A Fine Selection: Special Edition!
Kaboom! Let us tell you a bit about A Fine Selection: Special Edition! This is the biggest MDT festival yet. We start off with four days and nine shows! We present to you favorites from our program, some all new like “Why I Wear This Shirt” by Gunilla Heilborn & Kim Hiortøy or Sebastian Lingserius – ”D ANCER” or Juli Reinartz ”You said you’d give to me — Soon as you were free”. FRESH.
And some with a touch of patina like Jens Östberg’s ”Pre-study for Hamlet”, an all time favorite from 2012.
Some even re-mixed like Mårten Spångberg’s ”News From The Last Of The International Hotshots/Natten”.
And we have curated a program that also show you some cool stuff from around the globe. ”55” by Radouan Mriziga, Dragana Bulut’s ”Return of the Zombie episode 3” and ”Tutuguri” by Flora Detraz and the new piece by Margrét Sara Gudjónsdóttir – ”Conspiracy Ceremony – Hypersonic States”.
Ops. Just like that.
Then we add an extra week. We welcome back the founding mother Margaretha Åsberg, she comes with her exhibition “Målningar”. And we celebrate our 30th anniversary with a book by dance scholar Cecilia Malmström Olsson, art director Jonas Williamsson and cartoonist Samuel Nyholm aka Sany. We also show screenings of classics from back in the hay day and we give you a series of talks with focus on the now and the then. Yup, 30 years, MDT was inaugurated as Stiftelsen Moderna Dansteatern 24/9 – 1987! The year of classics such as “I wanna dance with somebody” or “Sign ‘O the Times” or “Welcome to the jungle”, but also the breakthrough of postmodernism in dance and theory in Sweden. So one foot there and one foot here, stepping towards the future. It’s not about nostalgia it’s about the future. “It ain’t where you are from, it’s where you at” like Rakim said.
This is still not the whole package. Not even close. It is a Special Edition after all. We close this anniversary season and the festival with a golden confetti boom! Two of our favorite performances in one day Ludvig Daae’s ”Dance to Dance to” and Ofelia Jarl Ortega & Patrik Patsy Lassbo’s ”Forever” and the Mother of All Parties, no more, no less (#festernasfest), brought to you and curated by Tove Berglund. So join the celebration, put your dancing shoes on. Pump up the volume. Like Rakim said.
29.11 + 30.11*
18:00 Gunilla Heilborn & Kim Hiortøy – “Why I Wear This Shirt”
19:00 Sebastian Lingserius – “D ANCER”
20:00 Radouan Mriziga – “55”
21:30 Dragana Bulut – “Return of the Zombie, Episode 3”
1.12 + 2.12*
13:00 – 16:00 (2 dec only) Mårten Spångberg – “News From The Last Of The International Hotshots/Natten”
18:00 Margrét Sara Gudjónsdóttir – “Conspiracy Ceremony – Hypersonic States”
19:15 Juli Reinartz – “You said you’d give to me — Soon as you were free”
20:30 Flora Detraz – “Tutuguri”
22:00 Jens Östberg – “Pre-study for Hamlet”
13:00-21:00 MDT 30 years: Margaretha Åsberg – “Målningar”
14:00- MDT 30 years: Film screenings
18:00-20:30 MDT 30 years seminar
20:30-21:30 MDT 30 years Book release
15:00 Mårten Spångberg – “News From The Last Of The International Hotshots/Natten”
15:00 MDT 30 years: Film screenings, with an introduction by Margaretha Åsberg
15:00-20:00 MDT 30 years: Margaretha Åsberg – “Målningar”
19:00-20:00 MDT 30 years seminar
22:00 Mårten Spångberg – “News From The Last Of The International Hotshots/Natten”
20:00 Ludvig Daae – “Dance to Dance to”
21:00 Festernas Fest
…including Ofelia Jarl Ortega & Patrik Patsy Lassbo – “Forever”
*The 29-30/11 + 1-2/12 it is possible to see the full day’s program all in one evening if you want. Or see half of it one day and half the next day. Or your favourite twice. You choose.
