Archive

Biography

Choreographer and performer. Although some of her works explore other media or formats, such as video, books, and writing, Edvardsen’s interest is always in relation to the performing arts as a practice and a situation. She has worked since 1994 as a dancer and performer for a number of companies and projects and develops her own work since 2002. She presents her works internationally and continues to develop projects with other artists, both as a collaborator and as a performer. A retrospective of her work was presented at Black Box Theatre (Oslo, 2015), and in the focus programme Idiorritmias at MACBA (Barcelona, 2018). Her project “Time has fallen asleep in the afternoon sunshine” is ongoing since 2010, was presented twice at Kunstenfestivaldesarts (Brussels, 2013 and 2017), Sydney Biennale (2016), Index Foundation (Stockholm, 2019), Oslobiennalen First Edition (2019/2020), Trust & Confusion at Tai Kwun Arts (Hong Kong, 2021), and São Paulo Biennale (2021). Edvardsen will present several pieces at Amant, (New York, 2022), and develop a project in residence at Les Laboratoires d’Aubervilliers (Paris 2022/23).

Mette Edvardsen is structurally supported by Norsk Kulturråd (2021/2025) and BUDA Arts Centre Kortrijk (2017/2021). From 2019 to 2021, was an associated artist at Centre Chorégraphique National de Caen en Normandie (France). She is currently finalizing her research as a Phd candidate at Oslo National Academy of the Arts.

Presented in partnership with La Poderosa, in the framework of the Cycle Hacer Historia(s) vol 4. Ciclo de Danza Contemporánea y Performance.

Archive

Biography

Artist and performer who lives and works between Paris, Berlin and Brussels. Since 2001, she has been creating solo and group works that have been presented in performing arts venues and festivals throughout the world including Centre Pompidou, Centre Pompidou Metz, Festival dʼAutomne, Avignon Festival, Ruhrtriennale, Holland Festival, The Kitchen New York, HAU Berlin, Berlin Documentary Forum, Kunstenfestivaldesarts, Kaaitheater Brussels, Tanzquartier Wien, Kampnagel Hamburg, steirischer herbst, Dance Triennale Tokyo, Manchester International Festival, PACT Zollverein, Nanterre-Amandiers, FTA Montreal.

She is frequently invited to present her work in museums, including MoMa, Witte de With, Fondation Cartier, Serralves, Museum der Moderne Salzburg, Akademie der Künste Berlin, Museo Reina Sofia. Her exhibition “Eszter Salamon 1949” was presented in 2015 at Jeu de Paume as part of “›Satellite‹” curated by Nataša Petrešin-Bachelez.

Eszter Salamonʼs work revolves around choreography employed as a means of navigating between different media such as sound, text, voice, image, bodily movements and actions.

In 2014, she started a series of works exploring both the notion of monument and the practice of speculating on history making.
Eszter Salamon is the laureate of the Evens Art Prize 2019.

Archive

Biography

Xavier Le Roy holds a doctorate in molecular biology from the University of Montpellier, France, and has worked as artist since 1991. Since 2018 works as Professor at the Institute for Applied Theater Studies in Giessen (Germany).

He has performed with diverse companies and choreographers. From 1996 to 2003, he was artist-in-residence at the Podewil in Berlin. In 2007-2008 he was “Associated Artist”at Centre Chorégraphique National de Montpellier, France. In 2010 Le Roy is an Artist in Residence fellow at the MIT Program in Art Culture and Technology (Cambridge, MA).

In 2012, he begins a 3 years residency at Théâtre de la Cité Internationale, Paris. Through his solo works such as « Self Unfinished (1998) » and « Product of Circumstances (1999) », he has opened new perspectives in the field of choreography. At the same time, he initiated projects exploring the modes of production and collaboration in group works: “E.X.T.E.N.S.I.O.N.S.” (1999-2000), “Project” (2003) and “6 Months 1 Location” (2008).

