b> Jens Sethzman<\/p>\n <\/p>\n No flutter of an eyelid is accidental<\/strong><\/p>\n \u201cStep Right To It\u201d, by the Icelandic choreographer Margre\u0301t Sara Gudjo\u0301nsdo\u0301ttir. The four person choreography is minimalist and authoritative in front of its dark blue semi circular curtain. Everything is in slow motion. The performers \u2013 three women, one man dressed in everyday clothes \u2013 crawl on all fours, sometimes with a predatory elegance. They step out of the curtain and sink to the floor again and again, seeming as if they are about to faint or are in pain.\u00a0They enter from the right, disappearing again to the left taking a very long time. Each tired flutter of the eyelid seems choreographed. Almost nothing happens, there is almost no variation, yet the timing is immaculate. A tense anticipation is built in which you await every change of lighting, music or personnel.\u00a0Above all however, the 40 minute long \u201cStep Right To It\u201d shows a completely unique, wilful signature \u2013 all achieved with the least amount of original movement. There is a very special mixture, there is rigour and there is dramaturgy. That is also something not so easily copied. <\/p>\n [\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/videosweb\/step%20right%20to%20it.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/videosweb\/step%20right%20to%20it.mp4″ image_src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/06\/fondnoir.jpg” thumbnail_overlay_color=”rgba(0,0,0,0.6)” _builder_version=”4.4.8″ 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”][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”Blind Spotting (2014)” _builder_version=”4.4.8″][et_pb_column type=”4_4″ _builder_version=”4.4.8″][et_pb_divider color=”#969495″ _builder_version=”4.4.8″ background_color=”#ece9ea” min_height=”40px”][\/et_pb_divider][et_pb_text admin_label=”Blind Spotting (2014)” _builder_version=”4.4.8″ 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″]<\/p>\n <\/p>\n Exhaustion as a diagnosis of our time, isolation as the means of choice – with an ensemble of eight dancers, Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir enters the blind spot in Blind Spotting in the incessant noise of everyday life. In impressive and at the same time disturbing images, they expose the vulnerability of the fragile bodies of our achievement-oriented society and sharpen the eye for power in its supposed weakness. Concept:<\/strong> Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir, Angela Schubot Direction\/choreography, stage & costume design<\/strong>: Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir\/Choreography\/Performance:<\/strong> Louise Dahl, Annie Kay Dahlstr\u00f6m, Catherine Jodoin, Angela Schubot, Laura Siegmund, Suet-Wan Tsang, Marie Ursin, Rodrigo Vilarinho\/Music:<\/strong> Peter Rehberg\/ Lighting design & set design:<\/strong> Andreas Harder\/Dramaturgical consulting:<\/strong> Anja R\u00f6ttgerkamp, Vincent Roumagnac, Thomas Schaupp\/ Production management:<\/strong> Gabi Beier\/Production staff & press:<\/strong> bj\u00f6rn & bj\u00f6rn\/ Photography:<\/strong> David Kiers\/\u00a0Film:<\/strong> Antoine Verbi\u00e9se\/\u00a0Funded by:<\/strong> Hauptstadtkulturfonds\/In co-production with:<\/strong>Life Long Burning Cultural Programme of the European Union 2013-2018, The Cullberg Ballet, MDT Stockholm and with Wilderness dance as part of ke\u00f0ja supported by Culture Programme of the European Union, Nordic Culture Fund and Kultur Kontakt Nord and regional and national sponsors. Supported by Tanzfabrik Berlin and Advancing Performing Arts Project (APAP).<\/p>\n <\/p>\n \u201cThe quality is not just produced by that age old playing with the gaze. There is also a slowness, seemingly born of an endless exhaustion; the infernal silence from which Peter Rehberg\u2019s music is created and of course the quality is produced by the Icelandic choreographer Margre\u0301t Sara Gudjo\u0301nsdo\u0301ttir\u2019s movement art, like a puppet hanging from a string\u201d.