Around 250 artists, a whole 23 days, in three cities. The NORDWIND Festival takes place this year for the fifth time and once again shows how diverse it is with an array of artistic genres combining in a very rich festival programme. So that you don’t have to wait until the end of November, here is something to whet your appetite with the first Nordic and Baltic artists.
The festival opens in Dresden on 22 November with the renowned Latvian director Alvis Hermanis and his celebrated production Long Life – humane and unsparing but with heartfelt insights into a subject that awaits us all - growing old. In Stalker, the Norwegian theatre company Verk takes us to a place in which the normal laws of physics no longer apply, and the project Ljodahått presents traditional Norwegian poetry, blending elements of rock, folk, jazz and pop, bound together with deep intensity. In addition, in Entertainment Island, the international performance group Oblivia from Helsinki reflects the dazzling heights and the murky depths of the entertainment industry. In his solo performance Executed Stories the Finn Juha Valkeapää invites us to a ‘Last Meal’ while in Ten journeys to a place where nothing happens he contemplates the fundamental questions of life with the musician Taito Hoffrén. In his exhibition Eraser & Ruler the Icelandic artist Egill Sæbjörnsson combines an array of media: sound, music, sculpture and video in curious ways. Meanwhile the Lithuanian director Oskaras Korsunovas proves that the explosive themes in Maxim Gorky‘s Nachtasyl (The Lower Depths) have lost none of their currency, while in TRAVAIL by the Swedish choreograph and performer Alma Söderberg sound, movement and speech combine in a fascinating manner.
Born 1973 in Reykjavik, Iceland. Lives in Reykjavik and Berlin. Egill Sæbjörnsson graduated from the Icelandic College of Arts and Crafts (now the Icelandic Academy of the Arts) in 1997 and studied at the University of Paris, St.Denis, from 1995 to 1996.
Sæbjörnsson’s work is an approach to experience, a mode of behaviour, a play. He creates arrangements that cannot be described as mere “installations”. They are all at once performance set, sculptural accumulations and three-dimensional drawings. Music plays a vital part in his art projects, and he is a musician as much as a visual artist. With an artistic background in drawing and painting, Sæbjörnsson has always been fascinated by video and animation, and his current work can be seen as a (techno)logical continuation of painting. Some of his works incorporate music and projections with everyday objects, in a way that is both comical and poetic. Other works feature complete stage sets and performances, with cut-out figures that talk and sing and interact with commonplace objects or with the artist himself, all with strong references to both contemporary society and cultural and art history.
Venue: Foyer, 2. Floor
Opens 30 minutes before & after stage time.
Neon lights, dry ice and all manner of revelers– at the MOODY MOON CLUB, the darkest of dark spaces, visitors get acquainted with new interpretations of Nordic drink and dance traditions. By the light of a unique bar of salt crystal you can indulge in mineral vivification, Finnish tango and late-night games of chance. The MOODY MOON CLUB will open on 05.12 with a Finnish tango gala to live music – an opportunity to plunge into the bluest of moods. During the course of NORDWIND the MOODY MOON CLUB puts on a series of climatic nocturnal acts with artists from Hamburg staging experiments in avant-garde entertainment. The late night sport oddballs do slow-motion fitness und SMOGA (Smoking & Yoga) training, the professional poker players and Finnish born Riika Beust introduce variations of Death Poker, while Magic Marcel offers his famous-infamous ‘durational Bingo’.
Open after every evening of performances.
Supported by Kulturbehörde Hamburg.
Ljodahått is a project initiated by the Norwegian actor Magne-Håvard Brekke. He left his country at a very young age to study in East Germany at the Ernst Busch state school of acting in Berlin and worked with Frank Castorf, Christoph Marthaler and Dimiter Gotscheff. Throughout these soon thirty years of wandering Brekke carried within him the values of his childhood, of his culture and of northern nature. So he re-immersed himself in ancient Norwegian poems, thinking them over, reciting them out loud and translating them into different languages. The repertoire includes the ancient and the modern (from Edda to Henrik Ibsen to Knut Hamsun and Tarjei Vesaas...). Brekke has brought together some of the best humans and artists that he met on he’s journey throughout Europe, (from Germany, France, Switzerland, England, Austria and of course Norway); actors, musicians and composers. Together they put these poems into music and perform them in Norwegian in a true fusion of genres – even the ancient texts doped with rock and roll sound very modern.
Supported by: Embassy of Norway
Everyone likes a good moan! Complaining never falls out of fashion. It was this universally acknowledged truth that led the artistic duo Tellervo
Kalleinen and Oliver Kochta-Kalleinen to create an art project by setting up the Choir of Complaint movement.
Complaints will be sung at the Festival Theatre and various venues in the city to kick off the NORDWIND Festival.
A project of: Kultur Aktiv e.V., HELLERAU – Europäisches Zentrum der Künste Dresden, Ausländerrat Dresden e.V., NORDWIND Festival, Tellervo Kalleinen und Oliver Kochta-Kalleinen.
http://www.nordwind-festival.de/beschwerdechor-dresden/
Supported by: Finland Institute in Germany, Finnish embassy
Older people are all around us and yet as good as invisible. When they walk past us in the street, we barely register them, we filter them out, abdicate our responsibility and forget to visit them in the homes we have selected for them with the best of intentions. In Long Life, the Latvian director Alvis Hermanis focuses on the unpopular theme of growing old and the five residents of a communal apartment in Riga: “kitchen on the right, loo on the left, and in between three rooms, packed with a whole host of trinkets and trifles. Eating an apple with false teeth is no easy task. Even when it's the apple of temptation cut up into delicate pieces and handed to you by an elderly admirer. And that so he can then, accompanied by an electric piano and microphone, sing a song to his beloved which she hesitantly joins in. Two thin old voices, often more vibrato than tuneful, and a wonderful love scene with outright earthy undertones. The fact that microphones make a noise when you put them in a container truly delights the elderly pair. So, into the vase, out of the vase , over and over, as they giggle conspiratorially. Never was seduction so discreet.” (Christina Tilmann, Der Tagesspiegel)
Long Life will be performed for the 370th time during NORDWIND. The same actors who played at the premiere in 2003 will also be on stage in Dresden. During the past ten years the production has been shown in 29 countries and 52 cities.
Awards:
Grand PRIX, International theatre festival BITEF’39, 2005
Golden Laurel Wreath, Best Overall Acting, international theatre festival MESS’45, 2005
Audience Affinity Prize, International festival Baltic House, 2006
Herald Angel Prize, Included in the Edinburgh International Festival, main program, 2006
Golden Mask, Best Foreign Production presented in Russia, 2006
http://www.jrt.lv/en/about-jrt
Director: Alvis Hermanis
Stage / Costumes: Monika Pormale
Sound / Light: Gatis Builis
Stage manager: Zane Staņa
Stage technicians: Jānis Liniņš, Andris Skotelis
With: Guna Zariņa, Baiba Broka, Kaspars Znotiņš, Ģirts Krūmiņš, Vilis Daudziņš
Production: New Riga Theatre (Jaunais Rigas teatris)
Supported by: Ministry of Culture, Latvia
The two brothers Justas Fresh and Tadas Quazar have been kickin’ dancefloors world-wide for about a dozen years, stitching and scratching together bits and pieces from vintage grates to the freshest digital releases and promos from all around the globe: “Jazz For The Working Class”. Initially Mondayjazz was only a weekly mixtape page, which embraced vast amounts of different music, starting with music from Lithuania, Russia and France. They are proud members of Satta Outside (Lithuania) a music festival gathering thousands of music fans each year. In 2012 Mondayjazz declared themselves a music label. Over the years, Mondayjazz have played alongside/shared the stage with the very best on the urban-eclectic musical scene, worldwide. Starting with the party series, called Mondayjazz LIVE, continuing with collaborations with DZA (Error Broadcast), Comfort Fit (Tokyo Dawn Records), Om Unit (Civil Music), and most recently playing with Machinedrum (Planet Mu) and Hudson Mohawke (Warp).
Mondayjazz home http://www.mondayjazz.com
Mondayjazz Facebook: http://www.facebook.com/mondayjazz
Mondayjazz Soundcloud: https://soundcloud.com/mondayjazz-official
Resident Advisor on Vilnius http://www.residentadvisor.net/feature.aspx?1512
In Ten journeys to a place where nothing happens the artist Juha Valkeapää and the musician Taito Hoffrén invite the audience into a tent. There they serve pancakes and coffee while they tell their stories. The biggest challenge for them, or so they say, is to do nothing. Simply to be. In this they sometimes succeed and sometimes don‘t.
The core of the performance is the diary that is constantly updated. While the audience enjoys the pancakes Valkeapää & Hoffrén contemplate life’s big questions play music and show video clips. Next to the tent there is a camper van. It acts as transport, a kitchen, toilet, side stage, dressing room and store room. In summer it is a bedroom too.
Valkeapää and Hoffrén started this journey to a place where nothing happens in 2005. It was the year Valkeapää’s father died and Hoffrén’s first daughter was born. It has been a long, dark and winding road, but eventually, five years on the performance premiered at the Baltic Circle festival in Helsinki. Nordwind Dresden will be their 12th journey.
http://www.nbl.fi/~nbl815/voice.php
Concept / Performance / Production: Juha Valkeapää, Taito Hoffrén
Co-production: Baltic Circle
Supported by Arts Council of Finland, Finnish Cultural Foundation, Finnish Embassy, TINFO, Finland Institute in Germany
Everyone likes a good moan! Complaining never falls out of fashion. It was this universally acknowledged truth that led the artistic duo Tellervo
Kalleinen and Oliver Kochta-Kalleinen to create an art project by setting up the Choir of Complaint movement.
Complaints will be sung at the Festival Theatre and various venues in the city to kick off the NORDWIND Festival.
A project of: Kultur Aktiv e.V., HELLERAU – Europäisches Zentrum der Künste Dresden, Ausländerrat Dresden e.V., NORDWIND Festival, Tellervo Kalleinen und Oliver Kochta-Kalleinen.
www.nordwind-festival.de/beschwerdechor-berlin
www.nordwind-festival.de/beschwerdechor-dresden
Supported by: Finland Institute in Germany, Finnish embassy
Older people are all around us and yet as good as invisible. When they walk past us in the street, we barely register them, we filter them out, abdicate our responsibility and forget to visit them in the homes we have selected for them with the best of intentions. In Long Life, the Latvian director Alvis Hermanis focuses on the unpopular theme of growing old and the five residents of a communal apartment in Riga: “kitchen on the right, loo on the left, and in between three rooms, packed with a whole host of trinkets and trifles. Eating an apple with false teeth is no easy task. Even when it's the apple of temptation cut up into delicate pieces and handed to you by an elderly admirer. And that so he can then, accompanied by an electric piano and microphone, sing a song to his beloved which she hesitantly joins in. Two thin old voices, often more vibrato than tuneful, and a wonderful love scene with outright earthy undertones. The fact that microphones make a noise when you put them in a container truly delights the elderly pair. So, into the vase, out of the vase , over and over, as they giggle conspiratorially. Never was seduction so discreet.” (Christina Tilmann, Der Tagesspiegel)
Long Life will be performed for the 370th time during NORDWIND. The same actors who played at the premiere in 2003 will also be on stage in Dresden. During the past ten years the production has been shown in 29 countries and 52 cities.