His works such as the soli “Le Sacre du Printemps” (2007), “Untitled” (2014), the group piece “low pieces” (2011), and works for exhibition spaces such as “production” (2011) created together with Mårten Spångberg, “Untitled” (2012) for the exhibition 12 Rooms, “Retrospective” first realized in 2012 at the Tapiès Foundation-Barcelona, “Temporary Title, 2015” created at Sydney in the frame of John Kaldor Public Art Project or “For The Unfaithful Replica” (2016) in collaboration with Scarlet Yu at CA2M Madrid; produce situations that explore the relationships between spectactors / visitors / performers and the production of subjectivities.

In 2017, together with Ensemble Issho Ni they create for the Ensemble Modern in Frankfurt: the exhibition “Haben Sie “Modern” gesagt?”, and he developped, together with Scarlet Yu, “Still Untitled”, a work for public spaces commissioned by Skulptur Projekte Münster 2017. In 2018 at the invitation of the Biennale di Venezia he creates a new version of the “Le Scare du Prinmtemps” for 3 performers and works on a new edition of “Rétrospective” at the Museo Jumex in Mexico City. In 2019 this exhibition sees its 13th edition at the Hamburger Bahnhof – Museum für Gegenwart – Berlin and, in collaboration with Scarlet Yu and the team of Temporary Title, 2015 they choreograph the “Research Conversations” of the three days event: “Live Forms” at the Haus der Kultur der Welt – Berlin.

His works produce situations that question the relationships between spectators/visitors and performers and are attempt to transform or reconfigure dichotomies such as: object / subject, animal / human, machine / human, nature / culture, public / private, form / unform.

Subtitled in English

Archive

Biography

Studied classical dance with Anna Mascolo and danced in the Gulbenkian Ballet between 1984 and 1989. She started choreographing in 1987 and, since 1991, has become a benchmark of the New Portuguese Dance, and has been presenting her solo and group work all over Europe, Argentina, Uruguay, Brazil, Canada, Singapore, South Korea and the USA.

Of her solo work mention goes to “Perhaps she could dance first and think afterwards” (1991), “Olympia” (1993), “one mysterious Thing, said e.e.cummings” (1996), “What can be said about Pierre” (2011), “The Caldeirão Highlanders, exercises in fictional anthropology” (2012) and “Rich Bread” (2017). Her group pieces include “Under” (1993), “For Boring and Profound Sadnesses” (1994), “Poetry and Savagery” (1998), “k(ɘ) su’pɔɾtɐ i s(ɘ)ˈpaɾɐ i kõˈtɐj uʃ dojʃ mu’duʃ i õ’dulɐ” (2002), “Until the moment when God is destroyed by the extreme exercise of beauty” (2006), “We are going to miss everything we don’t need” (2009), “The Propitiatory Practices of Future Events” (2018), “Splendour and Dysmorphia” (2019) created with Jonathan Uliel Saldanha for Festival d’Avignon, “A fright is a whole word” (2021). Mention goes as well to the project “SURREPTITIOUS (clandestine body)” conceived with Ana Borralho & João Galante, Rita Natálio and Joclécio Azevedo.

In 2013 and 2014 Mantero created the performance installations “Shadows on offer” and “More or Less, but Less than More”, this last piece presented in two different versions: one occupying the whole space of the auditorium – seating and proscenium – in 2013, and other the creation of urban vegetable gardens for the final presentation of the project in 2014. “More or Less, but Less than More” was created in partnership with Culturgest and Maria Matos Teatro Municipal, under the scope of the Create to Connect project financed by the European Commission. These projects, as well as “The Clean and The Dirty” – which premiered in 2016 at Maria Matos Teatro Municipal in the framework of the cycle “The Three Ecologies” co-commissioned by Vera Mantero with Mark Deputter and Liliana Coutinho – clearly reflect the choreographer’s concerns for fundamental issues such as the environment, economic sustainability, social cohesion and inclusion, and Citizenship. In 2018, Mantero was elected by Esglobal and Fundación Avina to be in the List of the Most Influential Ibero-American Intellectuals, devoted that year to professionals who contributed in the fields of environmental, economic, political and/or social sustainability. In 2020, created the performance-conference “Jurisplâncton”, in the framework of the research developed at the Terra Batida network (proposed by Rita Natálio/Marta Lança) – to raise awareness of our individual and collective sense of ecology, the understanding of environmental crimes, and the role of the rights of nature; this piece is later presented as “All you need is plankton”.