<\/p>\n Arnd Wesemann, tanz, 08\/2014<\/em><\/p>\n <\/p>\n \u201cAgain and again we see exhausted bodies, retreating within themselves. There is hardly communication between the protagonists. Each one going their toilsome way. Everyone is exhausted. It is in this weakness of the human body where the choreographer searches for the body\u2019s strength and she succeeds, by parading this weakness, without any one secret, in the bright light […] Blind Spotting makes a mirror out of the public and out of the actors in which they mutually look at themselves for three quarters of an hour.\u201d<\/p>\n Aura Cumita, Neue Deutche presse, 16.06.2014<\/em><\/p>\n <\/p>\n [\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/videosweb\/Blind%20Spotting.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/videosweb\/Blind%20Spotting.mp4″ thumbnail_overlay_color=”rgba(0,0,0,0.6)” _builder_version=”4.4.8″ 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”][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”Spotted (2014)” _builder_version=”4.4.8″][et_pb_column type=”4_4″ _builder_version=”4.4.8″][et_pb_divider color=”#969495″ _builder_version=”4.4.8″ background_color=”#ece9ea” min_height=”40px”][\/et_pb_divider][et_pb_text admin_label=”Spotted (2014)” _builder_version=”4.4.8″ 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”]<\/p>\n <\/p>\n <\/p>\n 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.\u00a0<\/p>\n The duet performance \u201cSpotted\u201d is born out of the performance \u201cBlind Spotting\u201d, a performance with an original cast of 8 dancers which premiered at the Sophiensaile theater in Berlin in june 2014<\/em>.\u00a0The \u201cBlind Spotting Performance Seri\u201c includes at this point; \u201cBlind Spotting\u201d, \u201cBlind Spotting- film version\u201d a film by Antoine Verbi\u00e8se, the duet performance \u201cSpotted\u201d, and the solo performance made for performer Angela Schubot \u201cIn the Blind Spot\u201d (2015).<\/em><\/p>\n Direction\/Choreography\/ Concept\/ Costumes:<\/strong> Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir\/ Music:<\/strong> Peter Rehberg\/Set Design:<\/strong> Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir, Andreas Harder\/Light design:<\/strong> Bj\u00f6rn Kuajara\/Performed by:<\/strong> Louise Dahl, Marie Ursin\/Production:<\/strong> Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir\/Production management<\/strong>: Annie Kay Dahlstr\u00f6m\/Photography:<\/strong> David Kiers and Lasse Dahl\/ Co-Production:<\/strong> Slingan: Atalante Gothenburg, Dansstationen Malm\u00f6, MDT\/Thanks go to:<\/strong> Flutgraben Berlin Public and Private studio, Zohar Frank, Lasse Dahl.<\/p>\n <\/p>\n And we wait: <\/strong>Andrew Edwards is both excruciatingly bored and enormously impressed by Margre\u0301t Sara Gu\u00f0jo\u0301nsdo\u0301ttir\u2019s inertia-ridden show.<\/strong><\/p>\n 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\u2019s 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.<\/p>\n Andrew Edwards Exeunt Magazine, 06\/05\/2017<\/em><\/p>\n <\/p>\n Breathtaking view of our times on exposure<\/strong><\/p>\n \u201cThe Icelandic choreographer Margre\u0301t Sara Gu\u00f0jo\u0301nsdo\u0301ttir, 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\u201d.<\/p>\n Anna Angstro\u0308m SvD Kultur, 24\/11\/2014<\/em><\/p>\n <\/p>\n With minimalistic precision<\/strong><\/p>\n 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 \u0301s hard to differentiate between the artistically crafted physical work and the bigger picture of the performance. It \u0301s simply all existing there together as one.<\/p>\n Ingela Brovik, Danstidningen, 03\/12\/2014<\/em><\/p>\n <\/p>\n [\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/videosweb\/Spotted.