Mette Ingvartsen

Mette Ingvartsen is a Danish dancer, choreographer and performance artist who has been active since the early 2000s.

Training

Mette Ingvartsen came into contact with the dance world at a very young age; she was a member of the Junior Company lead by the Swedish choreographer Marie Brolin Tani in Aarhus, Denmark.[1] Since 1999, she subsequently studied in Amsterdam and Brussels, where she graduated in 2004 from the dance school P.A.R.T.S., which was founded by choreographer Anne Teresa De Keersmaeker.[2] Afterwards she obtained a PhD in choreography at UNIARTS / Lund University in Sweden. Its subject was the relationship between an artist's theoretical work and their artistic practice.

Work as a choreographer

Since 2002 Mette Ingvartsen has worked in Brussels on an oeuvre of choreographies, performances and 'living installations' that are both conceptual and very physical. Her artistic work never sets apart from research and theoretical concepts. She created her first performance, Manual Focus (2003), while still studying.[1] After that she initiated various research projects and created a wide range of performances, including 50/50 (2004), to come (2005), Why We Love Action (2007), It’S In The Air (2008), Giant City (2009) and All the way out there... (2011). Questions about kinesthesia, perception, affect and sensation are central. Although she studied for four years at P.A.R.T.S., a dance school known for a highly physical education, Mette Ingvartsen started to consider choreographing as a practice that not only relates to the physical body of the dancer but also to different types non-human performers and animated materials. She even takes away the dancer's body from the scene, and she shifts the hierarchy between the body and the objects in dance.[3] That started with the production Evaporated landscapes (2009), a choreography / performance for foam, fog, light and sound instead of (dancing) bodies.

The Artificial Nature Series

This interest in expansion has resulted in a series of projects that extend choreography to non-human materials. Together they form The Artificial Nature Series, a series of five productions that were created between 2009 and 2012. The Extra Sensorial Garden (2010) was presented in Copenhagen and The Light Forest (2010) could be visited during Szene Salzburg in July 2010 and 2011. In Speculations (2011), the spectator experienced a storytelling session. The Artificial Nature Project (2012) closed the series and reintroduced the human performer into a network of connections between human and non-human actors.

The Red Pieces

Following this series of productions that focused on animated, non-human materials, a return to the human body prompted. This resulted in a new series of productions in which the body, sexuality, nudity, privacy and the way in which they are connected to the public atmosphere are central. Sexuality and the naked body became a means to exploring participation and the collective. In 2014, Mette Ingvartsen, began working on a new cycle titled The Red Pieces. 69 positions (2014) opened that series and questioned the boundaries between private and public space by literally placing the naked body between the theater audience.[4] In the second production, 7 pleasures (2015), she examines seven concepts of pleasure. Twelve performers give shape to sensory sensations. In a long sensual movement, bodies touch each other, lose their limits, vibrate and form unexpected compositions and constellations with things around them. The third production is to come (extended) (2017). It is based on to come (2005), a former work by Mette Ingvartsen for five dancers. The reason for revisiting this choreography with fifteen instead of five dancers in Ingvartsen’s desire to refract the current politics of sex through the joyful tone of the production from 2005. The series The Red Pieces also includes 21 pornographies (2017) and The Permeable Stage (2016). The first one is a production that has the presence of pornography in many parts of society as a starting point and explores the operations of the pornographic through a collection of erotic and affective materials. The second one is a meeting of artists and theorists that is focussed on the way in which sexuality is present everywhere, how it transcends the human body, and can be found in the relationships with objects, instruments, environments and media technologies.

Collaborations

From 2013 to 2016, Mette Ingvartsen was artist-in-residence at the Brussels Kaaitheater, which has been showing her work since 2004. From 2010 to 2015 she was connected to the network apap - advancing performing arts project.[5] In the period from 2017 to 2022, she is a member of the artistic team led by Chris Dercon at the Volksbühne in Berlin.[1] In addition to the creation and performance of her own work, Mette Ingvartsen participated as a performer in projects by Jan Ritsema / Bojana Cvejic, Xavier Le Roy and Boris Charmatz.

