Maria Victoria Høvring Høeg
Lilla sol (eng: Purple sun) is a dance performance made for hearing impaired, deaf and hearing children, with focus on the sensorial. The performance uses sign language, vibrations, sound and tactile objects. For this work-in-progress showing at Prøverommet, all are welcome to attend.
Concept, choreography and scenography: Maria Victoria Høvring Høeg
Dance and cocreator: Rita Maria Muñoz Farias
Sound and vibrations: Tijs Ham
Lightdesign: Thomas Bruvik
Bio: Maria Victoria Høvring Høeg is a trained scenographer from Oslo Academy of the Arts and Norwegian Theatre Academy and holds an MFA and BFA in Fine Art from Valand Academy in Gothenburg and The Art Academy in Bergen. She is interested in an interdisciplinary approach, as well as working with materiality. She lives and works in Bergen. mariavictoriahoeg.com
Otto & Uma Ramstad
Circling the Line is a continuation of Otto Ramstad’s research from his 2019 work Lineage. With artistic genealogical research as a backdrop, he and his daughter Uma will move from looking at the past in the present to looking from the present to the future. What passes between generations? Between countries? What lands in our bodies? How have our embodied relationships to the ideas of ‘land’ and ‘nature’ transformed through time? Otto and Uma work together with family lineage and extend this notion of family to ecosystems and mother earth to connect between people foundational levels. We investigate creative and embodied ways of processing what it is to be a human being in this rapidly changing time, imagining our personal stories are portals into universal conditions of being connected to each other across time and through difference.
Bio: Otto Ramstad (b.1975, Minneapolis), is a dance artist who works with movement research to create performances, video work and installations for theaters, galleries, museums and different site and context specific encounters. For twenty years he has been collaborating with Olive Bieringa as BodyCartography Project (Olive Bieringa is a guest director for this performance). He has been artist in residence at K3 Hamburg; Walker Art Center, Minneapolis and the Teknisk Museum, Oslo. He has created commissioned works for Lyon Opera Ballet, Touch Compass, New Zealand and PS122, NYC, amongst others. He has danced in the works of Mia Habib, DD Dorvillier, Miguel Gutierrez, Sara Shelton Mann, and Kitt Johnson. bodycartography.org
Uma Rabbit Bieringa Ramstad (b. 2011, Minneapolis), attends Rudolf Steinerskolen in Oslo and studies singing and electric guitar. They have performed with Tekstlab, Rom for Dans Ung and as part of Resisting Extinction for BodyCartography Project. They are also a visual artist and story creator.
Marta Kosieradzka
Material Landscapes of Impermanence is an interdisciplinary project investigating the ephemeral nature of dance. The aim of the choreographic material, drawings and sounds is to create a coherent universe where these elements are in dialog with each other, questioning the relation between the material and immaterial, and the hierarchy between different art forms based on their permanence. The idea for this project was born out of a deep need to define what is the relationship between dance, which is considered to be a perishing art, to materiality and its corporeal nature, as well to the world of thoughts, dreams and memories that constitute the conceptual reality we live in.
Dance, choreography, drawings : Marta Kosieradzka
Music: Thorvald Bugge Helle
Costume: Magdalena Mikalsen
Bio: Marta Kosieradzka is a dance and visual artist originally from Warsaw, Poland, living in Oslo. She graduated from European Academy of Arts in Warsaw (MA in Fine Arts), Artesis Royal Conservatory in Antwerp (BA in Dance) and recently from MA in Dance at Oslo National Academy of Arts. For many years she has been working as a freelance dancer, choreographer, and teacher and actively participates in an international contemporary dance scene, both as a performer and performance maker. Her interest is in the body as a source of knowledge about the world and the poetic potential of movement, as well as the intersections between visual arts and dance. @marta.kosieradzka.dance
Sara Abbasnejad
In this ongoing project, Sara Abbasnejad examines the Zar ritual in Abadan, a city deeply shaped by its history as a center of the oil industry. Focusing on two women, Yuma and her daughter Jamileh, the project traces the evolution of this healing ritual from an embodied practice, involving music, dance, and spiritual ceremonies led by Yuma, to a more poetic and metaphoric form with Jamileh. Framed by Abadan’s transformation through its oil-rich history, this transformation mirrors the broader shifts in socio-economic and cultural life. Sara’s exploration combines archival research and personal histories to reimagine Abadan’s oil-influenced narrative through the lives of its women.
Bio: Sara Abbasnejad is an Iranian visual artist based in Norway, with a focus on photography and archives. She has completed her master’s in fine arts in Milan and Oslo, and her work often explores themes of identity and the lives of women in marginalized communities. She has exhibited her work across Europe and Iran, with projects that delve into both personal and collective histories, particularly within the context of oil and its impact on society. sara-abbasnejad.com
Yelena Arakelow
About the work Crocodile, I like the way my nails look at me
the sticky strength of muscles glued throughout
the muscles work juice for juice
crocodile tears running down my spine
Dare I speak thoughts of wilderness passing like shivers of crocodiles calling above the surface water. Above the surface water, I wonder how can I let time pass slower, slower I can sink in sweat dripping past the concrete gasp. A gasp of details I wonder. Is the wild body the body I have not tamed? Tame I tough for others’s sake. shake. shake thou shall not rest. rest when thou shall shake. Warm are my cheeks, cold my feet. Heavy lies the head of tears in between a gasp of sweat beneath my nails.
In a world full of capitalist crocodiles it’s time for an asscrack dance. This dance reveals asscracks, likes innocent nudity, loves thirsty water bottles and cares for unconventional shaking. Today’s performance of Crocodile, I like the way my nails look at me showcases an exploration of the Asscrack Dance Score which is part of Yelena’s MA project. The score is raw, sweaty, somatic and thirsty.
Score: Yelena Arakelow
Performance: Sigrid Marie Kittelsaa Vesaas, Sunniva Moen Rørvik and Yelena Arakelow
Duration: 14 Minutes
Music: DJ set by Ása Kolla / The Clubkid_Reykjavik
Bio: Yelena Arakelow is from Zürich, Switzerland, has been based in Reykjavik, Iceland for the past nine years and is currently studying MA Dance at KHiO. She works with dance improvisation and is invested in the unfolding of attention, the erotic and the intimacy of dwelling in performative states. yelenaarakelow.com
Beate Poikāne
Snail Highway is an artistic exploration extending from Air Reservoir: a dystopian poem (2024 Homo Novus). Here Beate dwells into a chapter devoted to snails, it is a playfull suggestioon to imagine a different sensory mapping of the world and perception of speed, while touching upon human-bodied limitations to feel along with our other soft-bodied companions. Beate is working with a site-sensitive method for object and sound based dramaturgy, through small scale scenography and spatial sound. Snail Highway was initially developed in Metropolis, Copenhagen.
BIO: Beate Poikāne (1997) is Latvian visual artist, theatre-maker, and scenographer. Her artistic explorations manifest in various forms at the intersection of visual art and contemporary theatre, creating performances and self-performing environments. In her work she explores how imagination relates to the experience of space, investigating how fictional worlds are interlinked with the perception of the physical environments. Her recent interest is speculative storytelling, with a mindset of worldling, her works are in conversation with non-human performers, object agency and shifting hierarchies of theatre elements. For her, spaces and sequences of sculptural objects function as narrating tools, often becoming the compositional framework for developing a concept. Beate is currently pursuing an MA in Performing Arts at Stockholm University of the Arts. She holds an MA in scenography and BA in Visual Communication from the Art Academy of Latvia. As part of her studies she attended the Performance and Time-based program at The Art Academy in Bergen. beate.poikane.com