Awards:
Grand PRIX, International theatre festival BITEF’39, 2005
Golden Laurel Wreath, Best Overall Acting, international theatre festival MESS’45, 2005
Audience Affinity Prize, International festival Baltic House, 2006
Herald Angel Prize, Included in the Edinburgh International Festival, main program, 2006
Golden Mask, Best Foreign Production presented in Russia, 2006
http://www.jrt.lv/en/about-jrt
Director: Alvis Hermanis
Stage / Costumes: Monika Pormale
Sound / Light: Gatis Builis
Stage manager: Zane Staņa
Stage technicians: Jānis Liniņš, Andris Skotelis
With: Guna Zariņa, Baiba Broka, Kaspars Znotiņš, Ģirts Krūmiņš, Vilis Daudziņš
Production: New Riga Theatre (Jaunais Rigas teatris)
Supported by: Ministry of Culture, Latvia
In Ten journeys to a place where nothing happens the artist Juha Valkeapää and the musician Taito Hoffrén invite the audience into a tent. There they serve pancakes and coffee while they tell their stories. The biggest challenge for them, or so they say, is to do nothing. Simply to be. In this they sometimes succeed and sometimes don‘t.
The core of the performance is the diary that is constantly updated. While the audience enjoys the pancakes Valkeapää & Hoffrén contemplate life’s big questions play music and show video clips. Next to the tent there is a camper van. It acts as transport, a kitchen, toilet, side stage, dressing room and store room. In summer it is a bedroom too.
Valkeapää and Hoffrén started this journey to a place where nothing happens in 2005. It was the year Valkeapää’s father died and Hoffrén’s first daughter was born. It has been a long, dark and winding road, but eventually, five years on the performance premiered at the Baltic Circle festival in Helsinki. Nordwind Dresden will be their 12th journey.
http://www.nbl.fi/~nbl815/voice.php
Concept / Performance / Production: Juha Valkeapää, Taito Hoffrén
Co-production: Baltic Circle
Supported by Arts Council of Finland, Finnish Cultural Foundation, Finnish Embassy, TINFO, Finland Institute in Germany
Nordic by Nature is a Swedish-German DJ-Duo based in Berlin who has been around the Berlin Clubscene for almost two years. With a fresh Scandinavian Mix of Pop, Electronica, Indie & Dance, they are the only DJ-Team which exclusively brings music from the European North to the dancefloors. Nordic by Nature are perfectly connecting current Stockholm clubtrends with frenetic Berlin party fever.
Free Entry / Venue: WAU
Everyone likes a good moan! Complaining never falls out of fashion. It was this universally acknowledged truth that led the artistic duo Tellervo Kalleinen and Oliver Kochta-Kalleinen to create an art project by setting up the Choir of Complaint movement.
Complaints will be sung at the Festival Theatre and various venues in the city to kick off the NORDWIND Festival.
The Berlin Complaints Choir ist a Projekt of: NORDWIND Festival and Plattform, HAU Hebbel am Ufer Berlin. NORDWIND Festival will promote by Hauptstadtkulturfonds.
www.nordwind-festival.de/beschwerdechor-berlin
+++More Performances+++
Saturday, 30.11., 4:30 pm Alexanderplatz / Weltzeituhr
and further unexpected spots in the city....
Concept / Artistic Directors: Tellervo Kalleinen and Oliver Kochta-Kalleinen
Composition / Director Choir Berlin: Catriona Shaw
Lyrics & Performance: Bernhard Bartsch, Katrin Beiser, Anne Beier, Agnes Domke, Milena Fiedler, Ashlee Finckh , Sarah Gengnagel, Joachim Geppert, Monika Gerlach, Cornelia Große, Sigrid Haase, Laura Hatting, Annegret Helm, Christine Howald, Tellervo Kalleinen, Nadine Kaufmann, Anne Klein-Hitpass, Barbara Klinker, Sonja Kutscher, Bernd Montebaur, Valentin Lorenz, Sabine Mall, Johanna Olausson, Britta Pietschmann,Charlotte Reinisch, Michaela Schulze, Ulrich F. Stanke, Elisabeth Rüther, Werner, Eva Willig, Sarah Pixner, Tarik Mustafa
Guitar: Frèd Bigot
Drums: Marc Fantini
A project by NORDWIND Festival and Platform, HAU Hebbel am Ufer, Tellervo Kalleinen and Oliver Kochta-Kalleinen.
Supported by: Finland Institute in Germany, Finnish embassy
"All the art I liked consisted of bits of melancholia. It is almost like you need melancholia to make it a ‚real dish’." (Lars Von Trier)
As a response to his previous solo work Can't Get No/Satisfaction - which dealt with idiosyncrasies of the author - Mart Kangro flips sides with the audience now and tries to reflect on his desires as a spectator. On desires that are overpowered by never-ending longing for the sublime. How this thirst for an emotional experience influences one’s perception and criticalness and how vulnerable one might become in this condition.
His new solo concentrates on the aspects of pathos and sentiment involved in mechanisms of representation. When enough is enough and too much becomes too much. When banal becomes beautiful and ordinary special.
Idea / Choreography / Performance: Mart Kangro
Sound Design: Taavi Kerikmäe
Dramaturgical Assistance: Christina Ciupke
Light / Technical Director: Kalle Tikas
Co-production: Kanuti Gildi SAAL.
Supported by Cultural Endowment of Estonia, Estonian Embassy
The project is co-produced by international network SAMARA, with the support from the Long-Term Network Mobility programme by the Nordic Council of Ministers.
A story about a film about a journey to a room.
The performance is based on the cult classic film Stalker by Andrej Tarkovsky from 1979. The Zone itself is a large site believed at one time to have been visited by aliens and later a focus for scientists, opportunists and the curious. Strange phenomena occur there, and obscure objects are found, studied and even sold. The Zone is also an area where the normal laws of physics no longer apply. ‘The Room’ is said to grant the wishes of anyone who steps inside. Everyone has their own motive for entering the Zone. The problem is that these wishes might not be those consciously expressed, but the true unconscious ones.
Award: The Norwegian Hedda Prize, Best performance of the year, 2013
http://verkproduksjoner.no/
Idea / Concept: Verk Produksjoner
Director: Fredrik Hannestad
Stage / Costumes: Signe Becker
Sound: Per Platou
Light: Tilo Hahn
With: Saila Hyttinen, Anders Mossling, Håkon Mathias Vassvik, Solveig Laland Mohn
Production: Produsentbyrået.
Co-production: Black Box Teater, Teaterhuset Avant Garden, BIT Teatergarasjen.
Supported by Norsk kulturråd, Dans og Theatercentrum
Musterzimmer
Crellestraße 44 by Eemil Karila
Crellestraße 44 is in dialogue with the social project called Alte Schönhauser Straße 26, created during 2011, when Eemil Karila started to document the collective activity at his studio/home through paintings, 8mm film and Polaroid photographs. The exhibition shows works from his continuous social project of portrait paintings and from his new series of work, including paintings, videos and sculptures.
Portrait paintings are created in a dialogue with a person and therefore they are a result of a psychological and intimate process. The most recent works, which started to appear beside the portraits are subconscious self-portraits based on regressive memories and monologues.
********************************************
Eemil Karila is a Finnish artist from Rovaniemi. He has lived and worked in Berlin since 2008.
The exhibition is open during 27.11.2013 – 8.12.2013 from Wednesday till Saturday 4 – 6 PM and by appointment.
Adress:
Musterzimmer
Crellestrase 44, 10827 Berlin
Rave – The Party Simulator is a format floating somewhere in between a party-out-of-hand, a modern performance and a simple old theatre production. It is a simulated party-situation, where the performers drag you along a track of different shotglasses, short stories of broken homes, self-destruction, drug use and plain-old drunken stupidity. The spectators, if they so wish, are enabled to become a part of the simulator or to remain detached and simply observe the developments of the other drunken minds. The production is not suggesting that anyone should drink more or less. Rave has but one moral suggestion: think about what your drinking habits say about you.
Venue: Ritter Butzke +++ Ritterstraße 26, 10969 Berlin +++ www.ritterbutzke.de
Director: Johannes Veski
With: Anatoli Tafitšuk, Päär Pärenson, Ajjar Ausma, Joonas Parve, Kait Kall, Liis Lindmaa
The guest performance is funded by the Estonian Ministry of Culture.
“Ei riitä että maalaa kukkia, täytyy maalata hirttosilmukoitakin“ / "It is not enough to paint flowers, one must also paint hangman's nooses"
The exhibition “Ei riitä että maalaa kukkia, täytyy maalata hirttosilmukoitakin” shows for the first time in German-speaking countries 20 works of Kalervo Palsa (*1947 in Kittilä; †. 1987 ibd.). The paintings are a loan from the private collection of Paula Venesmaa. What makes them distinctive is their unique approach to existential themes such as death, sexuality and loneliness. Original documents such as photographs, extracts from his dairy and personal notes from the Kalervo Palsa Archive (Central Art Archives, Helsinki) as well as the movie "Clearance of Getsemane" by Erkki Pirtola will be shown during the exhibition. Dr. Jyrki Siukonen will open the exhibition on 28th of November at 6pm with a lecture.
Exhibition: 29th November - 10th December 2013
Open daily: noon - 8pm
http://www.kunstquartier-bethanien.de/bethanien_projektraum.html
Free entrance
More Information about the exhibition you find here: http://www.nordwind-festival.de/2013/sites/default/files/presse/Kalvervo%20Palsa%20Flyer.pdf
Supported by: Finnish Embassy, Finnlines
Alma Söderberg makes choreographies that include music, sound, rhythm and singing in relation to movement and dance. Her work resulted in the solo performance Cosas (2010) and was followed by TRAVAIL (2012). In the duet A Talk (2011) together with Jolika Sudermann the focus lays on the bodily aspects of language; an analyzis of intonation, rhythms and gestures, which come along with the spoken language. Together with the performance band John the Houseband Söderberg takes her desire to make music the furthest and tries to sing all music styles while playing all instruments. She grew up in Sweden, spent a few years dancing flamenco in Spain and graduated from the School for New Dance Development (SNDO) in 2011. Her work has won the prizes ITs choreography award (Amsterdam) in 2009 for Entertainment, ACT festival prize (Bilbao) in 2011 for Cosas and 100° Festival audience prize (Berlin) in 2010 for Freedom of Speech and has been shown in among others: Impulstanz (Vienna), Springdance EIM (Utrecht), Tanz in Bern, MDT (Stockholm) and Something Raw (Amsterdam). Together with visual artist Hendrik Willekens, Söderberg is currently working on her new performance Idioter, which will premiere in spring 2014.