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/videosweb\/Spotted.mp4″ image_src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/06\/fondnoir.jpg” thumbnail_overlay_color=”rgba(0,0,0,0.6)” _builder_version=”4.4.8″ 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”][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”In the blind spot (2015)” _builder_version=”4.4.8″][et_pb_column type=”4_4″ _builder_version=”4.4.8″][et_pb_divider color=”#969495″ _builder_version=”4.4.8″ background_color=”#ece9ea” min_height=”40px”][\/et_pb_divider][et_pb_text admin_label=”In the blind spot (2015)” _builder_version=”4.4.8″ 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”]<\/p>\n <\/p>\n <\/p>\n \u201cIn the Blind Spot\u201d takes the notion of letting go as it\u00b4s starting point and leads the body to the edge of collapse and utter surrendering. It strives to transform the supposed weakness of the spent body into something positive and celebrate it as the refusal of the achievement imperative,the fullness of its fragility revealing the unseen location of the non-resistant resistance. \u201cIn the Blind Spot\u201d expounds a very physical movement language, extracting the usual limits of identity and (self) assertion by its very softness. With limitless non-aggression it reveals and provokes simultaneously. The performance radically puts the singular body as the centerpiece. As if under a magnifying glass, hidden insides are brought to light.<\/span><\/p>\n The performance \u201cIn the Blind Spot\u201d belongs to the \u201cBlind Spotting Performance Series\u201c launched in 2014 by Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir. It is simultaneously the first part of Angela Schubot\u2019s 2015 solo trilogy \u201cK\u00f6rper ohne Macht\u201d (Powerless Bodies).<\/span><\/p>\n Direction, Choreography, Costume, Set design:<\/strong> Margret Sara Gu\u00f0j\u00f3nsd\u00f3ttir\/Performer\/choreography:<\/strong> Angela Schubot\/ Music:<\/strong> Peter Rehberg\/Light<\/strong>: Martin Beeretz\/ Thanks to:<\/strong> Zohar Frank\/Company management, PR:<\/strong> bj\u00f6rn & bj\u00f6rn. Photos:<\/strong> Benjakon\/Co-production:<\/strong> produced by Angela Schubot in collaboration with SOPHIENS\u00c6LE, HAU Hebbel am Ufer, CDC Uz\u00e8s Danse, Theater Freiburg, Schwankhalle Bremen and ImPulsTanz Wien, MDT Stockholm. Funded by the Hauptstadtkulturfonds. Supported by Tanzfabrik Berlin and ada Studio.<\/p>\n A soft punch in the face against the performance requirements<\/strong><\/p>\n \u201c In the blind spot is one of the most interesting new pieces by Margret Sara Gu\u00f0jo\u0301nsdo\u0301ttir. <\/p>\n [\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/videosweb\/In%20the%20blind%20spot.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/videosweb\/In%20the%20blind%20spot.mp4″ thumbnail_overlay_color=”rgba(0,0,0,0.6)” _builder_version=”4.4.8″ 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”][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=” Conspiracy Ceremony-HYPERSONIC STATES (2017)” _builder_version=”4.4.8″][et_pb_column type=”4_4″ _builder_version=”4.4.8″][et_pb_divider color=”#969495″ _builder_version=”4.4.8″ background_color=”#ece9ea” min_height=”40px”][\/et_pb_divider][et_pb_text admin_label=” Conspiracy Ceremony-HYPERSONIC STATES (2017)” _builder_version=”4.4.8″ 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”]<\/p>\n <\/p>\n <\/p>\n A symphony of pathologies, sentiments, and physical states originating in the personal emotional body are on display in this latest work by Icelandic choreographer Margr\u00e9t Sara Gudj\u00f3nsd\u00f3ttir. Emotions rush through these bodies without filters. The viewer experiences extreme and at times painfully private states. Portraying the anonymous multitude, the five dancers are ceremonially surrendered to, and moved by, invisible forces, both political and energetic in nature, that are far greater than all of us. The Hyperstates<\/em> form a corporeal language that serves as a doorway into the subconscious. This language is marked by an infinite presence that reveals and provokes in the same moment. It transfers itself into the bodies of the audience as they meet the performers with full intensity. Together, they explore and confront the inner landscape of the de-bordered body, offering up an alternative reality of physical pleasure and pain that comes with surrendering to the Hyperstates<\/em>.<\/p>\n In Conspiracy\u00a0Ceremony<\/em>\u2013 Hypersonic States<\/em>, Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir <\/span>and her long-term artistic associates continue their in-depth research into a methodology that accesses physiological and emotional sub-worlds. Over a series of works (including the Blind Spotting Performance Series<\/em>), she has developed a new genre of performative body language, and an original working method that directly informs her creative outcomes.