- Ticket info
You need a festival pass + tickets for each performance. Seminars, exhibition, book release, screenings and party are included in the festival pass.
Festival pass: 200 sek (reduced* 100 sek)
Tickets: 50 sek
MDT kompiskort includes the festival. Book your tickets HERE if you have MDT kompiskort.
(*We offer reduced priced festival pass for students, seniors, youth under 26 and unemployed persons.)
- Gunilla Heilborn & Kim Hiortøy “Why I Wear This Shirt”
“This morning I had a singing lesson with Benedikte. She looked tired. I told her this, and she said that she had had an argument with her husband and that she had slept in the basement.”
A man who is alone recounts stories and events from his daily life. He takes singing lessons. He goes to the movies. He performs a series of physical exercises in his back yard. Before long, he finds himself lost in an endless, snowy landscape. But it could also be different.
Why I Wear This Shirt is a solo performance that makes use of language and movement as well as the throwing of objects and the lighting of lamps or matches.
Gunilla Heilborn and Kim Hiorthøy have worked together in various ways on various projects for more than 10 years. Their collaboration over the years has become a kind of long conversation, and Why I Wear This Shirt is the culmination of that conversation.
Kim Hiorthøy is a graphic designer, artist and musician from Norway. He was educated at The Art Academy in Trondheim, The Royal Danish Academy of Fine Art, and School of Visual Arts in New York. During 2010–2011 he took a master’s degree in choreography at the Schoolof Dance and Circus in Stockholm (DOCH). Hiorthøy has written music for dance as well as released records of his own music. His first feature film “The Rules of Everything” premiered in 2017.
Gunilla Heilborn is a choreographer and filmmaker based in Stockholm. After studies for Anna Halprin in San Francisco and the program of Choreography at the University of Dance in Stockholm she has created a large number of stage productions and films, such as The Lodge (2007), This is not a love story (2011) and The Knowledge (2015). Her interest lies in themes like collectivity, idealism and the failure of grand ideas.
(Text, Choreography, Light, Sound, Room, Clothes: Gunilla Heilborn and Kim Hiorthøy. Artistic Consultants: Katarina Wiklund, Jonas Williamsson, Nadja Hjorton, Sutoda. With support from: The Swedish Arts Council, The Arts Council Norway, The Swedish Arts Grants Committee.)
- Sebastian Lingserius “D ANCER”
D ANCER is the latest piece by Sebastian Lingserius. A project made together with Nefeli Oikonomou and Franz Edward Cedrins.
D ANCER invites you to a situation of training, both as participant and spectator. A speculation on body ideals and gymnography. Towards what do we exercise at the gym? What imaginary identities do we run towards?
D ANCER is a desire to work toward something, a mental diagram, a race to an end, but an end that is always transforming. A transformative dance which triggers questions regarding our physical relationship to our surroundings, our ideas of what our body is and can be.
Take the chance, you can do it, be a D ANCER with us! Imagine your pajamas, hippest yoga outfit or most comfy adidas trousers, and take the opportunity to turn on the small muscles!
D ANCER asks the question of what would happen in a post queer-stamped-gym…
Sebastian Lingserius is a choreographer and performer based in Stockholm. Educated first at the Royal Swedish ballet school, he then studied a Master in choreography at DOCH lead by Mårten Spångberg. In 2011 Sebastian founded KASS production, through which he produces all of his work, in close collaborations with platforms such as MDT, WELD and Dansens Hus. By having danced and choreographed the past 10 years, he considers dance to be an opportunity to redefine what the human subject could possibly be.
(Concept & Choreography: Sebastian Lingserius, created together with Nefeli Oikonomou. Performance: Sebastian Lingserius & Katrine Johansen. Choreography & collaboration: Oriane Paras. Sound design: Franz Edvard Cedrins. Light: Sebastian Lingserius. Producer: Jonas Robin. Marketing/MDT: Sara Bergsmark. Photography: Aleksandra Sende. Made possible with the support of Kinitiras Athens, Dansens Hus and MDT Stockholm. Supported by: The Swedish Art Council, Stockholm City Council, Stockholm County Council. This presentation is part of the project [DNA] Departures and Arrivals, which is co-financed by the Creative Europe program of the European Commission.)