“I practice TRAVAIL from beginning till end over and over until premiering. Using fragments of text and imagery that I have cut out from the newspaper I try to pay attention to whatever is at hand and avoid any censorship. As a result of that: music, language and dance; beats, lyrics and moves become tools to work.” (Alma Söderberg)
http://hetveemtheater.nl/en/maker/alma-soderberg/
Choreography / Music / Performance: Alma Söderberg
Set Design: Rodrigo Sobarzo de Larraechea
Light Design: Katinka Marac
Dramaturgy: Igor Dobričić
Advice: Hendrik Willekens
Production: Het Veem Theater.
Co-production: workspacebrussels, MDT/Danstationen/Atalante.
Supported by Statens kulturråd Sweden.
"All the art I liked consisted of bits of melancholia. It is almost like you need melancholia to make it a ‚real dish’." (Lars Von Trier)
As a response to his previous solo work Can't Get No/Satisfaction - which dealt with idiosyncrasies of the author - Mart Kangro flips sides with the audience now and tries to reflect on his desires as a spectator. On desires that are overpowered by never-ending longing for the sublime. How this thirst for an emotional experience influences one’s perception and criticalness and how vulnerable one might become in this condition.
His new solo concentrates on the aspects of pathos and sentiment involved in mechanisms of representation. When enough is enough and too much becomes too much. When banal becomes beautiful and ordinary special.
Performance contains quotations that go unacknowledged in the body of the text. In a few parts of the performance a very low frequency sound waves are played.
Idea / Choreography / Performance: Mart Kangro
Sound Design: Taavi Kerikmäe
Dramaturgical Assistance: Christina Ciupke
Light / Technical Director: Kalle Tikas
Co-production: Kanuti Gildi SAAL.
Supported by Cultural Endowment of Estonia, Estonian Embassy
The project is co-produced by international network SAMARA, with the support from the Long-Term Network Mobility programme by the Nordic Council of Ministers.
The 'H' in H, an incident refers to the world, life and work of the twentieth-century Russian writer Daniil Harms (1905-1942). Harms’ work consists mainly of very short, utterly absurd stories in which he always tries to dig down to the bedrock. His humour and violence remind us of Monty Python, while the absurd realism he portrays is often reminiscent of the madness we experience in our daily lives.
H, an incident is the first musical-theatre production by theatre-maker and visual artist Kris Verdonck. Collaborating with Valdimar Jóhannsson, the composer Jónas Sen will be bringing Harms’ curious world to life. The lightness of the music goes hand in hand with the compelling tone of infectious children’s songs, sung by a chorus of six Icelandic women.
Concept / Direction: Kris Verdonck
Dramaturgy: Marianne Van Kerkhoven
Music composition: Jónas Sen, Valdimar Jóhannsson
Choreograpy / creation choir: Erna Ómarsdóttir
With: Jan Steen, Marc Iglesias, Jeroen Van der Ven, Erna Ómarsdóttir, þyrí Huld
Arnadóttir, þorunn Arna Kristjansdóttir, Brynhildur Gudjonsdóttir, Katrín Gunnarsdóttir,
Sigríður Soffía Níelsdóttir
Assistant director: Kristof Van Baarle
Costumes: An Breugelmans
Technical coordination / Light: Jan Van Gijsel
Technique: Marc Dewit, Kaaitheater
Sound: Valdimar Jóhannsson
Music instruments: Decap Herentals
Robotics: Culture Crew & iMinds/IBCN
Production: A Two Dogs Company (Hendrik De Smedt, Sylvia Picard, Karen Verlinden) in collaboration with Shalala
Coproduced by Kunstenfestivaldesarts, Kaaitheater, steirischer herbst Festival, Göteborgs Dans & Teater Festival, SPRING Performing Arts Festival, Théâtre national de Bordeaux en Aquitaine
With the support of Vlaamse Overheid, Vlaamse Gemeenschapscommissie (VGC), Brussels Hoofdstelijk Gewest, NXTSTP, iMinds Art&D, National Theatre of Iceland. Thanks to Zinnema.
A story about a film about a journey to a room.
The performance is based on the cult classic film Stalker by Andrej Tarkovsky from 1979. The Zone itself is a large site believed at one time to have been visited by aliens and later a focus for scientists, opportunists and the curious. Strange phenomena occur there, and obscure objects are found, studied and even sold. The Zone is also an area where the normal laws of physics no longer apply. ‘The Room’ is said to grant the wishes of anyone who steps inside. Everyone has their own motive for entering the Zone. The problem is that these wishes might not be those consciously expressed, but the true unconscious ones.
Award: The Norwegian Hedda Prize, Best performance of the year, 2013
http://verkproduksjoner.no/
Idea / Concept: Verk Produksjoner
Director: Fredrik Hannestad
Stage / Costumes: Signe Becker
Sound: Per Platou
Light: Tilo Hahn
With: Saila Hyttinen, Anders Mossling, Håkon Mathias Vassvik, Solveig Laland Mohn
Production: Produsentbyrået.
Co-production: Black Box Teater, Teaterhuset Avant Garden, BIT Teatergarasjen.
Supported by Norsk kulturråd, Dans og Theatercentrum
Rave – The Party Simulator is a format floating somewhere in between a party-out-of-hand, a modern performance and a simple old theatre production. It is a simulated party-situation, where the performers drag you along a track of different shotglasses, short stories of broken homes, self-destruction, drug use and plain-old drunken stupidity. The spectators, if they so wish, are enabled to become a part of the simulator or to remain detached and simply observe the developments of the other drunken minds. The production is not suggesting that anyone should drink more or less. Rave has but one moral suggestion: think about what your drinking habits say about you.
Venue: Ritter Butzke +++ Ritterstraße 26, 10969 Berlin +++ www.ritterbutzke.de
Director: Johannes Veski
With: Anatoli Tafitšuk, Päär Pärenson, Ajjar Ausma, Joonas Parve, Kait Kall, Liis Lindmaa
The guest performance is funded by the Estonian Ministry of Culture.
Alma Söderberg makes choreographies that include music, sound, rhythm and singing in relation to movement and dance. Her work resulted in the solo performance Cosas (2010) and was followed by TRAVAIL (2012). In the duet A Talk (2011) together with Jolika Sudermann the focus lays on the bodily aspects of language; an analyzis of intonation, rhythms and gestures, which come along with the spoken language. Together with the performance band John the Houseband Söderberg takes her desire to make music the furthest and tries to sing all music styles while playing all instruments. She grew up in Sweden, spent a few years dancing flamenco in Spain and graduated from the School for New Dance Development (SNDO) in 2011. Her work has won the prizes ITs choreography award (Amsterdam) in 2009 for Entertainment, ACT festival prize (Bilbao) in 2011 for Cosas and 100° Festival audience prize (Berlin) in 2010 for Freedom of Speech and has been shown in among others: Impulstanz (Vienna), Springdance EIM (Utrecht), Tanz in Bern, MDT (Stockholm) and Something Raw (Amsterdam). Together with visual artist Hendrik Willekens, Söderberg is currently working on her new performance Idioter, which will premiere in spring 2014.
“I practice TRAVAIL from beginning till end over and over until premiering. Using fragments of text and imagery that I have cut out from the newspaper I try to pay attention to whatever is at hand and avoid any censorship. As a result of that: music, language and dance; beats, lyrics and moves become tools to work.” (Alma Söderberg)
http://hetveemtheater.nl/en/maker/alma-soderberg/
Choreography / Music / Performance: Alma Söderberg
Set Design: Rodrigo Sobarzo de Larraechea
Light Design: Katinka Marac
Dramaturgy: Igor Dobričić
Advice: Hendrik Willekens
Production: Het Veem Theater.
Co-production: workspacebrussels, MDT/Danstationen/Atalante.
Supported by Statens kulturråd Sweden.
In Variations on Closer the three performers investigate different variations of closeness between an individual and his observers. The observers and performers alike are offered a chance to renegotiate their feelings associated with living outside one's own body and living through the bodies of others and are confronted with the role of their own gaze and their ever shifting feelings of empathy, attraction, intimacy and alienation. The soundtrack is performed live by music maker Peter Rehberg (PITA).
Photo: Tom Akinleminu, painting by Marion Bataillard.
Concept/Direction/Choreography: Margrét Sara Gudjónsdóttir
Performers/Choreography: Laura Siegmund, Johanna Chemnitz, Angela Schubot
Composition: Peter Rehberg
Co-production: MDT theater Stockholm, RAS kulturhus Sandnes, Les Grandes Traversées Festival Bordeaux.
Residency support: WP Zimmer (Antwerpen), Sommer.bar – Tanz im August (Berlin), Barnes Crossing (Cologne).
Special thanks to: Sonia Franken, Eike Siegmund, Anja Röttgerkamp, Andrea Lutz/Ashtanga Studio Berlin, Jared and Angela Productions, Jill Emerson (SMC), Gotischer Saal Berlin, Benjamin Schalike, Thomas Schaupp.
Supported by: Icelandic Ministry of Culture, Icelandic Embassy
26-year-old Ólafur Arnalds has won international acclaim with his compositions which transcend genre, fusing together influences from classical music, pop, ambient and electro sounds into a unique musical language. He composed the music for the new ITV crime thriller series Broadchurch with David Tennant and Olivia Colman as well as the music for the film Gimme Shelter, directed by Ron Krauss and starring Vanessa Hudgens and Brendan Fraser.
In HELLERAU Arnalds will be accompanied by the singer Arnor Dan and the musicians Björk Oskarsdóttir and Hallgrimr Jensson.
Paul sees the good in people. Heike is afraid of China. Richard wants to be able to seduce women. Konrad is happiest in scrapyards. Jörg would like to have been from a rich family. Sarah suffers. John wants to be a pilot but doesn’t succeed. Wenke blames himself for everything. Werner would like to serve someone. Uta doesn’t know who she is. Said grew up an orphan. Isabelle can no longer hear her inner voice. Vera wants sex only once a month. Max despises politicians. Frauke feels people think there is more to her than is the case. Tim wants to confess before he dies. Nora can’t speak Spanish. Hans is afraid of his own radicalism.
We are what we are. But “things can’t go on like this”. An evening of mass healing, pressure to perform, turbulence of the heart, missed opportunities and the tyranny of effectiveness. A status report on the simply doable– and a departure into a parallel universe in which people have done what they wanted to do and have become what they wanted to become. Exactly as everything should really be. A study of the remains and reconstruction of a piece of European identity. idem – an all-encompassing evening with music dedicated to all aspects of identity.
http://www.artistic-research.de
Supported within the programme IKEAROPA "Critical perspectives on European identity" by funds of Hauptstadtkulturfonds.