<\/p>\n Concept,\u00a0choreography, direction,costumes:\u00a0<\/strong>Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir\/<\/span>\u00a0Choreography\/Performance:<\/b>\u00a0Johanna Chemnitz, Catherine Jodoin, Laura Siegmund, Marie Topp, Suet-Wan Tsang\/\u00a0Music:\u00a0<\/strong>Peter Rehberg\/\u00a0Light design:\u00a0<\/strong>Martin Beeretz \/\u00a0Dramaturgical advice:\u00a0<\/strong>Zeina Hanna\/ Production\u00a0management:\u00a0<\/b>Elena Kr\u00fcskemper\/ Photos:<\/strong> Jeanette Ginslov\/Produced by Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir<\/span> in co-production with:\u00a0<\/strong>L\u00d3KAL \u2013 Performing Arts Reykjav\u00edk and SOPHIENS\u00c6LE. Founded by Senate Department for Culture and Europe.<\/p>\n <\/p>\n Internal emergencies<\/strong><\/p>\n And it is true that something incredible happens in this “conspiratorial ceremony” in which Gudjo\u0301nsdo\u0301ttir involves five dancers, most often separately. Little movement, no interaction or claim of communication with the space or the public. The hyper-state is an internal affair. And yet …No one, probably, has ever been so successful in rhyming with a state of choreographic urgency. Many contemporary choreographers have, however, got down to work. Without much result. Feeling what is going on within the body or mind of an interpreter usually requires the viewer to have an acute divining ability. Date: 22\/05\/2018 Thomas Hahn dansercanalhistorique.fr <\/p>\n [\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/videosweb\/conspiracy%20ceremony.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/videosweb\/conspiracy%20ceremony.mp4″ image_src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/06\/fondnoir.jpg” thumbnail_overlay_color=”rgba(0,0,0,0.6)” _builder_version=”4.4.8″ 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”][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”HYPER (2017)” _builder_version=”4.4.8″][et_pb_column type=”4_4″ _builder_version=”4.4.8″][et_pb_divider color=”#969495″ _builder_version=”4.4.8″ background_color=”#ece9ea” min_height=”40px”][\/et_pb_divider][et_pb_text admin_label=”HYPER (2017)” _builder_version=”4.4.8″ text_font=”Dosis||||||||” text_text_color=”#8e8e8e” header_text_align=”center” header_text_color=”#595758″ 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”]<\/p>\n <\/p>\n <\/p>\n \u201cGonna get what\u00b4s mine and wild horses couldn\u2019t take it from me. Papa says that I\u2019m a golden child and the whole world\u2019s gonna fall at my feet. It\u2019s all coming to me.\u201d <\/i>Nathalie Merchant<\/b><\/p>\n With her new commissioned work,\u00a0HYPER<\/b>, Margret Sara Gudjonsdottir holds up a mirror to the hyper visual and rapid society we live in today, by dwelling on and inside the deep tissue, both of this very palpable reality and of the bodies living within it. Performed by four dancers of the Cullbergbaletten ensemble, the work portraits the essence of the grand human drama as a cry from the body. Emotions flush through this body without a filter, allowing the viewer to experience extreme sensorial states through the bodies of the dancers. The performance silently creeps under the audience\u2019s skin, sliding around their inner spaces and confronting the surface as a gateway into what lies beneath and beyond our superficial facade. A disarming performance in its crisp stillness, the work offers access into the healing aspects of examining and confronting the inner reality of the de-bordered body, providing an alternative reality of the physical pleasure and pain that comes with diving into the HYPER states.\u00a0<\/span><\/b><\/p>\n Choreography<\/b>: Margret Sara Gu\u00f0j\u00f3nsd\u00f3ttir\/Music:<\/b> David Kiers and MSG\/Lighting design<\/b>: Martin Beeretz\/Dancers of Cullberg Ballet<\/b>: Adam Sch\u00fctt, Anand Bolder, Eleanor Campbell, Vincent Van der Plas. Produced by the Cullberg Ballet<\/b><\/p>\n Cullbergbaletten\u2019s \u201cHyper\u201d is ambiguous and impressive,\u00a0<\/b><\/p>\n Cullbergbaletten\u2019s \u201cHyper” is a remarkable, compelling masterpiece and a rumination on the \u201cwired\u201d nature of modern life. It is not to be missed, writes \u00d6rjan Abrahamsson.