Her artistic work has been recognized with institutional prizes such as the Prémio Almada (Ministry of Culture, 2002) or the Prémio Gulbenkian Arte for her career as a creator and performer (2009), as well as through initiatives such as the retrospective organized by Culturgest in 2009, entitled “Month of March, Month of Vera”, or the Portuguese representation at the 26th São Paulo Art Biennial (2004) with the work “Eating your heart out” co-created with the sculptor Rui Chafes. The influential Brazilian newspaper O Globo elected “The Caldeirão Highlanders, exercises in fictional anthropology” as one of the best 10 dance pieces presented in 2014. The city of Fundão dedicated a year to the artist (April 2015 – April 2016) with the project “Passage #2”, which included the presentation of several performances, a project with local students and the recreation of “Eating your heart out” for a treetop walkway in Fundão – this new version, entitled “Eating your heart out in the trees” was presented in 2016 at Jardim da Sereia in Coimbra, for which Rui Chafes created a new sculpture, in 2019 started to be presented in theatrical venues taking the name “Eating your heart out on stage”.

Since 2014, Vera Mantero, together with Jorge Andrade and Pedro Penim, is part of the cast of the Portuguese version of “Quizoola!” by Tim Etchells/Forced Entertainment. Vera Mantero was invited by Boris Charmatz to be part of “20 Dancers for the 20th Century”, a living archive of the defining choreographic solos of the 20th century, that took place at the Tate Modern (London) and at the Paris Opera/Palais Garnier (Paris) in 2015, at the Staatsoper, Tanzkongress (Hannover) and at the Museo Reina Sofía (Madrid) in 2016, and at the IVAM – Institut Valencià d’ Art Modern (Valencia) in 2019. Mantero participates regularly in international improvisation projects alongside improvisers and choreographers such as Lisa Nelson, Mark Tompkins, Meg Stuart and Steve Paxton.

Since the year 2000 Vera Mantero has also been exploring vocal work, either singing the repertoire of different authors or co-creating experimental music projects.

She regularly teaches composition and improvisation in Portugal and abroad.

“For me, dance is not a given fact. I believe that the less I acquire it, the closer I will be to it. I use dance and performance work to understand what I need to understand. I don’t see any sense anymore in a performer specialized in a single discipline (a dancer or an actor or a singer or a musician) and I now see some sense in a performer specialized in the whole. Life is a terribly complicated and rich phenomenon and I see the work I do as a continuous fight against the impoverishment of the spirit, both mine and others, a fight that I consider essential now and always.”

Vera Mantero

Archive

Biography

Dance-maker, improvisational performer, and collaborative artist who has been exploring the role of the senses in the performance and observation of movement since the 70s. From an investigation of video and dance, she developed an approach to real-time editing and collaborative performance she calls “Tuning Scores.” Nelson travels widely to perform, teach, and create dances and maintains long-term collaborations with other artists, including Steve Paxton, Daniel Lepkoff, and Image Lab—Scott Smith, KJ Holmes, and Karen Nelson. She co-edits Contact Quarterly dance journal since ’76 (www.contactquarterly.com), was encouraged by a Bessie Award in 1987 and an Alpert Award in 2002. Currently creating a real-time video editing application and 3D graphic computer game with Contredanse in Brussels.