Photo: Stefan Klüter/ Kerstin Narr
Director: Julian Klein
Space / Video: Constanze Fischbeck
Costumes: Katja Schmidt
Dramaturgy: Philipp Ruch
a rose is: Kristina Lösche-Löwensen, Almut Lustig, Ulf Pankoke, Gregor Schwellenbach, Arndt Schwering-Sohnrey, Kirstin Warnke, Claudia Wiedemer
Sandra Kolstad makes electronic pop music that’s danceable, explosive and extravagant. An established star in Norway, she's playlist and national newspaper material on her home turf, and has often been described as “Norway’s queen of electronic pop”. Known for her highly visual performances, Kolstad is a classically trained pianist with big ambitions for music's live potential; as well as her expressive, joyful dancing, swathed in kaleidescopic projected lights. Kolstad’s live show is a tour-de-force that has seduced audiences across Europe, including at major festivals like Roskilde, Øya, Berlin Music Week and Slottsfjell, and at Roundhouse Rising and Club NME in London.
Funded by the Norwegian Embassy.
German-Norwegian Seminar
The third edition of the German-Norwegian theater seminars is focused upon the work and life of actors in both countries. Their respective positions changing within the aesthetics as well as the social conditions, the two parts of the seminar reflect theoretical positions followed by a shoptalk with actors and directors from both countries. The comparative approach is a principle of performed critique and personal reflections by directors, actors and scholars.
11.00 am – 1.00 pm
Heiner Goebbels (Composer, Director Ruhr-Triennale)
Tore Vagn Lid (Director, Composer, Professorship at Oslo National Academy of the Arts, Artistic director of Transiteatret-Bergen)
Fredrik Hannestad (Director, Verk Produksjoner, Oslo)
Susanne Øglænd (Director Oslo / Berlin)
2.00 – 4.00 pm
Lars Eidinger: (Actor, Schaubühne Berlin)
Anders T. Andersen: (Actor and Director, Oslo / Skien)
Torbjorn Davidsen: (Actor in Norway)
Helena Waldmann: (Director / Choreographer, Berlin)
Moderation (English): Thomas Irmer
An event by Performing Arts Hub Norway and NORDWIND festival.
Imagine your whole family - but with a different identity. Will your mother suit a change gender? Or how about watching your brother with another ethnic identity? Will a scarf or a different face colour make a difference?
During the NORDWIND Festival Through Different Eyes will challenge your perception of identity, race and gender at a school workshop and an open street workshop.
Through Different Eyes was established by Danish artist Morten Nielsen in 2011 and is produced by Global Stories (DK). Like the 127 Danish pupils, who participated in the first workshop, you now have the chance to change your ethnicity and/or gender temporarily and see what the world looks like through different eyes.
Through Different Eyes has toured Denmark and Sweden with great success. During the NORDWIND Festival it will take place at a school in Dresden as part of a two-day project as well as in a public space (Hygienemuseum Dresden), where the ‘identity change’ will be open to everyone.
30.11., 1pm, Venue: Hygienemuseum Dresden
Free entrance
In Variations on Closer the three performers investigate different variations of closeness between an individual and his observers. The observers and performers alike are offered a chance to renegotiate their feelings associated with living outside one's own body and living through the bodies of others and are confronted with the role of their own gaze and their ever shifting feelings of empathy, attraction, intimacy and alienation. The soundtrack is performed live by music maker Peter Rehberg (PITA).
Photo: Tom Akinleminu, painting by Marion Bataillard
Concept/Direction/Choreography: Margrét Sara Gudjónsdóttir
Performers/Choreography: Laura Siegmund, Johanna Chemnitz, Angela Schubot
Composition: Peter Rehberg
Co-production: MDT theater Stockholm, RAS kulturhus Sandnes, Les Grandes Traversées Festival Bordeaux.
Residency support: WP Zimmer (Antwerpen), Sommer.bar – Tanz im August (Berlin), Barnes Crossing (Cologne).
Special thanks to: Sonia Franken, Eike Siegmund, Anja Röttgerkamp, Andrea Lutz/Ashtanga Studio Berlin, Jared and Angela Productions, Jill Emerson (SMC), Gotischer Saal Berlin, Benjamin Schalike, Thomas Schaupp.
Supported by: Icelandic Ministry of Culture, Icelandic Embassy
Paul sees the good in people. Heike is afraid of China. Richard wants to be able to seduce women. Konrad is happiest in scrapyards. Jörg would like to have been from a rich family. Sarah suffers. John wants to be a pilot but doesn’t succeed. Wenke blames himself for everything. Werner would like to serve someone. Uta doesn’t know who she is. Said grew up an orphan. Isabelle can no longer hear her inner voice. Vera wants sex only once a month. Max despises politicians. Frauke feels people think there is more to her than is the case. Tim wants to confess before he dies. Nora can’t speak Spanish. Hans is afraid of his own radicalism.
We are what we are. But “things can’t go on like this”. An evening of mass healing, pressure to perform, turbulence of the heart, missed opportunities and the tyranny of effectiveness. A status report on the simply doable– and a departure into a parallel universe in which people have done what they wanted to do and have become what they wanted to become. Exactly as everything should really be. A study of the remains and reconstruction of a piece of European identity. idem – an all-encompassing evening with music dedicated to all aspects of identity.
http://www.artistic-research.de
Supported within the programme IKEAROPA "Critical perspectives on European identity" by funds of Hauptstadtkulturfonds.
Photo: Stefan Klüter/ Kerstin Narr
Director: Julian Klein
Space / Video: Constanze Fischbeck
Costumes: Katja Schmidt
Dramaturgy: Philipp Ruch
a rose is: Kristina Lösche-Löwensen, Almut Lustig, Ulf Pankoke, Gregor Schwellenbach, Arndt Schwering-Sohnrey, Kirstin Warnke, Claudia Wiedemer
Paul sees the good in people. Heike is afraid of China. Richard wants to be able to seduce women. Konrad is happiest in scrapyards. Jörg would like to have been from a rich family. Sarah suffers. John wants to be a pilot but doesn’t succeed. Wenke blames himself for everything. Werner would like to serve someone. Uta doesn’t know who she is. Said grew up an orphan. Isabelle can no longer hear her inner voice. Vera wants sex only once a month. Max despises politicians. Frauke feels people think there is more to her than is the case. Tim wants to confess before he dies. Nora can’t speak Spanish. Hans is afraid of his own radicalism.
We are what we are. But “things can’t go on like this”. An evening of mass healing, pressure to perform, turbulence of the heart, missed opportunities and the tyranny of effectiveness. A status report on the simply doable– and a departure into a parallel universe in which people have done what they wanted to do and have become what they wanted to become. Exactly as everything should really be. A study of the remains and reconstruction of a piece of European identity. idem – an all-encompassing evening with music dedicated to all aspects of identity.
http://www.artistic-research.de
Supported within the programme IKEAROPA "Critical perspectives on European identity" by funds of Hauptstadtkulturfonds.
Photo: Stefan Klüter/ Kerstin Narr
Director: Julian Klein
Space / Video: Constanze Fischbeck
Costumes: Katja Schmidt
Dramaturgy: Philipp Ruch
a rose is: Kristina Lösche-Löwensen, Almut Lustig, Ulf Pankoke, Gregor Schwellenbach, Arndt Schwering-Sohnrey, Kirstin Warnke, Claudia Wiedemer
Rave – The Party Simulator is a format floating somewhere in between a party-out-of-hand, a modern performance and a simple old theatre production. It is a simulated party-situation, where the performers drag you along a track of different shotglasses, short stories of broken homes, self-destruction, drug use and plain-old drunken stupidity. The spectators, if they so wish, are enabled to become a part of the simulator or to remain detached and simply observe the developments of the other drunken minds. The production is not suggesting that anyone should drink more or less. Rave has but one moral suggestion: think about what your drinking habits say about you.
Venue: Ritter Butzke +++ Ritterstraße 26, 10969 Berlin +++ www.ritterbutzke.de
Director: Johannes Veski
With: Anatoli Tafitšuk, Päär Pärenson, Ajjar Ausma, Joonas Parve, Kait Kall, Liis Lindmaa
The guest performance is funded by the Estonian Ministry of Culture.
The journalist and author David Lagercrantz and Swedish football star Zlatan Ibrahimović met and agreed to work together: The result was I am Zlatan Ibrahimović, possibly the most successful book in Sweden in modern times. During the NORDWIND Festival the German theatre and film actor Rainer Strecker will read some parts of the book, accompanied by Lagercrantz who will present the history of the book. (Lecture is in english)
The book I am Zlatan Ibrahimović sold 500,000 copies in hardback in less than two months and has been published in over 20 countries. The newspaper The Financial Times called it the ‘best-selling European immigrant’s tale since Zadie Smith’s White Teeth. In 2012 I am Zlatan Ibrahimović became the first book of its kind to be nominated for the prestigious August Prize, a literary award named after August Strindberg.
http://www.piper.de/buecher/ich-bin-zlatan-isbn-978-3-89029-773-6
With: Rainer Strecker (theatre and film actor) and David Lagercrantz (author)
Funded by the Swedish Embassy in Berlin and Piper Verlag.
Rave – The Party Simulator is a format floating somewhere in between a party-out-of-hand, a modern performance and a simple old theatre production. It is a simulated party-situation, where the performers drag you along a track of different shotglasses, short stories of broken homes, self-destruction, drug use and plain-old drunken stupidity. The spectators, if they so wish, are enabled to become a part of the simulator or to remain detached and simply observe the developments of the other drunken minds. The production is not suggesting that anyone should drink more or less. Rave has but one moral suggestion: think about what your drinking habits say about you.
Venue: Ritter Butzke +++ Ritterstraße 26, 10969 Berlin +++ www.ritterbutzke.de
Director: Johannes Veski
With: Anatoli Tafitšuk, Päär Pärenson, Ajjar Ausma, Joonas Parve, Kait Kall, Liis Lindmaa
The guest performance is funded by the Estonian Ministry of Culture.
Alma Söderberg makes choreographies that include music, sound, rhythm and singing in relation to movement and dance. Her work resulted in the solo performance Cosas (2010) and was followed byTRAVAIL (2012). In the duet A Talk (2011) together with Jolika Sudermann the focus lays on the bodily aspects of language; an analyzis of intonation, rhythms and gestures, which come along with the spoken language. Together with the performance band John the Houseband Söderberg takes her desire to make music the furthest and tries to sing all music styles while playing all instruments. She grew up in Sweden, spent a few years dancing flamenco in Spain and graduated from the School for New Dance Development (SNDO) in 2011. Her work has won the prizes ITs choreography award (Amsterdam) in 2009 for Entertainment, ACT festival prize (Bilbao) in 2011 for Cosas and 100° Festival audience prize (Berlin) in 2010 for Freedom of Speech and has been shown in among others: Impulstanz (Vienna), Springdance EIM (Utrecht), Tanz in Bern, MDT (Stockholm) and Something Raw (Amsterdam). Together with visual artist Hendrik Willekens, Söderberg is currently working on her new performance Idioter, which will premiere in spring 2014.
“I practice TRAVAIL from beginning till end over and over until premiering. Using fragments of text and imagery that I have cut out from the newspaper I try to pay attention to whatever is at hand and avoid any censorship. As a result of that: music, language and dance; beats, lyrics and moves become tools to work.” (Alma Söderberg)
http://hetveemtheater.nl/en/maker/alma-soderberg/
Choreography / Music / Performance: Alma Söderberg
Set Design: Rodrigo Sobarzo de Larraechea
Light Design: Katinka Marac
Dramaturgy: Igor Dobričić
Advice: Hendrik Willekens
Production: Het Veem Theater.