- Radouan Mriziga “55”
Performing a functional body on stage and the quality of its executional engagement. Questioning the quantity and the nature of the information a performer can exchange with a viewer, in order to communicate, punctuate or confuse the understanding of a situation. To concretize this, I stipulated two major lines: constructing visual forms while being a merely executive body; setting and coordinating several elemental tasks that result in certain complexity of the body. The concurrent line is dealing with the narrativity of chosen situations, by emphasizing, increasing or reducing its volume.
55 is the first creation by the choreographer and dancer Radouan Mriziga. He studied dance in Morocco, Tunisia and France, and also at PARTS. Since 2008 he lives and works in Brussels. He danced in Half elf zomeravond (Bart Meuleman, Toneelhuis) and Re:Zeitung (Anne Teresa De Keersmaeker) and is artist in residence at the Moussem Nomadic Arts Centre, which in its activities reflects on the impact of globalization caused by old and new migratory flows.
(Concept created & performed by Radouan Mriziga. Assistance: Alina Bilokon. Acknowledgments: Moussem team, Alina Bilokon, Youness Khoukhou, Christophe Dupuis, Bart Meuleman, Steven De Belder. Production Moussem Nomadic Arts Centre co-production C-mine (Genk), WP Zimmer (Antwerpen). In collaboration with Cultuurcentrum Berchem (Antwerp), Kunstenfestivaldesarts (Brussels) Pianofabriek Kunstenwerkplaats (Brussels), O Espaço do Tempo (Montemor-o-Novo), STUK (Leuven). This presentation is part of the project [DNA] Departures and Arrivals, which is co-financed by the Creative Europe program of the European Commission.)
- Dragana Bulut “Return of the Zombie, Episode 3”
Cover the windows, barricade the doors, store up on supplies and prepare for an attack when the “Return of the Zombie” takes to the stage at MDT Stockholm. As part of her artistic research in instrumentalizing the figure of a zombie as a metaphor for contemporary subjectivity, choreographer Dragana Bulut looks at the fragile relationship between reality and fiction and perceptively exposes the mechanisms through which our reality is constructed.
Dragana Bulut is a Berlin-based artist from Belgrade working with choreography and performance. Through observing theater space as a place of social gathering, she questions different configurations of aesthetics, labor and economics. By appropriating different social formats, her performances deal with the tension between immaterial and material, object and affect, realty and fiction. www.draganabulut.com
(Author: Dragana Bulut. Artistic Collaboration: Ljiljana Tasić, Ana Monteiro, Sara Tosic. Performance: Dragana Bulut, Sara Tošić, Ksenija Djurović, Joseph Wegmann. Dramaturgy: Ana Vujanović. Production: Ksenija Djurović. Touring Management, Production: Joseph Wegmann. With kind support by Station, Service for contemporary dance (Belgrade), [DNA] Departures and Arrivals, scholarship from the Governing Mayor of Berlin, Senate Chancellery – Cultural Affairs, Ministry of Culture of Serbia, Bitef Theatre (Belgrade), Workspacebrussels)
- Margrét Sara Gudjónsdóttir “Conspiracy Ceremony – Hypersonic States”
A symphony of pathologies, sentiments, and physical states originating in the personal emotional body is on display in this latest work by choreographer Margrét Sara Guðjónsdóttir. Emotions rush through these bodies without filters. The viewer experiences extreme, almost painfully private states. The HYPERSTATES form a corporeal language that serves as a doorway into the subconscious, transferring themselves into the bodies of the audience as they meet the performers with full intensity.