\u00a0While watching the performance I am struck and fascinated by Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir \u2019s choreographic consistency. This impression lingers after the curtain falls, as does my awe at the impressive concentration of the four dancers. I\u2019m also left mildly amused, vaguely bored, and pensive – but not particularly interested, let alone moved.\u00a0It is only later, as I make my way home – alone, having parted ways with my companion – that the performance\u2019s magnetic force begins to sink in. Gradually, my intellect catches up with the intense, physical experience of the ballet. This makes \u201cHyper\u201d a prime example of perhaps the most unique aspect of the greatest choreographic accomplishments.\u00a0<\/span>It takes a fair amount of time for the subconscious and the brain’s limbic system to communicate the physical body’s reactions to consciousness. When this connection finally occurs, the effect is overwhelming. Such is the case with \u201cHyper.\u201d It is shocking. Long-acting.\u00a0Let\u2019s take it from the beginning.When taken at face value, \u201cHyper\u201d is almost provocatively simple. The curtain rises on four dancers. Two are standing, while the other two lie on the floor. Their placement is reminiscent of a crime scene photo. Blue-white floors shimmer against a backdrop of white curtains. During the 50-minute performance, the dancers move convulsively in extreme slow motion. They are never more than three meters from their starting points, yet some small part of their bodies remains in constant motion. It is as if they are trapped in setting cement.\u00a0<\/span><\/p>\n Aside from four short song clips, \u201cHyper\u201d is accompanied only by Tibetan throat singing – strange, discordant, and vaguely synthetic. That is all. Yet this is a hyper-professional performance.\u00a0It is not without reason that Gu\u00f0j\u00f3nsd\u00f3ttir has become one of the decade\u2019s most acclaimed and sought-after choreographers. Her work is highly conceptual, yet at the same time, it is of course fundamentally based in the human body. This dichotomy can be seen in Gu\u00f0j\u00f3nsd\u00f3ttir \u2019s early solo, \u201cSoft target,\u201d (DN 14\/10, 2012) which \u201cHyper\u201d resembles in many respects. At the same time, it is a completely different work. Both works are based in the existential, but \u201cHyper\u201d is also a chamber play about the shortcomings of social life.\u00a0<\/span><\/p>\n As with all significant works of art, \u201cHyper\u201d leaves room for layer upon layer of interpretation. Personally, I find myself hung up on the dystopian undertones of the performance – on its questioning of how today\u2019s stressful news cycles, our inextricably wired lives, and social media affect us. Of how they affect mankind. Rather than increasing our freedom, this interconnectivity creates a lack of patience that is effectively portrayed by the physically stammering, even catatonic individuals on the stage. They also appear unable to communicate with each other.\u00a0At the same time, Gu\u00f0j\u00f3nsd\u00f3ttir offers hope. She demonstrates and reminds the spectator of the sensational physicality of the human body, and, if only we are attentive enough, of its unmistakable presence. In the best case scenario, it is only when we see and recognize our own (and contemporary society\u2019s) spastic condition that we can \u201cchill out,\u201d relax, and be freed.\u00a0In short: \u201cHyper\u201d is a stunning, captivating masterpiece. It is not to be missed.<\/p>\n 01.03.2018 O\u0308rjan Abrahamsson, Dagens Nyheter, Stockholm<\/em><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”PERVASIVE MAGNETIC STIMULI (2018)” _builder_version=”4.4.8″][et_pb_column type=”4_4″ _builder_version=”4.4.8″][et_pb_divider color=”#969495″ _builder_version=”4.4.8″ background_color=”#ece9ea” min_height=”40px”][\/et_pb_divider][et_pb_text admin_label=”PERVASIVE MAGNETIC STIMULI (2018)” _builder_version=”4.4.8″ 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”]<\/p>\n <\/p>\n <\/p>\n One does not become enlightened by imagining figures of light, but by making the darkness conscious.