Co-production: workspacebrussels, MDT/Danstationen/Atalante.
Supported by Statens kulturråd Sweden.
Drilling through the vast world of entertainment and popular culture, from the shiny surface to the murky and private regions underneath, Entertainment Island moves from the main-stream entertainment industry through local to private pleasure, exploring entertainment and popular culture.
Entertainment Island 1 is an energetic take on the structures of the entertainment industry. An array of gestures, movements and sounds emanating from here are presented in this energetic performance exposing the mechanisms of popular culture. Entertainment Island 2 is a hilarious performance about lifestyle, news and soap operas, where local and global culture meet. Entertainment Island 3 shows the dark side of popular culture through a look at private entertainment in a minimalist manner characteristic of Oblivia.
http://www.oblivia.fi/
By and with: Timo Fredriksson, Anna Krzystek, Annika Tudeer
Co-production: Kiasma Theatre, Museum of Contemporary Art, Helsinki.
Funded by CCA Centre for Contemporary Art, PACT Zollverein, Produforum, Svenska Kulturfonden, Arts Council Finland, Arts Council Helsinki, Kulturkontakt Nord, Nordic Cultural Fund, Alfred Kordelin Fund, AVEK, Arbetets Vänner, Sparbanksstiftelsen.
The guest performance is funded by the Finish Embassy in Berlin and TINFO.
Supported within the programme IKEAROPA "Critical perspectives on European identity" by funds of Hauptstadtkulturfonds.
Supported by: Finland Institute in Germany
Alma Söderberg makes choreographies that include music, sound, rhythm and singing in relation to movement and dance. Her work resulted in the solo performance Cosas (2010) and was followed byTRAVAIL (2012). In the duet A Talk (2011) together with Jolika Sudermann the focus lays on the bodily aspects of language; an analyzis of intonation, rhythms and gestures, which come along with the spoken language. Together with the performance band John the Houseband Söderberg takes her desire to make music the furthest and tries to sing all music styles while playing all instruments. She grew up in Sweden, spent a few years dancing flamenco in Spain and graduated from the School for New Dance Development (SNDO) in 2011. Her work has won the prizes ITs choreography award (Amsterdam) in 2009 for Entertainment, ACT festival prize (Bilbao) in 2011 for Cosas and 100° Festival audience prize (Berlin) in 2010 for Freedom of Speech and has been shown in among others: Impulstanz (Vienna), Springdance EIM (Utrecht), Tanz in Bern, MDT (Stockholm) and Something Raw (Amsterdam). Together with visual artist Hendrik Willekens, Söderberg is currently working on her new performance Idioter, which will premiere in spring 2014.
“I practice TRAVAIL from beginning till end over and over until premiering. Using fragments of text and imagery that I have cut out from the newspaper I try to pay attention to whatever is at hand and avoid any censorship. As a result of that: music, language and dance; beats, lyrics and moves become tools to work.” (Alma Söderberg)
http://hetveemtheater.nl/en/maker/alma-soderberg/
Choreography / Music / Performance: Alma Söderberg
Set Design: Rodrigo Sobarzo de Larraechea
Light Design: Katinka Marac
Dramaturgy: Igor Dobričić
Advice: Hendrik Willekens
Production: Het Veem Theater.
Co-production: workspacebrussels, MDT/Danstationen/Atalante.
Supported by Statens kulturråd Sweden.
The 1990s was a period when Latvia, having gained independence, had to start gaining maturity. It was the time when Latvia had to deal with chaos in government, poverty and crime. At the same time, Finland, having gone through an economical crisis together with Nokia, was enjoying such massive development that it rose to first position in the list of wealthiest countries. In 1994 Finland joined the European Union at the same time as Latvia started working on gaining accession to the EU. The Performance Change of Hope tells the stories of four children who grew up during this time and how their lives were or were not influenced by major political, economic and social changes which happened in these countries during the ’90s.
This is a work-in-progress presentation.
Poster image has been based on painting by Mikelis Fisers "MC4ID",1997
By and with: Carl Alm, Ieva Kauliņa, Valters Sīlis, Kārlis Krūmiņš
Dramaturgy: Arnita Jaunsubrēna
Co-production: Ģertrūdes ielas teātris, NORDWIND Festival and Platform, Kampnagel.
Supported within the programme IKEAROPA "Critical perspectives on European identity" by funds of Hauptstadtkulturfonds.
Drilling through the vast world of entertainment and popular culture, from the shiny surface to the murky and private regions underneath, Entertainment Island moves from the main-stream entertainment industry through local to private pleasure, exploring entertainment and popular culture.
Entertainment Island 1 is an energetic take on the structures of the entertainment industry. An array of gestures, movements and sounds emanating from here are presented in this energetic performance exposing the mechanisms of popular culture. Entertainment Island 2 is a hilarious performance about lifestyle, news and soap operas, where local and global culture meet. Oblivia was in residence at the Kiasma Theatre in Helsinki, PACT Zollverein in Essen and CCA in Glasgow for the Entertainment Island project 2008-2010.
http://www.oblivia.fi/
By and with: Timo Fredriksson, Anna Krzystek, Annika Tudeer
Co-production: Kiasma Theatre, Museum of Contemporary Art, Helsinki.
Funded by CCA Centre for Contemporary Art, PACT Zollverein, Produforum, Svenska Kulturfonden, Arts Council Finland, Arts Council Helsinki, Kulturkontakt Nord, Nordic Cultural Fund, Alfred Kordelin Fund, AVEK, Arbetets Vänner, Sparbanksstiftelsen.
The guest performance is funded by the Finish Embassy in Berlin and TINFO.
Supported within the programme IKEAROPA "Critical perspectives on European identity" by funds of Hauptstadtkulturfonds.
Supported by: Finland Institute in Germany
The Artificial Nature Project is the latest in a series of four works by Mette Ingvartsen staging perceptions and sensations of nature. What does it mean to create a choreography for materials where human movement is no longer in the centre of attention? How can one address the force of things, materials, objects and matters as something that acts upon humans?
The emerging choreography is partly performed by human, partly by non-human performers set in motion. The movement mutates the appearance and perception of these materials in many forms: from an abstract sculpture, a swarm of animals, to a sandstorm overwhelming the humans who get stuck inside it. One image is replaced by another, rapidly altering our perception of a glittering landscape.
Concept / Choreography: Mette Ingvartsen
With: Franziska Aigner, Sidney Leoni, Martin Lervik, Maud Le Pladec, Guillem Mont De Palol, Manon Santkin, Christine De Smedt
Light: Minna Tiikkainen
Music: Peter Lenaerts
Dramaturgy: Bojana Cvejic
Technical Director: Hans Meijer
Assistant choreography / production: Elise Simonet
Assistant light: Milka Timosaari
Light technician: Susana Alonso
Production Management: Kerstin Schroth
Production: Mette Ingvartsen, Great Investment
Co-production: PACT Zollverein (Essen), Festival d’Automne à Paris, Les Spectacles vivants - Centre Pompidou (Paris), Théâtre National de Bretagne (Rennes), Kaaitheater with funds from the Imagine 2020 - Art & Climate Change (Brussels), Kunstencentrum BUDA (Kortrijk), apap / szene (Salzburg), Musée de la Danse/Centre Chorégraphique National de Rennes et de Bretagne
Funded by Kunstrådet (Denmark), Hauptstadtkulturfonds (Berlin, Germany) & The Flemish Authorities
In The European Media, 7 former European actors are turned into powerless media for superior non-European powers – China, Google, Nike, Rupert Murdoch, The Terrorist, a Mohammad cartoon, an African boat refugee and an underage Thai boy-prostitute. The European Media is also the end of the European actor as we knew him and her throughout the 20th century; it is the end of free will, the end of personal interpretation, the end of Freudian-psychological theatre.
The European Media had its world premiere at The Royal Theatre in Copenhagen in April 2012. For the NORDWIND Festival, The Nielsen Movement is producing a special version of The European Media with seven German-speaking medias and former actors.
Text / Director: Nielsen
Trainee Director: Daniela Töbelmann
Media: Cornelia Dörr, Irina Wrona, Dietrich Kuhlbrodt, Oana Solomon, Philipp Meier von Rouden, Lukas Vögler, Moritz Grabbe
Production: The Nielsen Movement.
Co-production: Kampnagel und NORDWIND Plattform und Festival.
Funded by Statens Kunstråd, Hamburger Kulturbehörde, Rusch-Stiftung, Rudolf Augstein Stiftung.
Supported within the programme IKEAROPA "Critical perspectives on European identity" by funds of Hauptstadtkulturfonds.
Supported by: Danish Arts Council
For the festival opening the MOODY MOON CLUB is putting on a Nordic happening: Tangon Taikaa play Finnish Tango in a distinctive new guise with elements of jazz and blues. Timo Valtonen sings and emcees movingly and, with great humour, brings Europe’s main tango culture closer to the German audience. Brilliantly accompanied by Valentin Butt, the Berlin Philharmonic’s accordion player.
A huge star in Norway, Thomas Dybdahl is an undiscovered gem in Germany. Dybdahl’s distinctive voice has already gained him huge praise in the UK with the NME declaring him as ‘Norway’s answer to Nick Drake’ and Q Magazine hailing Dybdahl as ‘one of the most talented singer-songwriters’. All his albums have reached number 1 in Norway and he has had 5 multi-platinum albums and two Norwegian Grammys. His new album What’s Left Is Forever recorded in LA and Norway, is produced by legendary Grammy Award winning producer and musician Larry Klein (Joni Mitchell). Dybdahl’s trajectory is studded with a diverse array of artistic collaborations. From fronting multi-platinum band The National Bank, to working with world-renowned photographer Jean-Baptiste Mondino (Madonna, David Bowie, Björk) and designer Phillipe Starck, who cites Dybdahl as his muse.
His new album What’s Left Is Forever will be released 16th September 2013.
Supported by Wintershall.
"All the art I liked consisted of bits of melancholia. It is almost like you need melancholia to make it a ‚real dish’." (Lars Von Trier)
As a response to his previous solo work Can't Get No/Satisfaction - which dealt with idiosyncrasies of the author - Mart Kangro flips sides with the audience now and tries to reflect on his desires as a spectator. On desires that are overpowered by never-ending longing for the sublime. How this thirst for an emotional experience influences one’s perception and criticalness and how vulnerable one might become in this condition.
His new solo concentrates on the aspects of pathos and sentiment involved in mechanisms of representation. When enough is enough and too much becomes too much. When banal becomes beautiful and ordinary special.
Performance contains quotations that go unacknowledged in the body of the text.
In a few parts of the performance a very low frequency sound waves are played.