Margrét Sara Guðjónsdóttir was born and raised in Iceland. She studied dance at the Artez University of Arts in Arnhem and Amsterdam. Along side working as a performer with various artists in Europe, Margrét Sara co-founded the production house Panic Productions in Iceland, with dancer and choreographer Sveinbjörg Þórhallsdóttir, which was active from 2004 – 2009, and focused on producing and initiating collaborative performance works with international artists. Margrét Sara has toured internationally with her own work since 2010 and currently lives and works in Berlin. Displaying the politics of intimacy is a core theme within her choreographic work while working with and exploring pathologies of the social political body within our own bodies. Margrét Sara has collaborated with a consistent team of performers over the last five years and the soundscapes which accompany the works are exclusively created by and with Peter Rehberg (PITA),electronic composer and director of the record label Editions MEGO, Austria. In 2015 Margrét Sara became artist in residence at the Cullberg Ballet in Stockholm. Creating her second commissioned work for the Cullberg Ballet in 2017. She teaches periodically at the Icelandic Dance company, dance department of the Art University of Iceland, BA dance program at DOCH in Stockholm and choreography department of the Art University of Helsinki.
(Direction, choreography, concept, stage, costumes: Margrét Sara Gudjónsdottir. Choreography/performing: Johanna Chemnitz, Catherine Jodoin, Laura Siegmund, Marie Topp, Suet-Wan Tsang. Music: Peter Rehberg. Lighting: Martin Beeretz. Dramaturgy: Anja Röttgerkamp. Dramaturgical Consultants: Richard Aslan. Production Management: Elena Krüskemper. Co-produced by LÓKAL – Performing Arts Reykjavík, and Sophiensaele, Berlin. Funded by Senatsverwaltung für Kultur und Europa, Abteilung Kultur. With support by the Arts Council of Norway and the City of Reykjavík.)
- Juli Reinartz “You said you’d give to me — Soon as you were free”
YSYGM is a film without a camera. A body gets portrayed while dancing. The movie zooms in and out and registers all anatomical and performative details. The camera turns the body into microscopic material, flickering image, alien posture and moving pixel. But the camera does not really exist in the piece: Its perspectives is just the model for the perspective of the audience. It opens up the body for being both – a modifiable material and a desiring subject.
Negotiating the two ends of this line, YSYGM becomes a secret duet with the audience. It turns cyborgfeminist and searches the techno body for what becomes possible. Maybe the new perspective can be turned into a drag ritual. Here the piece encounters the most important question: how does it all feel like?
YSYGM is a metaphor.
YSYGM is an attempt.
YSYGM has good intentions and powerless means.
YSYGM asks how we all feel like.
YSYGM means we cannot wait until we’re free.
Juli Reinartz studied at the University for Dance and Circus (DOCH) and works between Stockholm and Berlin. Her approach to choreography is fueld by the desire to produce formats that experiment on identity formation. Her works ‘Atlantic’, ‘Really Good Music’ and ‘Regional Geographic’ picked the topics of Afrofuturism and animism to explore that and have been shown in various places in Sweden, Germany, Finland, Iceland and Norway. In 2013, she researched on the concert format in a one year residency at Mejan. Since 2015, she is interested in techno bodies, film formats and the camera perspective on the body. The question is if this perspective is in fact a new ritual and if it can be turned into one. Her solo ‘You said you’d give it to me – soon as you were free’ investigates that from a specifically feminist perspective. Tanzabend 4 with Theater Thikwa in Berlin looks at that topic with a focus on difference and collectivity. Juli has been working together as a performer or outside eye with Angela Schubot, Jared Gradinger, Ingri Fiksdal, Trajall Harrel, Verena Billinger / Sebastian Schulz, Nora Schlocker, Jeremy Wade, Tea Tupajic and Social Muscle Club Berlin.
(Choreography / Performance: Juli Reinartz. Artistic collaboration: Liz Rosenfeld. Dramaturgical assistance: Rose Beermann. Light design: Josefin Hinders, Bjoern Kuajara. Music: many. Production: Tove Dahlblom. Supported by Slingan. Research funded by Senat Berlin. Residencies: MDT, Tanzfabrik.)