<\/b><\/p>\n C G Jung<\/b><\/p>\n In this latest work for 3 dancers, Gu\u00f0j\u00f3nsd\u00f3ttir opens up a new and unexplored realm of her choreographic methodology and deepens her distinctive and innovative performance aesthetic even further.<\/p>\n PERVASIVE MAGNETIC STIMULI\u00a0serves as a doorway into the sub- and unconscious.\u00a0Populated by instincts and archetypes,\u00a0C G\u00a0Jung saw\u00a0the Collective Unconscious as an unconscious field that transcends the personal psyche and\u00a0having a physical home localised anatomically in the subcortical centres, the cerebellum and the spinal cord.\u00a0The onstage spectacle and its supporting methodologies represent a realm where appearances and consciously motivated action are not the lived reality of our lives. Forces equally ancient as current and far greater than all of us are explored through a \u00a0language which is marked by an infinite presence that reveals and pervades its environment in the same moment.<\/p>\n Concept- choreography- direction: <\/b>Margr\u00e9t Sara\u00a0Gu\u00f0j\u00f3nsd\u00f3ttir\/performers\/choreogrpahy:\u00a0<\/b>Johanna Chemnitz, Laura Siegmund, Suet-Wan Tsang\/music: <\/b>Peter Rehberg\/costumes & set design<\/b>: Margr\u00e9t Sara\u00a0Gu\u00f0j\u00f3nsd\u00f3ttir\/light design<\/b>: Margr\u00e9t Sara\u00a0Gu\u00f0j\u00f3nsd\u00f3ttir\u00a0and Martin Beeretz\/production management:<\/b> Elena Kr\u00fcskemper\/Lokal\/ Photos:<\/strong> Zeina Hanna, Ev Schmidhuber\/International\/Distribution:<\/b> Something Great\/Funded by the Hauptstadtkulturfonds Berlin.\u00a0Coproduction:<\/b> Inkonst Malm\u00f6, WP Zimmer Antwerpen.<\/p>\n <\/p>\n As I searched for images meanings and content to hang on to, I was left adrift, slowly streaming away from my query, my desire and expectation to find something beneath the surface. This piece becomes a canvas, not a white canvas, but a canvas of fields and energies which set the conditions for a journey to unfold…But this is not just any canvas. As it shapeshifts, Pervasive Magnetic Stimuli allows itself to be what it says it will be: pervasive. Not invasive, but pervasive. My humble advice: Let it do what it has to do. And if you can\u2019t, it most probably will do what it has to do anyway. How or when? That\u2019s for no one to know and each to find out. The collective unconscious has been conjured, but have no fear, we are all here: witnessing, calling, dreaming.<\/p>\n Chris Gylee, International Notice 1rst. november 2018, http:\/\/internationalnotice.org<\/em><\/p>\n <\/p>\n I wonder: Whose unconscious is being shown to me as I melt into my chair and pour over the stage of Pervasive Magnetic Stimuli? The choreographer\u2019s? The dancers\u2019? The person\u2019s sitting next to me? My own? What projections am I throwing into this cave?…I am addressed, but I cannot access the faces that I see: they are elsewhere, intoxicated by an energy I cannot touch, an energy I merely savour through the glossy, trance induced look in their eyes…And then I realize: I am being taken. We are being taken. Taken under. We are being taken under as Pervasive Magnetic Stimuli break the mirror, and for a split second allow us to have a glimpse at what lies beneath the surface of our expectations.<\/p>\n Mariana Nobre Viera, International Notice 1rst. november 2018, http:\/\/ internationalnotice.org<\/em><\/p>\n <\/p>\n [\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/videosweb\/Pervasive%20Magnetic%20Stimuli.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/videosweb\/Pervasive%20Magnetic%20Stimuli.mp4″ image_src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/06\/fondnoir.jpg” thumbnail_overlay_color=”rgba(0,0,0,0.6)” _builder_version=”4.4.8″ 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”][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”MIXED MEDIA INSTALLATION – CONSPIRACY ARCHIVES (2018)” _builder_version=”4.4.8″][et_pb_column type=”4_4″ _builder_version=”4.4.8″][et_pb_divider color=”#969495″ _builder_version=”4.4.8″ background_color=”#ece9ea” min_height=”40px”][\/et_pb_divider][et_pb_text admin_label=”MIXED MEDIA INSTALLATION – CONSPIRACY ARCHIVES (2018)” _builder_version=”4.4.8″ 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”]<\/p>\n \u00a0 <\/p>\n Using Mixed Reality, an archive is created of the studio processes of An\u00a0artistic research from the Living Archives Research<\/strong>\u00a0Project at Malm\u00f6 University.