Idea / Choreography / Performance: Mart Kangro
Sound Design: Taavi Kerikmäe
Dramaturgical Assistance: Christina Ciupke
Light / Technical Director: Kalle Tikas
Co-production: Kanuti Gildi SAAL.
Supported by Cultural Endowment of Estonia, Estonian Embassy
The project is co-produced by international network SAMARA, with the support from the Long-Term Network Mobility programme by the Nordic Council of Ministers.
The 1990s was a period when Latvia, having gained independence, had to start gaining maturity. It was the time when Latvia had to deal with chaos in government, poverty and crime. At the same time, Finland, having gone through an economical crisis together with Nokia, was enjoying such massive development that it rose to first position in the list of wealthiest countries. In 1994 Finland joined the European Union at the same time as Latvia started working on gaining accession to the EU. The Performance Change of Hope tells the stories of four children who grew up during this time and how their lives were or were not influenced by major political, economic and social changes which happened in these countries during the ’90s.
This is a work-in-progress presentation.
Poster image has been based on painting by Mikelis Fisers "MC4ID",1997
By and with: Carl Alm, Ieva Kauliņa, Valters Sīlis, Kārlis Krūmiņš
Dramaturgy: Arnita Jaunsubrēna
Co-production: Ģertrūdes ielas teātris, NORDWIND Festival and Platform, Kampnagel.
Supported within the programme IKEAROPA "Critical perspectives on European identity" by funds of Hauptstadtkulturfonds.
In The European Media, 7 former European actors are turned into powerless media for superior non-European powers – China, Google, Nike, Rupert Murdoch, The Terrorist, a Mohammad cartoon, an African boat refugee and an underage Thai boy-prostitute. The European Media is also the end of the European actor as we knew him and her throughout the 20th century; it is the end of free will, the end of personal interpretation, the end of Freudian-psychological theatre.
The European Media had its world premiere at The Royal Theatre in Copenhagen in April 2012. For the NORDWIND Festival, The Nielsen Movement is producing a special version of The European Media with seven German-speaking medias and former actors.
Text / Director: Nielsen
Trainee Director: Daniela Töbelmann
Media: Cornelia Dörr, Irina Wrona, Dietrich Kuhlbrodt, Oana Solomon, Philipp Meier von Rouden, Lukas Vögler, Moritz Grabbe
Production: The Nielsen Movement.
Co-production: Kampnagel und NORDWIND Plattform und Festival.
Funded by Statens Kunstråd, Hamburger Kulturbehörde, Rusch-Stiftung, Rudolf Augstein Stiftung.
Supported within the programme IKEAROPA "Critical perspectives on European identity" by funds of Hauptstadtkulturfonds.
Supported by: Danish Arts Council
The Artificial Nature Project is the latest in a series of four works by Mette Ingvartsen staging perceptions and sensations of nature. What does it mean to create a choreography for materials where human movement is no longer in the centre of attention? How can one address the force of things, materials, objects and matters as something that acts upon humans?
The emerging choreography is partly performed by human, partly by non-human performers set in motion. The movement mutates the appearance and perception of these materials in many forms: from an abstract sculpture, a swarm of animals, to a sandstorm overwhelming the humans who get stuck inside it. One image is replaced by another, rapidly altering our perception of a glittering landscape.
Concept / Choreography: Mette Ingvartsen
With: Franziska Aigner, Sidney Leoni, Martin Lervik, Maud Le Pladec, Guillem Mont De Palol, Manon Santkin, Christine De Smedt
Light: Minna Tiikkainen
Music: Peter Lenaerts
Dramaturgy: Bojana Cvejic
Technical Director: Hans Meijer
Assistant choreography / production: Elise Simonet
Assistant light: Milka Timosaari
Light technician: Susana Alonso
Production Management: Kerstin Schroth
Production: Mette Ingvartsen, Great Investment
Co-production: PACT Zollverein (Essen), Festival d’Automne à Paris, Les Spectacles vivants - Centre Pompidou (Paris), Théâtre National de Bretagne (Rennes), Kaaitheater with funds from the Imagine 2020 - Art & Climate Change (Brussels), Kunstencentrum BUDA (Kortrijk), apap / szene (Salzburg), Musée de la Danse/Centre Chorégraphique National de Rennes et de Bretagne
Funded by Kunstrådet (Denmark), Hauptstadtkulturfonds (Berlin, Germany) & The Flemish Authorities
With a confused stage language and a penchant for poetry and performance, poppy guitars, jazz drums and fuzz bass argue with each other in an effort to represent mankind.
For the last couple of years now, Swedish garage act Mankind has been all over the Scandinavian underground clubs and warehouse parties. Somehow they slip through the fingers of the average media, comfortably turning towards night freaks and music geeks instead. They've played the Peace & Love festival, Sweden‘s biggest festival, recently toured Sweden with German Bonaparte and opened for Palma Violets (UK) playing Stockholm. Their album is recorded and on its way, produced by Gordon Raphael (Regina Spektor, Strokes) who is giving the band his blessing. The debut single is called Blood, Sugar.
Single Blood, Sugar:
http://www.youtube.com/watch?v=bedN-v9QMwc
Soundcloud:
https://soundcloud.com/musicofmankind
Trailer:
https://www.facebook.com/musicofMANKIND
With: Art Onion, Alex Ceci, Fredrik Diffner, Oliver Boson
Supported by: Svenska Institute, Svenska Kulturradet
Sandra Kolstad makes electronic pop music that’s danceable, explosive and extravagant. An established star in Norway, she's playlist and national newspaper material on her home turf, and has often been described as “Norway’s queen of electronic pop”. Known for her highly visual performances, Kolstad is a classically trained pianist with big ambitions for music's live potential; as well as her expressive, joyful dancing, swathed in kaleidescopic projected lights. Kolstad’s live show is a tour-de-force that has seduced audiences across Europe, including at major festivals like Roskilde, Øya, Berlin Music Week and Slottsfjell, and at Roundhouse Rising and Club NME in London.
Funded by the Norwegian Embassy.
Tadas Quazar established Mondayjazz, an affluent music and party label, back in 2007 with his comrades, and he had started his DJ career some time in the beginning of the century. Neither then nor now Tadas has been able to focus on a single genre or style. That’s certainly a bonus today as he is capable of serving classical structures of electronic music converted to next big things on dance floors of all sorts.
JGB (Jacques Gaspard Biberkopf) is a XXI century prodigy that knows about music more than you and everyone you know. He has left his footprint in the brisk Lithuanian beats scene but “beatmaker” is a term too narrow to describe his capabilities. He’s a DJ that keeps tabs of shockingly vast amounts of music and generally adapts to varying levels of weirdness. That might feel as a music lesson, but always in a good sense.
Free Entry / Venue: WAU
Mondayjazz home: http://www.mondayjazz.com
Mondayjazz Facebook: http://www.facebook.com/mondayjazz
Mondayjazz Soundcloud: https://soundcloud.com/mondayjazz-official
Resident Advisor on Vilnius http://www.residentadvisor.net/feature.aspx?1512
Executed Stories is a story-telling solo performance about execution in the history of humanity, the angle shifting between that of executed person and executioner. For the executed, execution is an irreversible act, while the executioner might be a proud and skillful officer of the state. It tells life stories of a few people, from different times, who ended their lives either executed or working as an executioner. Besides the life stories, Executed Stories demonstrates a few execution methods. The tone of the performance is neutral and factual, but not without humour – hey, let´s play hangman! And there is a lottery: what would you like to eat as your last meal; hopefully the show will whet your appetite !
Executed Stories premiers in August 2013 at Festival Lókal in Iceland.
http://www.nbl.fi/~nbl815/voice.php
Text / Director / Performance / Production: Juha Valkeapää
Co-production: Baltic Circle, International Network SAMARA
Supported by City of Helsinki, International Network SAMARA Long-Term Network Mobility programme by the Nordic Council of Ministers, Finnish Embassy, TINFO, Finland Institute in Germany
The theme of Maxim Gorky‘s play Nachtasyl (The Lower Depths) still feels bang up-to-date. Lost souls, written off by society, who dream of a better life, contemplate life‘s existential questions. In Korsunovas’ production a long table covered in a white cloth and several bottles of vodka fuel the explosive questions about the value of human life, the sincerely told stories of their own existences and the expression of their own hopes and desires. Director Oskaras Korsunovas on his production: “This is our first theatrical performance, in which we don’t concentrate on the result, but seek to test and discover ourselves, so that the actors not only create their characters, but also retain the reality and remain themselves.”
Awards:
Golden Cross, Best Male Actor (Darius Gumauskas), Lithuania, 2011
Golden Cross, Best Director, Best Performance of the year, Lithuania, 2011
International Festival “Kontakt” Prize, Best Director, Poland, 2012
The Lower Depths participated in many festivals without the competition.
http://www.okt.lt/en/
Director: Oskaras Koršunovas
Set Design: Dainius Liskevicius
Costume Design: Agne Kuzmickaite
Composition: Antanas Jasenka
Technical Director: Mindaugas Repsys
Sound: Alius Bareckas
Props / Costumes: Edita Martinaviciute
Stage Management: Malvina Matickiene
Surtitles: Akvile Melkunaite
Tourmanagement: Audra Zukaityte
With: Dainius Gavenonis, Rasa Samuolyte, Darius Gumauskas, Julius Zalakevicius, Darius Meskauskas, Jonas Verseckas, Tomas Zaibus, Giedrius Savickas, Nele Savicenko, Rytis Saladzius
Production: Oskaras Koršunovas/Vilnius City Theatre.
The guest performance is funded by the Lithuanian Ministry of Culture.
The gripping performance All Is Divine brings together the different worlds built up by Swedish stage personality Charlotte Engelkes in her imaginative and acclaimed Wagner-themed trilogy The Very Ring. In this final part of the trilogy, humans mingle with gods, east with west, heroines, sisters, brothers and absent parents in their own ‘Gesamtkunstwerk’ – full of love and references to the opera world. Personal and playful, she depicts how the mythological world relates to reality. On stage are Charlotte Engelkes, actor Lindy Larsson, Royal Court Singer Ingrid Tobiasson, the Singapore performers Celine Rosa Tan and Chan Sze Wei along with the works of visual artist Brian Gothong Tan and the German sounddesigner Willi Bopp.
http://www.charlotteengelkes.com/
Direction: Charlotte Engelkes
With: Charlotte Engelkes, Lindy Larsson, Ingrid Tobiasson, Celine Rosa Tan, Chan Sze Wei
Sound: Willi Bopp, Richard Wagner
Text: Charlotte Engelkes, Sophie Holgersson
Costumes: Anna Ardelius
Video: Brian Gothong Tan
Dramaturgy: Katarina Aronsson
Stage & Light Design: Karl Svensson
Production management: Birgit Lindholm
Production: Astarte Productions
Co-production: Dansens Hus (Stockholm)
Funded by Music Development and Heritage Sweden, Swedish Arts Council, Swedish Arts Grants Committee, National Arts Council Singapore, City of Stockholm, Royal Swedish Opera, Goethe-Institut.