- Flora Detraz “Tutuguri”
TUTUGURI is a polyphonic solo by Flora Détraz which explores the desynchronisation between movements and the sounds that escape them or surrender to them. In a perpetual conflict between opposites and inhabited by whispers, animal growls, children’s noises, alien sounds, conversations and spasms, the performer’s body suggests a world of paradoxes and contradictions. In real-time, the audience become accomplice to a both captivating and disconcerting state of sensory alienation in which dance is audible, sound palpable and unfamiliar gestures suddenly resonate in wholly unexpectedly ways.
Flora Detraz studied Ballet at the Conservatoire, graduated in Literary Studies – Hypokhagne, Khâgne, graduated with a Master in Dance at the University Paris 8 and completed Maguy Marin’s course at the CCN Lyon. She took part in a choreography research program in Lisbon together with Vera Mantero, Lia Rodrigues and Patricia Portela. During various workshops she had an opportunity to collaborate with Meredith Monk, Jonathan Burrows, Lo c Touzé among others. As a performer Flora works with Marlene Monteiro Freitas, Laurent Cèbe and Miguel Pereira. Since 2013, Flora creates and presents her own work, among others: Peuplements (2013), Gesächt (2014), and TUTUGURI (2016).
(Conception and performance: Flora Détraz. Light design: Arthur Gueydan. Set design: Camille Lacroix. Dramaturgical complicity: Ana s Dumaine. Acknowledgments: Konrad Kaniuk, Paula Caspao and Carlota Lagido. Production: PLI – www.compagniepli.org. Co-productions: Materiais Diversos (PT) / PACT-Zollverein (DE)/ MA scène nationale, Montbéliard (FR) / Relais culturel de Falaise (FR)/ CCN de Caen en Normandie, direction Alban Richard. Residencies: Ramdam, un centre d’art (FR), Alktantara (PT) / Espacio Azala (ES). TUTUGURI received the support of DRAC Normandie, Institut Français du Portugal and Fundaçao Gulbenkian.)
- Jens Östberg “Pre-study for Hamlet”
First and foremost we wish to apologize: to stage Hamlet, or any other play that has been done to death, today, is obviously the equivalent of saying: “I have no ideas of my own”.
In this time, when remakes, franchising and the hunt for the “built-in audience” threatens to completely wipe out any attempt of originality – why remake Hamlet, again? One of the most remade works of all time? The only sensible answer to this eagerness to reheat the stale and old has to be to build something from zero?–?the way Shakespeare himself would do it.
We understand your concern. But?–?we have a plan.
In the society that we’ve built and continue to build, we live by one all-encompassing ambition: to be good. That is, per definition, to be better than others. Sometimes, that can be measured (long jump springs to mind). Sometimes, it can’t. But even if you can’t, in the empirical sense, say that one dance piece is good, meaning better than some other piece, that’s exactly what we do, in conversations, in media; we elevate this, we trash that. Without stating on what exact grounds we do so. Even so we pass judgement with great certainty, as if it was a matter of obvious science?–?instead of what it really is: a single human being feels something, in a certain moment, and somehow voices that?–?which, in turn, is a result of the history of that particular individual; her education, her childhood, her conditions, what her parents did, said, didn’t do, didn’t say. Really, this is the basic situation: I like porridge, you don’t. Who’s right?
Hamlet is an institution. The play enjoys an indisputable status, simply because a great many people, over a great length of time, have agreed on its greatness. Liked the same porridge. Thought the same thoughts as someone before them. Stated that Hamlet is really, really good. But we suspect that if you want to give something back, if you really want to honor Shakespeare, maybe you should attempt something as formidable?–?that is, to build a masterpiece from the ground up?
Therefore, our conclusion is to propose that there is only one morally defendable way to attack Hamlet, the character, the play, the institution, today, and that is if you believe you have found a key to a new version, that in itself puts an end to the very need of Hamlet. A version so ultimate, so chocking and powerful that the play needn’t be staged again. That the recepy is defunct for all future. That this particular institution goes down, dead, buried at last.
“Pre-study for Hamlet” is therefore, more or less, our approach to this single question: Can We With Great Certainty Claim That Our Version Will Become The World’s Most Powerful Staging Of Hamlet Ever?