\u00a0A \u00a0collaboration\u00a0between: Professor in\u00a0philosophy\u00a0<\/strong>\u00a0Susan Kozel, choreographer<\/strong> Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir, Screen dance maker<\/strong> Dr. Jeannette Ginslov, computer specialist<\/strong> Keith Lim and\u00a0Daniel Spikol.\u00a0Dancers:<\/strong> Johanna Chemnitz, Catherine Jodoin, Laura Sigemund, Marie Topp, Suet-Wan Tsang.\u00a0Composer:<\/strong> Peter Rehberg.\u00a0Photographer<\/strong>: Jeannette Ginslov.<\/p>\n <\/p>\n https:\/\/livingarchives.mah.se\/2018\/12\/conspiracy-archives\/ <\/p>\n [\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/videosweb\/Conspiracy%20Archives%20Malmo-Oct%2029%202018-opti2.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/videosweb\/Conspiracy%20Archives%20Malmo-Oct%2029%202018-opti2.mp4″ image_src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/06\/fondnoir.jpg” thumbnail_overlay_color=”rgba(0,0,0,0.6)” _builder_version=”4.4.8″ 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”][\/et_pb_video][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" PERFORMANCES\u00a0 SOFT TARGET (2010) \u00a0 Synopsis & credits\u00a0 Choreographer Margret Sara Gudjonsdottir accompanied by dancer Johanna Chemnitz, music made by Peter Rehberg(PITA) and text composed from internet spam by Gordon Spragg, confront the idea of the \u201cSelf\u201d in an attempt to tear down the fabric of what separates the subject from the gaze. “Consider […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","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\nReviews<\/b><\/span><\/h3>\n
nonsense. The dancer, dressed only in bra and shorts, exposes every muscle and twitch. Her eyes are closed at first her and she seems to shrink instinctively from something. The dancer tries to orient herself in both her own body and space, like an animal that is frightened out of his burrow and blinking against the light, to us who see her. The electronic sound is amplified to the pain threshold while the dancer switches with pressure between various movement fragments. She reflects in our eyes but is also trapped in it \u2013 a soft target. Soft Target is a consistent and thought-provoking unpleasant solo that leaves traces in the viewer\u2019s body and raises awareness of how we read of the environment.<\/p>\n
SvD Kultur Sweden<\/em><\/p>\n
The incredibly simple concept behind the performance is intimidatingly effective, pure, clever and persistent… Soft Target is an exceptionally thought out piece both physiologically and psychological. Managing to be captivating as well challenging it is a true piece of art that transcends itself.
O\u0308rjan Abrahamsson 14.10.2012<\/em>
Dagens Nyheter, Stockholm<\/em><\/p>\nDocumentation<\/strong><\/h3>\n<\/div>\n<\/div>\n
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<\/h2>\nVariations on Closer (2012)<\/strong><\/h2>\n
Synopsis & credits<\/b><\/span><\/h3>\n
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<\/h2>\nStep Right To It (2013)<\/strong><\/h2>\n
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Sylvia Staude , Frankfurter Rundschau 10.06.2014<\/em><\/p>\nDocumentation<\/strong><\/h3>\n
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<\/h2>\nBlind Spotting (2014)<\/strong><\/h2>\n
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Synopsis &credits<\/strong><\/h3>\n
Who does not know the feeling of exhaustion in everyday life in the big city, the desire to withdraw and close oneself off from the manifold impressions? Demarcation is the keyword of our time. We have learned to reduce our perception to a minimum – and yet there are events and moments that penetrate our consciousness as if from nowhere and touch us.