The guest performance is supported by Swedish Institute, Swedish Embassy, Kulturrådet (Denmark).
"All the art I liked consisted of bits of melancholia. It is almost like you need melancholia to make it a ‚real dish’." (Lars Von Trier)
As a response to his previous solo work Can't Get No/Satisfaction - which dealt with idiosyncrasies of the author - Mart Kangro flips sides with the audience now and tries to reflect on his desires as a spectator. On desires that are overpowered by never-ending longing for the sublime. How this thirst for an emotional experience influences one’s perception and criticalness and how vulnerable one might become in this condition.
His new solo concentrates on the aspects of pathos and sentiment involved in mechanisms of representation. When enough is enough and too much becomes too much. When banal becomes beautiful and ordinary special.
Idea / Choreography / Performance: Mart Kangro
Sound Design: Taavi Kerikmäe
Dramaturgical Assistance: Christina Ciupke
Light / Technical Director: Kalle Tikas
Co-production: Kanuti Gildi SAAL.
Supported by Cultural Endowment of Estonia, Estonian Embassy
The project is co-produced by international network SAMARA, with the support from the Long-Term Network Mobility programme by the Nordic Council of Ministers.
The 1990s was a period when Latvia, having gained independence, had to start gaining maturity. It was the time when Latvia had to deal with chaos in government, poverty and crime. At the same time, Finland, having gone through an economical crisis together with Nokia, was enjoying such massive development that it rose to first position in the list of wealthiest countries. In 1994 Finland joined the European Union at the same time as Latvia started working on gaining accession to the EU. The Performance Change of Hope tells the stories of four children who grew up during this time and how their lives were or were not influenced by major political, economic and social changes which happened in these countries during the ’90s.
This is a work-in-progress presentation.
Poster image has been based on painting by Mikelis Fisers "MC4ID",1997
There will be an open discussion with the artistic team on sunday, 8th december at 5pm in HAU2. Free entrance.
By and with: Carl Alm, Ieva Kauliņa, Valters Sīlis, Kārlis Krūmiņš
Dramaturgy: Arnita Jaunsubrēna
Co-production: Ģertrūdes ielas teātris, NORDWIND Festival and Platform, Kampnagel.
Supported within the programme IKEAROPA "Critical perspectives on European identity" by funds of Hauptstadtkulturfonds.
In The European Media, 7 former European actors are turned into powerless media for superior non-European powers – China, Google, Nike, Rupert Murdoch, The Terrorist, a Mohammad cartoon, an African boat refugee and an underage Thai boy-prostitute. The European Media is also the end of the European actor as we knew him and her throughout the 20th century; it is the end of free will, the end of personal interpretation, the end of Freudian-psychological theatre.
The European Media had its world premiere at The Royal Theatre in Copenhagen in April 2012. For the NORDWIND Festival, The Nielsen Movement is producing a special version of The European Media with seven German-speaking medias and former actors.
Text / Director: Nielsen
Trainee Director: Daniela Töbelmann
Media: Cornelia Dörr, Irina Wrona, Dietrich Kuhlbrodt, Oana Solomon, Philipp Meier von Rouden, Lukas Vögler, Moritz Grabbe
Production: The Nielsen Movement.
Co-production: Kampnagel und NORDWIND Plattform und Festival.
Funded by Statens Kunstråd, Hamburger Kulturbehörde, Rusch-Stiftung, Rudolf Augstein Stiftung.
Supported within the programme IKEAROPA "Critical perspectives on European identity" by funds of Hauptstadtkulturfonds.
Supported by: Danish Arts Council
In The European Media, 7 former European actors are turned into powerless media for superior non-European powers – China, Google, Nike, Rupert Murdoch, The Terrorist, a Mohammad cartoon, an African boat refugee and an underage Thai boy-prostitute. The European Media is also the end of the European actor as we knew him and her throughout the 20th century; it is the end of free will, the end of personal interpretation, the end of Freudian-psychological theatre.
The European Media had its world premiere at The Royal Theatre in Copenhagen in April 2012. For the NORDWIND Festival, The Nielsen Movement is producing a special version of The European Media with seven German-speaking medias and former actors.
Text / Director: Nielsen
Trainee Director: Daniela Töbelmann
Media: Cornelia Dörr, Irina Wrona, Dietrich Kuhlbrodt, Oana Solomon, Philipp Meier von Rouden, Lukas Vögler, Moritz Grabbe
Production: The Nielsen Movement.
Co-production: Kampnagel und NORDWIND Plattform und Festival.
Funded by Statens Kunstråd, Hamburger Kulturbehörde, Rusch-Stiftung, Rudolf Augstein Stiftung.
Supported within the programme IKEAROPA "Critical perspectives on European identity" by funds of Hauptstadtkulturfonds.
Supported by: Danish Arts Council
Executed Stories is a story-telling solo performance about execution in the history of humanity, the angle shifting between that of executed person and executioner. For the executed, execution is an irreversible act, while the executioner might be a proud and skillful officer of the state. It tells life stories of a few people, from different times, who ended their lives either executed or working as an executioner. Besides the life stories, Executed Stories demonstrates a few execution methods. The tone of the performance is neutral and factual, but not without humour – hey, let´s play hangman! And there is a lottery: what would you like to eat as your last meal; hopefully the show will whet your appetite !
Executed Stories premiers in August 2013 at Festival Lókal in Iceland.
http://www.nbl.fi/~nbl815/voice.php
Text / Director / Performance / Production: Juha Valkeapää
Co-production: Baltic Circle, International Network SAMARA
Supported by City of Helsinki, International Network SAMARA Long-Term Network Mobility programme by the Nordic Council of Ministers, Finnish Embassy, TINFO, Finland Institute in Germany
The theme of Maxim Gorky‘s play Nachtasyl (The Lower Depths) still feels bang up-to-date. Lost souls, written off by society, who dream of a better life, contemplate life‘s existential questions. In Korsunovas’ production a long table covered in a white cloth and several bottles of vodka fuel the explosive questions about the value of human life, the sincerely told stories of their own existences and the expression of their own hopes and desires. Director Oskaras Korsunovas on his production: “This is our first theatrical performance, in which we don’t concentrate on the result, but seek to test and discover ourselves, so that the actors not only create their characters, but also retain the reality and remain themselves.”
Awards:
Golden Cross, Best Male Actor (Darius Gumauskas), Lithuania, 2011
Golden Cross, Best Director, Best Performance of the year, Lithuania, 2011
International Festival “Kontakt” Prize, Best Director, Poland, 2012
The Lower Depths participated in many festivals without the competition.
http://www.okt.lt/en/
Director: Oskaras Koršunovas
Set Design: Dainius Liskevicius
Costume Design: Agne Kuzmickaite
Composition: Antanas Jasenka
Technical Director: Mindaugas Repsys
Sound: Alius Bareckas
Props / Costumes: Edita Martinaviciute
Stage Management: Malvina Matickiene
Surtitles: Akvile Melkunaite
Tourmanagement: Audra Zukaityte
With: Dainius Gavenonis, Rasa Samuolyte, Darius Gumauskas, Julius Zalakevicius, Darius Meskauskas, Jonas Verseckas, Tomas Zaibus, Giedrius Savickas, Nele Savicenko, Rytis Saladzius
Production: Oskaras Koršunovas/Vilnius City Theatre.
The guest performance is funded by the Lithuanian Ministry of Culture.
The 1990s was a period when Latvia, having gained independence, had to start gaining maturity. It was the time when Latvia had to deal with chaos in government, poverty and crime. At the same time, Finland, having gone through an economical crisis together with Nokia, was enjoying such massive development that it rose to first position in the list of wealthiest countries. In 1994 Finland joined the European Union at the same time as Latvia started working on gaining accession to the EU. The Performance Change of Hope tells the stories of four children who grew up during this time and how their lives were or were not influenced by major political, economic and social changes which happened in these countries during the ’90s.
There will be an open discussion with the artistic team on sunday, 8th december at 5pm in HAU2. Free entrance.
This is a work-in-progress presentation.
Poster image has been based on painting by Mikelis Fisers "MC4ID",1997
By and with: Carl Alm, Ieva Kauliņa, Valters Sīlis, Kārlis Krūmiņš
Dramaturgy: Arnita Jaunsubrēna
Co-production: Ģertrūdes ielas teātris, NORDWIND Festival and Platform, Kampnagel.
Supported within the programme IKEAROPA "Critical perspectives on European identity" by funds of Hauptstadtkulturfonds.
The gripping performance All Is Divine brings together the different worlds built up by Swedish stage personality Charlotte Engelkes in her imaginative and acclaimed Wagner-themed trilogy The Very Ring. In this final part of the trilogy, humans mingle with gods, east with west, heroines, sisters, brothers and absent parents in their own ‘Gesamtkunstwerk’ – full of love and references to the opera world. Personal and playful, she depicts how the mythological world relates to reality. On stage are Charlotte Engelkes, actor Lindy Larsson, Royal Court Singer Ingrid Tobiasson, the Singapore performers Celine Rosa Tan and Chan Sze Wei along with the works of visual artist Brian Gothong Tan and the German sounddesigner Willi Bopp.
http://www.charlotteengelkes.com/
Direction: Charlotte Engelkes
With: Charlotte Engelkes, Lindy Larsson, Ingrid Tobiasson, Celine Rosa Tan, Chan Sze Wei
Sound: Willi Bopp, Richard Wagner
Text: Charlotte Engelkes, Sophie Holgersson
Costumes: Anna Ardelius
Video: Brian Gothong Tan
Dramaturgy: Katarina Aronsson
Stage & Light Design: Karl Svensson
Production management: Birgit Lindholm
Production: Astarte Productions
Co-production: Dansens Hus (Stockholm)
Funded by Music Development and Heritage Sweden, Swedish Arts Council, Swedish Arts Grants Committee, National Arts Council Singapore, City of Stockholm, Royal Swedish Opera, Goethe-Institut.
The guest performance is supported by Swedish Institute, Swedish Embassy, Kulturrådet (Denmark).
In Variations on Closer the three performers investigate different variations of closeness between an individual and his observers. The observers and performers alike are offered a chance to renegotiate their feelings associated with living outside one's own body and living through the bodies of others and are confronted with the role of their own gaze and their ever shifting feelings of empathy, attraction, intimacy and alienation. The soundtrack is performed live by music maker Peter Rehberg (PITA).
Photo: Tom Akinleminu, painting by Marion Bataillard
Concept/Direction/Choreography: Margrét Sara Gudjónsdóttir
Performers/Choreography: Laura Siegmund, Johanna Chemnitz, Angela Schubot
Composition: Peter Rehberg
Co-production: MDT theater Stockholm, RAS kulturhus Sandnes, Les Grandes Traversées Festival Bordeaux.
Residency support: WP Zimmer (Antwerpen), Sommer.bar – Tanz im August (Berlin), Barnes Crossing (Cologne).
Special thanks to: Sonia Franken, Eike Siegmund, Anja Röttgerkamp, Andrea Lutz/Ashtanga Studio Berlin, Jared and Angela Productions, Jill Emerson (SMC), Gotischer Saal Berlin, Benjamin Schalike, Thomas Schaupp.