(These gorgeous stars have contributed to the making of this piece: Rebecca Chentinell, Ludde Hagberg, Sutoda, Daniel Söderberg, Jonas Williamsson & Samuel Nyholm, Jens Östberg, Liv Östberg. For their fierce support, we also wish to thank these samurai warriors: Danjel Andersson, Tove Dahlblom, Anna Granath, Lisen Rosell, Katti Alm. Without these organisations, things would get harsh: Swedish Arts Council, the Swedish Arts Grants Committee. Thank you all. “Pre-study for Hamlet” is produced by Bortalaget in co-production with MDT.)
- Mårten Spångberg “News From The Last Of The International Hotshots/Natten”
A young American woman reading an introduction to art moderne. A girl with a nose to prominent for her voice. Paintings that isn’t what they appear to be. Distances that just is and nothing more. Imposters (a whole group), seductive and black, impossible to neglect because they are recognisable. A French novelist using short staccato sentences. The darkness that sweeps in, that drops on us like a grey blanket is like the front desk of a middle sized office building. Prominent darkness rise, a darkness’ darkness drained also of the traces of something. Night is the double circle devouring itself as it’s bodies turns into erogenous landscapes – everything is equally and now.
With the starting point in choreography Mårten Spångberg undermines practices and formats, blurring boundaries and media instead emphasising the withdrawing tangibility of experience. Nothing is on show here, nothing to listen to, but out of nothing emerges a liquid darkness that floods our minds, that can be heard. The voice comes back turns around like Robert Pattison.
Mårten Spångberg is a choreographer living and working in Brussels. His work is concerned with relations between aesthetics and the world which he explores through a concept based practice that crosses media from dance to painting, fictional writing to sound, next to which he is active in education, publishing and critical writing. His more recent work in dance has gained strong international reputation as it resonates prominently with contemporary culture. He is professor in choreography at the art academy of Oslo and is associate artist at Black Box Teater also in Oslo.
(Concept: Mårten Spångberg. The presentation is made in cooperation with Audiorama.)
- MDT 30 years: Margaretha Åsberg “Målningar”
Art exhibition “Målningar” by Margaretha Åsberg.
”I det svenska sammanhanget är [Margaretha Åsberg] med all sannolikhet den första koreograf som aktivt introducerar den internationella diskussionen på området och började arbeta med integrerade element från minimalism, postminimalism och konceptkonst. Men samtidigt finns också ett romantiskt och psykologiskt drag i många av hennes verk, och hon väjer inte för att införliva moment av en expressivistisk tradition, litterära och mystiska element och referenser…, på ett sätt som var främmande för huvuddelen av den amerikanska postmodernismens relativt formalistiska och intellektualistiska projekt. Snarare skulle man kunna säga att hon låter dess vokabulärer och formspråk som som förenar det seriella och det hierarkiska, det språkligt självreflexiva och det lyriska.” (ur “Anteckningar om Margaretha Åsberg” av Sven-Olov Wallenstam i “Hänryckning och ohygglighet – Koreografi & samtid, En antologi om Margaretha Åsbergs koreografiska verk”, 2006, Lena Hammergren & Madeleine Hjort, Carlsson Bokförlag”
- MDT 30 years: Seminar
Seminar series – MDT the last 30 years, curated by Cecilia Malmström Olsson.
- MDT 30 years: Film screenings
Screening of four works by Margaretha Åsberg, selected by Margaretha Åsberg together with Cecilia Malmström Olsson.
- MDT 30 years: Book release
Book release MDT 30 Years by Cecilia Malmström Olsson, Jonas Williamsson and Samuel Nyholm.
- Ludvig Daae “Dance to Dance to”
Inspired by the Mexican choreographer Esmeralda Vasquez, Ludvig Daae has created a dance performance that questions the concepts “innovation” and “high culture”. With the help from three dancers, he re-imagines Vasquez’ classic piece Dance to Dance to and transforms it into a contemporary dance performance, as relevant today as it was when it premiered in 1783.