Poetic, disturbing and uncanny at the same time, the ensemble of eight dancers penetrates to this blind spot of our perception and invites us to jointly grasp the fragile self in our overloaded bodies. Unsettled by the almost boundless empathy with others, this self begins to observe its own gaze and explore its perception. In a dense atmosphere, filled with intimidating intimacy that is hard to escape, the performers, together with their audience, try to sharpen the awareness of the individual presence of the counterpart and to assert a different, vulnerable and fragile body: a body that discovers its own strength in its vulnerability and openness.<\/p>\nReviews<\/strong><\/h3>\n
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<\/h2>\nSpotted (2014)<\/strong><\/h2>\n
Synopsis & credits<\/strong><\/h3>\n
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Documentation<\/strong><\/h3>\n
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In the blind spot (2015)<\/strong><\/h2>\n
Synopsis & credits<\/strong><\/h3>\n
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The non-performing body can have an extra charge \u2013 that provocation in a targeted community, as a target for various projections or concentration levels of the audience\u2019s consciousness in a dance performance. All this and much more is available in the Icelandic choreographers Margre\u0301t Sara Gu\u00f0jo\u0301nsdo\u0301ttirs consistently drilling work… she has stood out as one of the most interesting new artists presence to follow. The austere, minimalist and for both dancers and audience endurance demanding form is even more extreme than in previous work…deeply fascinating and scary… where physical transformation and social criticism go hand in hand. \u201cIn the blind spot\u201d can be seen as an act of defiance, a soft punch in the face to contemporary ideals\u201d.
Anna A\u030angstro\u0308m, Svenska dagbladet, 12\/04\/2016<\/em><\/p>\nDocumentation<\/strong><\/h3>\n
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<\/h2>\nConspiracy Ceremony-HYPERSONIC STATES (2017)<\/strong><\/h2>\n
Synopsis & credits<\/b><\/h3>\n
Reviews<\/strong><\/h3>\n
The Conspiracy Ceremony changes the game. With her research on myofascial release and her personal approach to somatic practices, Margre\u0301t Sara Gu\u00f0jo\u0301nsdo\u0301ttir has opened doors to the invisible and buried body memory. The performers manage, with a minimum of gestures, to create energetic fields that link their bodily presence to very powerful and almost palpable mental ones.<\/p>\n
BAGNOLET<\/p>\n\u00a0<\/h6>\n
Excerpt from performance material\u00a0<\/b>performed by Laura Siegmund: https:\/\/www.youtube.com\/watch?v=EZzlcE4Z0Gw<\/h6>\n
Documentation<\/strong><\/h3>\n
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<\/h2>\nHYPER (2017)<\/strong><\/h2>\n
Synopsis & credits<\/b><\/h3>\n
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Rehearsal trailer: <\/strong>https:\/\/www.youtube.com\/watch?v=-5lqZSERWks<\/h6>\n
<\/h2>\nPERVASIVE MAGNETIC STIMULI (2018)<\/strong><\/h2>\n
Synopsis & reviews<\/strong><\/h3>\n
Reviews<\/strong><\/h3>\n
Documentation<\/strong><\/h3>\n
<\/p>\nMIXED MEDIA INSTALLATION – CONSPIRACY ARCHIVES (2018)<\/strong><\/h2>\n
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Synopsis and credits<\/strong><\/h3>\n
choreographer Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir in creating her 2017 performance\u00a0Conspiracy Ceremony – HYPERSONIC STATES.\u00a0<\/em>This intense and powerful choreography was made from\u00a0many hours in the\u00a0studio working with reflective somatic (bodily) practices. The deep and\u00a0meditative quality of the work makes it a fascinating archiving challenge:\u00a0how is it possible to archive the dynamic, moving meditation of the dancers? We experimented with archival design prototypes using 2 different Augmented Reality\u00a0browsers intended to convey some of the qualities of\u00a0Gu\u00f0j\u00f3nsd\u00f3ttir\u2019s work.\u00a0This is an example of research that has philosophical, technological\u00a0and performative qualities.<\/p>\nLinks to find further information on the project and publications\u00a0<\/strong><\/h3>\n
https:\/\/nivel.teak.fi\/adie\/conspiracy-archives\/<\/p>\nDocumentation<\/strong><\/h3>\n
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