Supported by: Icelandic Ministry of Culture, Icelandic Embassy
The famous Blue Lagoon has been transformed in the first part of Transaquania into a magical new world. Out of the blue waters, new life forms were born, a civilization rapidly evolved. Transaquania - Into Thin Air now explores a distant future of this species. All water has disappeared from the Earth’s surface. What is left is only a dry memory. Existence has now become a poetic struggle for life. The chameleon-like philosophy of Transaquania - Into Thin Air explores the very fragile balance and interaction between life and its environmental conditions, as well as the thin thread between the chemical, the physical and the poetical.
Choreography: Erna Ómarsdóttir, Damien Jalet
Original music: Valdimar Jóhannsson, Ben Frost
Costumes: Gabríela Friðriksdóttir, Hrafnhildur Hólmgeirsdóttir
Light design: Kjartan Þórisson, Aðalsteinn Stefánsson
With: Ásgeir Helgi Magnússon, Elín Signý Weywadt Ragnarsdóttir, Hannes Þór Egilsson, Inga Maren Rúnarsdóttir, Lovísa Ósk Gunnarsdóttir , Sigríður Soffía Níelsdóttir, Saga Sigurðardóttir, Védís Kjartansdóttir. Þyrí Huld Árnadóttir
Rehearsal director Hamburg: Katrin Hall
The guest performance is supported by WOW AIR.
Transaquania-Into thin Air is originally created with and for the dancers of the Icelandic Dance Company. Premiered in the City theater in Reykjavik in 2009.
Shalala is producing this version Transaquania-Into thin Air for NORDWIND/Kampnagel in Hamburg.
With special thanks to the Icelandic Dance Company ,LHI, Adalheidur Halldorsdottir and Cameron Corbett.
In Variations on Closer the three performers investigate different variations of closeness between an individual and his observers. The observers and performers alike are offered a chance to renegotiate their feelings associated with living outside one's own body and living through the bodies of others and are confronted with the role of their own gaze and their ever shifting feelings of empathy, attraction, intimacy and alienation. The soundtrack is performed live by music maker Peter Rehberg (PITA).
Photo: Tom Akinleminu, painting by Marion Bataillard
Concept/Direction/Choreography: Margrét Sara Gudjónsdóttir
Performers/Choreography: Laura Siegmund, Johanna Chemnitz, Angela Schubot
Composition: Peter Rehberg
Co-production: MDT theater Stockholm, RAS kulturhus Sandnes, Les Grandes Traversées Festival Bordeaux.
Residency support: WP Zimmer (Antwerpen), Sommer.bar – Tanz im August (Berlin), Barnes Crossing (Cologne).
Special thanks to: Sonia Franken, Eike Siegmund, Anja Röttgerkamp, Andrea Lutz/Ashtanga Studio Berlin, Jared and Angela Productions, Jill Emerson (SMC), Gotischer Saal Berlin, Benjamin Schalike, Thomas Schaupp.
Supported by: Icelandic Ministry of Culture, Icelandic Embassy
The famous Blue Lagoon has been transformed in the first part of Transaquania into a magical new world. Out of the blue waters, new life forms were born, a civilization rapidly evolved. Transaquania - Into Thin Air now explores a distant future of this species. All water has disappeared from the Earth’s surface. What is left is only a dry memory. Existence has now become a poetic struggle for life. The chameleon-like philosophy of Transaquania - Into Thin Air explores the very fragile balance and interaction between life and its environmental conditions, as well as the thin thread between the chemical, the physical and the poetical.
Choreography: Erna Ómarsdóttir, Damien Jalet
Original music: Valdimar Jóhannsson, Ben Frost
Costumes: Gabríela Friðriksdóttir, Hrafnhildur Hólmgeirsdóttir
Light design: Kjartan Þórisson, Aðalsteinn Stefánsson
With: Ásgeir Helgi Magnússon, Elín Signý Weywadt Ragnarsdóttir, Hannes Þór Egilsson, Inga Maren Rúnarsdóttir, Lovísa Ósk Gunnarsdóttir , Sigríður Soffía Níelsdóttir, Saga Sigurðardóttir, Védís Kjartansdóttir. Þyrí Huld Árnadóttir
Rehearsal director Hamburg: Katrin Hall
The guest performance is supported by WOW AIR.
Transaquania-Into thin Air is originally created with and for the dancers of the Icelandic Dance Company. Premiered in the City theater in Reykjavik in 2009.
Shalala is producing this version Transaquania-Into thin Air for NORDWIND/Kampnagel in Hamburg.
With special thanks to the Icelandic Dance Company ,LHI, Adalheidur Halldorsdottir and Cameron Corbett.
BAND is a performance that investigates the experience of a psychedelic concert. Yet, there are no musicians, no instruments and no music to be heard. Kaleidoscopic shadows, drone-like movement, and a feeling of drifting away create the sound.
”(…) it is as if the bodies become abstracted. The four performers are reminiscent of nature moving in the wind. From plastic cans rolling in the breeze, to windmills in [a] storm. The light design develops from subtle pulsing, to becoming its own flickering choreography of colours projected onto the four bodies lying crooked on the stage floor. (…) BAND can be seen as a variation on John Cage’s ”4’33”, where the sound of the audience is highly present”.
(Anette Therese Pettersen, Klassekampen, Norway, 20. April 2013)
VIMEO Link
Trailer of the performance:
Full documentation: https://vimeo.com/65252917
Concept / production: Ingri Fiksdal
By and with: Ingri Fiksdal, Ingeborg S. Olerud, Rosalind Goldberg, Sigrid Hirsch Kopperdal, Pernille Holden, Venke Sortland
Outside-eye: Juli Reinartz
Costumes: Ingri Fiksdal, Elena Becker
Co-production: WELD, Black Box Theatre, Samara, BIT Teatergarasjen, Teaterhuset Avant Garden.
Supported by The Norwegian Arts Council, Kulturkontakt Nord, Fond for lyd og bilde, Fund for performing artists
The guest performance is supported by Dans og Theatercentrum, Norwegische Botschaft, PAHN.
Drilling through the vast world of entertainment and popular culture, from the shiny surface to the murky and private regions underneath, Entertainment Island moves from the main-stream entertainment industry through local to private pleasure, exploring entertainment and popular culture.
Entertainment Island 1 is an energetic take on the structures of the entertainment industry. An array of gestures, movements and sounds emanating from here are presented in this energetic performance exposing the mechanisms of popular culture. Entertainment Island 2 is a hilarious performance about lifestyle, news and soap operas, where local and global culture meet. Oblivia was in residence at the Kiasma Theatre in Helsinki, PACT Zollverein in Essen and CCA in Glasgow for the Entertainment Island project 2008-2010.
http://www.oblivia.fi/
By and with: Timo Fredriksson, Anna Krzystek, Annika Tudeer
Co-production: Kiasma Theatre, Museum of Contemporary Art, Helsinki.
Funded by CCA Centre for Contemporary Art, PACT Zollverein, Produforum, Svenska Kulturfonden, Arts Council Finland, Arts Council Helsinki, Kulturkontakt Nord, Nordic Cultural Fund, Alfred Kordelin Fund, AVEK, Arbetets Vänner, Sparbanksstiftelsen.
The guest performance is funded by the Finish Embassy in Berlin and TINFO.
Supported within the programme IKEAROPA "Critical perspectives on European identity" by funds of Hauptstadtkulturfonds.
Supported by: Finland Institute in Germany
Aventine is the follow up to Agnes Obel’s critically acclaimed debut album Philharmonics (2010), which has sold 450,000 copies across Europe, achieving platinum status in France and Belgium and five times platinum in her native Denmark where Agnes picked up five Danish Music Awards (the Danish Brits) in 2011. Originally from Copenhagen, Agnes Obel has lived in Berlin since 2006 where Aventine was recorded at her Chalk Wood Studios between January and May this year.
Agnes Obel has announced an extensive European tour to follow the release of her eagerly anticipated new album Aventine on 30th September. The tour will take in Belgium, France, Germany, Ireland, Italy, Luxembourg, Netherlands, Switzerland and the UK.
Supported by: Danish Arts Council
BAND is a performance that investigates the experience of a psychedelic concert. Yet, there are no musicians, no instruments and no music to be heard. Kaleidoscopic shadows, drone-like movement, and a feeling of drifting away create the sound.
”(…) it is as if the bodies become abstracted. The four performers are reminiscent of nature moving in the wind. From plastic cans rolling in the breeze, to windmills in [a] storm. The light design develops from subtle pulsing, to becoming its own flickering choreography of colours projected onto the four bodies lying crooked on the stage floor. (…) BAND can be seen as a variation on John Cage’s ”4’33”, where the sound of the audience is highly present”.
(Anette Therese Pettersen, Klassekampen, Norway, 20. April 2013)
VIMEO Link
Trailer of the performance:
Full documentation: https://vimeo.com/65252917
Concept / production: Ingri Fiksdal
By and with: Ingri Fiksdal, Ingeborg S. Olerud, Rosalind Goldberg, Sigrid Hirsch Kopperdal, Pernille Holden, Venke Sortland
Outside-eye: Juli Reinartz
Costumes: Ingri Fiksdal, Elena Becker
Co-production: WELD, Black Box Theatre, Samara, BIT Teatergarasjen, Teaterhuset Avant Garden.
Supported by The Norwegian Arts Council, Kulturkontakt Nord, Fond for lyd og bilde, Fund for performing artists
The guest performance is supported by Dans og Theatercentrum, Norwegische Botschaft, PAHN.
Drilling through the vast world of entertainment and popular culture, from the shiny surface to the murky and private regions underneath, Entertainment Island moves from the main-stream entertainment industry through local to private pleasure, exploring entertainment and popular culture.
Entertainment Island 1 is an energetic take on the structures of the entertainment industry. An array of gestures, movements and sounds emanating from here are presented in this energetic performance exposing the mechanisms of popular culture. Entertainment Island 2 is a hilarious performance about lifestyle, news and soap operas, where local and global culture meet. Oblivia was in residence at the Kiasma Theatre in Helsinki, PACT Zollverein in Essen and CCA in Glasgow for the Entertainment Island project 2008-2010.
http://www.oblivia.fi/
By and with: Timo Fredriksson, Anna Krzystek, Annika Tudeer
Co-production: Kiasma Theatre, Museum of Contemporary Art, Helsinki.
Funded by CCA Centre for Contemporary Art, PACT Zollverein, Produforum, Svenska Kulturfonden, Arts Council Finland, Arts Council Helsinki, Kulturkontakt Nord, Nordic Cultural Fund, Alfred Kordelin Fund, AVEK, Arbetets Vänner, Sparbanksstiftelsen.
The guest performance is funded by the Finish Embassy in Berlin and TINFO.
Supported within the programme IKEAROPA "Critical perspectives on European identity" by funds of Hauptstadtkulturfonds.
Supported by: Finland Institute in Germany