The original Dance to Dance to was left uncompleted when Vasquez died. However, the unfinished piece was presented in her honor. It was an instant success, undoubtedly helped by the rumors surrounding Esmeraldas death and her original plan for the completion of the piece. Today it is considered to be one of the most iconic dance performances of all time. The idea of the unfinished masterpiece interested Daae, and became the starting point for his research.
Ludvig and his team honor the original disco dance elements in Vasquez’ Dance to Dance to, but juxtapose it with their own interpretation of what this classic performance would look and sound like, had it been created today.
Ludvig Daae is a Norwegian choreographer and dancer based in Stockholm. After completing his dance education at the Royal Swedish Ballet School and P.A.R.T.S, he has worked with Deborah Hay (USA), Company Thor (BE), Mårten Spångberg (SE), and produced his own performances. Ludvig’s own works have been presented at Spielart Festival (DE), MDT (SE), Vooruit (BE), Oslo Opera House (NO), The Place (UK), Dansens Hus (SE), Moderna Museet (SE), Rencontres chorégraphiques Internationales de Seine-Saint-Denis (FR), Mousonturm (DE), Gessnerallee (CH) and Zodiak (FI), Black Box Teater (NO), Kampnagel (DE) among others. His solo performance MM has been presented more than 100 times around 10 countries, toured extensively in Norway with Riksteatret and in Sweden with Dancenet Sweden, and gave Ludvig a place in the German dance magazine “Tanz” as one of the “young and hopeful choreographers in Europe” in their recap of 2014. Ludvig is currently touring with the piece HYPERFRUIT, which is a collaboration between film maker Joanna Nordahl and himself. HYPERFRUIT premiered at MDT in October 2015 and has toured around Sweden, Norway, Germany and Portugal.
(Concept, choreography and direction: Ludvig Daae, inspired by Esmeralda Vasquez. Dance and choreography: Viktoria Andersson, Marcus Baldemar and Ulrika Berg. Producer: Sara Bergsmark. Scenography and light design: Daniel Åkerström-Steen. Costumes: Tove Berglund. Composer: William Rickman. With the financial support of Arts Council Norway, Swedish Arts Council and City of Stockholm. This presentation is part of the project [DNA] Departures and Arrivals, which is co-financed by the Creative Europe program of the European Commission. Residency at MDT, Stockholm, and O Espaço do Tempo, Portugal.)
- Festernas Fest
Welcome to Festernas Fest! Join us to celebrate MDT’s 30 years by showering in glitter, the cake of you dreams and dance until early. Artists creating fireworks throughout the entire building of MDT and you are invited to enjoy it! This is the birthday party of MDT and the after party for A Fine Selection: Special Edition! Curated by Tove Berglund.
Ofelia Jarl Ortega
Patrik Patsy Lassbo
- Ofelia Jarl Ortega & Patrik Patsy Lassbo “Forever”
”Forever” är Ofelia Jarl Ortega och Patrik Patsy Lassbo första samarbete. Arbetet med ”Forever” inleddes under våren 2016 och visats i flera format i olika miljöer så som klubbar, studior, blackboxar, för mindre och större publiker och som en musikvideo. De arbetar på ett nytt verk tillsammans med dansaren Alexandra Tveit med premiär 2018.
Ofelia Jarl Ortega (b. 1990, Malmö) is a choreographer and performer based in Stockholm. She works with different notions of vulnerability and femininity; with the collective as starting point, where necessity is the method and punk, drone and dark are aesthetics. Ofelia graduated from the MA in choreography at DOCH in Stockholm in 2014 and her work has been presented at, among other, MDT, Inkonst, Dansstationen, Manifesta 11 and Hyperlocal Festival.
Patrik Patsy Lassbo is a composer and sound designer that also work with lights design from time to time. Born 1988 and raised in Dalarna, now based in Stockholm since almost ten years. They have been working with sound, music and lights for performing arts since 2011 and is finished the Sound design BFA at Stockholm Academy of Dramatic Arts 2017. Patsy’s sound and music practice has evolved from being mostly fixed media to now being mostly live performance based.
(Choreography and performance: Ofelia Jarl Ortega. Composition and performance: Patrik Patsy Lassbo.)
