#5 Stina Nyberg, Zoë Poluch

13 november 2016
14.00 – 16.00 Choreographed reading circle with Stina Nyberg
17.00 – 17.45 “Example” by and with Zoë Poluch
Free admission, no booking required

We propose that reading together can be to dance together, and how we dance is structured by a choreographer every session. The choreographers choose text, methods and format for the experiment according to their own artistic interests. Taking part in a choreographed reading circle involves asking yourself what an event like this is and can be. We all participate with our curiosity, our eyes, our bodies, our voices and our thoughts. Everybody who wants to join is welcome, no preparation is needed. It is always possible to participate as a spectator/listener/witness or as reader/dancer.

The circles are held in Swedish or English. Participants are welcome to use the language they are most comfortable with. We help to translate when needed.

A different artist is invited every session, with the commission to answer with their eyes, their ears, their hands or thought to the reading circle, with a material that can be printed on paper. The invited artist participates on the same conditions as other participants; as spectator/listener/witness or as reader/dancer. The document that the artist creates will be published at the following Sunday Circle. Maria Stiernborg is invited to document the fifth reading circle.

Stina Nyberg comes from Örnsköldsvik and lives in Stockholm. She is educated at Balettakademien and holds an MA in choreography at DOCH. Her departure point is always a feminist approach to the body; its social and political construction and ability to move. Nyberg is the choreographer of the live concert Shaking the Habitual by the The Knife and have performed on tour in 2012-2014. Nyberg’s latest commission is a work for the Cullberg Ballet titled Tones & Bones (2014). At the moment, Nyberg is working on the performance Shapes of States, about the relationship between the healthy body and the healthy state. In conjunction to her choreographic practice Nyberg is a participant of the one year programme Critical Practice – Made in YU, a platform for writing and discursive methods within the performing arts.

Maria Stiernborg is a performance artist educated at Dramatiska Institutet, and at the Master Programme Art in the Public Realm at Konstfack, Stockholm. Through her artistic practice she is predominantly interested in the relation and the distribution of power between the artist and the audience and the outcome of breaking the ritual contracts. www.disengagedfreejazz.com www.forlaget.org www.arenabaubo.se www.stiernborg.com

"Example" med Zöe Poluch från Wanås Konst oktober 2016 Foto: Mattias Givell

We know the dance of yesterday and are surrounded by the dance of today, but what must we do to imagine a dance out of time? Where can we find it and what does it look like, or even sound like? Does out of time occupy the future, and if so, are we not already there? ‘Example’ concretizes these questions, invoking the spectator to create choreography in their own mind’s eye. We start in the black, in a dark and cold northern landscape and are promptly re-situated in the stark and actual architectural, historical and geometrical qualities of the precise theatre space. There then follows a journey through an imaginary and fictional landscape that eventually lays the ground, ‘sets’ the stage, so to say, for a dance out of time. After having been persuaded by our individual, discrete visualizations we are finally addressed together by a dance that insists on immediacy.

In an attempt to activate a space or method that exists between the solitary and the collective I initiated a 10 day workspace situation of working alone together and together alone. 4 artists independently pursued activities relevant to each of them in parallel time and space. What surfaced was a specific mutuality and interdependence that was scarce on compromise and negative obligation. And a dance solo. This is it and it is called ‘Example’.

Choreography and dance: Zoë Poluch.

With material from Chrisander Brun, Moriah Evans, Kim Hiorthoy, Nadja Hjorton, Anders Jacobson, Martin Kilvady, Anna Koch, Efva Lilja, Stina Nyberg, Tilman O’Donnell, Halla Ólafsdóttir, Rasmus Ölme, Chrysa Parkinson, Juli Reinartz, Petra Sabisch, Mårten Spångberg, Jens Strandberg and Uri Turkenich.

These days, Zoë Poluch wonders how and what a local practice can be, compelling her to decipher what ‘local’ and ‘practice’ really want. The practice at stake is choreography, the field in which she completed a master’s degree at DOCH, Stockholm in 2012. Zoë has not developed one distinct choreographic interest or signature, but instead experiments with the different shapes of writing, dancing, organizing symposia, performing, collaborating and choreographing. This work is currently attracted to challenging various modes of co-existence – more specifically in the shape of a site-specific project located in a 9-story building in a Stockholm suburb, which is being done in the context of the post-Masters course “Critical Habitats” at the Royal Institute of Art in Stockholm.