Work as a teacher

In addition to her performances, Mette Ingvartsen is researching, writing and documenting artistic work. She teaches classes and workshops on developing methodologies of choreographic practices. Since 2005, she is working on everybodys, an open and collaborative project based on the principle of open source.[6] The project aims to produce tools and techniques which can be used by artists in the creation of their work. In 2017, Mette Ingvartsen is Valeska Gert Visiting Professor at Freie Universität Berlin. During one semester, she is working with students on the Viscous Environments Project, which deals with how a so-called 'durational environment', a mix of an installation and a long-term performance, can be created using human bodies and not-human performers.[7]

Work as an editor, researcher and curator

She also works as an editor for the everybodys publications.[8] In 2008, she participated in 6Months1Location, a project by Xavier Le Roy and Bojana Cvejic on questions about education, production structures and artistic exchange. In the 6-month YouTube project Where's My Privacy, she tried to rethink choreographic production through today's communication tools.[9] As an extension of 6M1L, she co-organized the festival In-presentable 09 in Madrid, at the invitation of Juan Dominguez.[10] On the occasion of the restaging 69 Positions and 7 pleasures at the Kaaitheater, Mette Ingvartsen organized The Permeable Stage, a performative conference on the politics of sexuality in relation to the public and private sphere.[11]

Productions

Own productions:[12]

  • Solo negatives (Mette Ingvartsen, 2002)
  • Manual Focus (Mette Ingvartsen, 2003)
  • Out Of Order (Mette Ingvartsen, 2004)
  • 50/50 (Mette Ingvartsen, 2004)
  • To come (Mette Ingvartsen, 2005)
  • Why We Love Action (Mette Ingvartsen / Great Investment, 2007)
  • It's In The Air (Mette Ingvartsen / Great Investment in collaboration with Jefta van Dinther / Sure Basic, 2008)
  • Giant City (Mette Ingvartsen / Great Investment, 2009)
  • Evaporated landscapes (Mette Ingvartsen / Great Investment, 2009)
  • The Extra Sensorial Garden (Mette Ingvartsen / Great Investment, 2010)
  • The Light Forest (Mette Ingvartsen / szene Salzburg, 2010)
  • All the way out there... (Mette Ingvartsen / Great Investment in collaboration with Guillem Mont de Palol, 2011)
  • Speculations (Mette Ingvartsen / Great Investment, 2011)
  • The Artificial Nature Project (Mette Ingvartsen / Great Investment, 2012)
  • 69 positions (Mette Ingvartsen / Great Investment, 2014)
  • 7 pleasures (Mette Ingvartsen / Great Investment, 2015)
  • To come (extended) (Mette Ingvartsen / Great Investment, 2017)
  • 21 pornographies (Mette Ingvartsen / Great Investment, 2017)
  • All Around (Mette Ingvartsen / Great Investment, 2019)
  • Moving in Concert (Mette Ingvartsen / Great Investment, 2019)

Productions by others:

  • KnowH2Ow (Jan Ritsema, Bojana Cvejic, Mette Ingvartsen and Sandy Williams, 2006) [13]
  • Quintette Cercle (Boris Charmatz, 2006) [14]
  • Low pieces (Xavier Le Roy, 2009-2011)[15]
gollark: You can look at the code to verify that it does really uninstall, by the way.
gollark: And if players can't figure out to duckduckgo "number factorizer" or something when they see "factorize this number", perhaps that is their problem..
gollark: It can't really magically hide itself in the background or something because that would require basically the same sandboxing infrastructure as potatOS itself, with the same flaws.
gollark: <@151391317740486657> It does actually uninstall it, not because of the rules but because I'm just that nice!
gollark: The lawsuits were just people trying to profit off its popularity.

References
  1. "Portrait of Mette Ingvartsen". Danish Cultural Institute. 25 January 2017. Retrieved 12 July 2017.
  2. "Danish choreographer Mette Ingvartsen's work is about more than (just) our thirst for Nordic culture". The Stage. 1 October 2014. Retrieved 12 July 2017.
  3. Fantasy // Choreography of Things: Mette Ingvartsen's Escape from the Body, in: BERLINARTLINK, 27/03/2017
  4. "Review: '69 positions' Explores the Sexual Politics in Performance". New York Times. 18 January 2016. Retrieved 12 July 2017.
  5. apap - progressive performing arts project
  6. "Website of everybodys". Archived from the original on 2014-07-25. Retrieved 2017-08-04.
  7. "Choreographer Mette Ingvartsen at Freie Universität". Freie Universität Berlin. 3 March 2017. Retrieved 12 July 2017.
  8. Page about publications of everybodys on the website of Le Laboratoire du GESTE
  9. Where is My Privacy #1 on YouTube
  10. Page about the festival in-presentable Archived 2017-08-05 at the Wayback Machine on the website Idanca.net
  11. Page about The Permeable Stage on the website of the Kaaitheater
  12. Overview of productions on the website of Mette Ingvartsen
  13. Page about KnowH2Ow (Jan Ritsema , Bojana Cvejic, Mette Ingvartsen and Sandy Williams, 2006) on the website of the Kaaitheater
  14. Page about Quintette Cercle (Boris Charmatz, 2006) Archived 2017-06-12 at the Wayback Machine on the website of Boris Charmatz
  15. Page about Low pieces (Xavier Le Roy, 2009- 2011) on the website of Xavier Le Roy

Sources

Further reading
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