A Fine Selection: Special Edition! is made possible thanks to Kulturförvaltningen Stockholm stad, Stockholm läns landsting, and [DNA] Departures and Arrivals network which is co-financed by the Creative Europe program of the European Commission. Thanks to Audiorama, Swedish Arts Grants Committee’s International Dance Programme, and Teater Galeasen.
A FINE SELECTION SPECIAL EDITION
Kaboom! Tickets and the web will be up and running on the 12th of October. And they will sell fast. Be ready. Be fast. Be a fan. Put up a tent.Let us tell you a bit about A Fine Selection: Special Edition! This is the biggest MDT festival yet. We start off with four days and nine shows! We present to you favorites from our program, some all new like “Why I Wear This Shirt” by Gunilla Heilborn & Kim Hiortøy or Sebastian Lingserius – ”D ANCER” or Juli Reinartz ”You said you’d give to me — Soon as you were free”. FRESH.And some with a touch of patina like Jens Östberg’s ”Pre-study for Hamlet”, an all time favorite from 2012. Some even re-mixed like Mårten Spångberg’s ”News From The Last Of The International Hotshots/Natten”.And we have curated a program that also show you some cool stuff from around the globe. ”55” by Radouan Mriziga, Dragana Bulut’s ”Return of the Zombie, Episode 3” and ”Tutuguri” by Flora Detraz and the new piece by Margrét Sara Gudjónsdóttir – ”Conspiracy Ceremony - Hypersonic States”.Ops. Just like that.Then we add an extra week. We welcome back the founding mother Margaretha Åsberg, she comes with her paintings. And we celebrate our 30th anniversary with a book by dance scholar Cecilia Malmström Olsson, art director Jonas Williamsson and cartoonist Samuel Nyholm aka Sany. We also show screenings of classics from back in the hay day and we give you a series of talks with focus on the now and the then and the future. Yup, 30 years, MDT was inaugurated as Stiftelsen Moderna Dansteatern 24/9 - 1987! The year of classics such as “I wanna dance with somebody” or “Sign ‘O the Times” or “Welcome to the jungle”, but also the breakthrough of postmodernism in dance and theory in Sweden. So one foot there and one foot here, stepping towards the future. It’s not about nostalgia, it's about the future. “It ain’t where you are from, it’s where you at” like Rakim said.This is still not the whole package. Not even close. It is a Special Edition after all. We close this anniversary season and the festival with a golden confetti boom! Two of our favorite performances in one day Ludvig Daae’s ”Dance to Dance to” and Ofelia Jarl Ortega & Patrik Patsy Lassbo’s ”Forever” and the Mother of All Parties, no more, no less (#festernasfest), brought to you and curated by Tove Berglund. So join the celebration, put your dancing shoes on. Pump up the volume. Like Rakim said. For you who wants to travel from abroad:If you could make it to If you come 30 nov and 2 December you can see 10 productions in 3 days. • Gunilla Heilborn & Kim Hiortøy – Why I Wear This Shirt • Sebastian Lingserius - D ANCER• Radouan Mriziga – 55 • Dragana Bulut – Return of the Zombie, Episode 3 • Margrét Sara Gudjónsdóttir – Conspiracy Ceremony - HypersonicStates• Juli Reinartz – You said you’d give to me— Soon as you were free• Flora Detraz - Tutuguri• Jens Östberg – Pre-study for Hamlet• Poste Restante - DESPERADO (Not a part of the festival)• Mårten Spångberg - News From The Last Of The International Hotshots/Natten If you come 7-9 or 8-10 December you can see 5 productions and go to the golden party. • Poste Restante - DESPERADO (Not a part of the festival)• Mårten Spångberg - News From The Last Of The International Hotshots/Natten • Andros Zins-Brownes new work with Weld Company (Not a part of the festival)• Ludvig Daae – Dance to Dance to • Ofelia Jarl Ortega & Patrik Patsy Lassbo - Forever Mother of all parties #festernasfest curated by Tove Berglund For the rest of y’all. Take in the whole shabam.Publicerat av MDT den 29 september 2017