Dance became video became music and text, will now become music.

With this fourth version of Autopsia the interdisciplinary program series is coming to an end. Opposite from previous shows, video works documenting dance, choreography and performances will not be the point of departure for the new music performed on the night. Instead, written documents, which are the primary remains of Autopsia #1, #2 and #3, will be interpreted through sound.

Documentations (in writing) of documentations (on video) will be revived through new music.

A sound recording remains thus a potential for the infinite cycle of rewriting and documentation to continue. And in the afterlife of Autopsia maybe dance will be interpreted through the lens of a camera once again?

Autopsia #2 x KYO

Piece 10: Written documentation of Autopsia #2 by Nat Marcus

“To be animate is not necessarily to be corporeal / She leaves - A guitar hook touches the “empty” stage. Loops. / Builds. Automaton workshop stirs, as does the monochrome costumes / of their binary or domino - tiles with “faces” - / game against the black stage, back there. Back / another Him but also / in a cardigan “look” as in gaze and outfit gets up, strides slow / and looks, also, to Her - the hook’s affected - she’s / carried somewhere else. Black dress, hair / tied up now”
- Nat Marcus, Autopsia 17.03.17

Written documentation of Autopsia #2, 17.03.17

PROGRAM 17.03.17:
Showroomdummies x SVIN
Fernweh x Last Lizard
Tragedia Endogonidia BN.#05 Bergen x HAJ300

Nat Marcus is an American poet, journalist, and dancer based in Berlin.
Along with Zoe Darsee, he is the co-founder and editor of TABLOID Press, a textual platform initiated in 2014. Its activities encompass book design, documentation, and poetry workshops, in addition to its role as a press for art and poetry publications. TABLOID is intended to stimulate and integrate social environments within poetic communities. More info here and @tabloidpress.


Sound Artist 10: Kyo

Kyo is the collaboration between Hannes Norrvide (Lust for Youth) and multi-instrumentalist Frederik Valentin (Complicated Universal Cum). The free photogenic music of the duo incorporates sounds of jazz, ambient, noise, classic and contemporary electronic music. On their latest release “I Musik” (posh isolation and Big Love) from 2017 dualities are explored through melancholic and optimistic emotions as well as acoustic elements paying tribute to the future through an elaboration of contrasts. The duo kickstarted their project in 2016 with the releases “Potentiel Musik” and “Aktuel Musik” (posh isolation), whose orchestration comprised of a mix between iPhones, modular, keys, drones, strings, internet samples and poetry.

Autopsia #3 x Soho Rezanejad

Piece 11: Written Documentation of Autopsia #3 by Adriano Wilfert Jensen
MANUSCRIPT: Adriano Wilfert Jensen | NEW SOUNDTRACK: Soho Rezanejad

“The ballerinas and ballerinos zombify, surfing, more than serving, the constraints of virtuosity and tradition. We are watching a one team football match of dance history”
- Adriano Wilfert Jensen, Autopsia 22.04.17

Written documentation from Autopsia #3, 22.04.17
PROGRAM 22.04.17:
Neon x Illdjinn
Right Angled Curves x Astrid Sonne & Xenia Xamanek
The Way Sounds Attack x Pan Daijing

Adriano Wilfert Jensen uses choreography to analyse and produce conditions of relations. His practice manifests in making, performing, curating, representing and dealing choreography, dancing for other artists, as well as other occupations like a series of cocktail hang outs, a publication, research projects, teaching, a BBQ salon etc. Together with Simon Asencio he is since 2014 running Galerie - an immaterial gallery for immaterial artworks. And together with Emma Daniel, Linda Blomqvist and Anna Gaïotti he is organizing Indigo Dance Festival, Magazine and Tink Thanks at Performing Arts Forum.


Sound Artist 11: Soho Rezanejad

Soho Rezanejad is a versatile composer and vocalist also known for her scenic alias Angeles. In 2015, she founded the label Silicone Records as she were to release her debut album “Idolatry”. With her attention to cinema music she wrote albums like “Anahita Albacore”, “2015-16 Selected Works” and “Vigilance” in 2016. Her umbrella for musical personalities tailors for each venue with a balance between improvisation and planned sets. Rezanejad is currently working on a series of impulsive singles which are exposed overnight, and the upcoming full length album "Six Archetypes" set for September 2016. Listen to her latest single, Impulsive Mix, here.


Autopsia #1 x Small White Man

Piece 12: Written documentation of Autopsia #1 by Anna Stahn
MANUSCRIPT: Anna Stahn | NEW SOUNDTRACK: Small White Man

“In that it ends with flowers, the person, the dancer is a sweetie that suits the environment, as flowers tend to do. Our sweetie and the sour-faced singer back to back. We all felt a spring onion crawling up our throat. Is it the instruments or the musicians playing them, who have completely overtaken the room? Dramatic weather of someone punishing a lonely office building”
- Anna Stahn, Autopsia 28.01.17

Written documentation from Autopsia #1, 28.01.17
PROGRAM 28.01.17:
Blind Spotted x Brynje
Complete Body x Soma & Lil
Everything Ends With Flowers x Body Sculptures

Anna Stahn is an artist based in Copenhagen. Anna works with multiple mediums such as film, installation, performance, and writing. She has released a number of publications merging essays and poetry with drawing, sculpture, and performance art. In April 2017, Anna premiered the short film Hotel Kimono in which she investigated the tension between experimental filmmaking and performance and abstract installation in collaboration with artists, filmmakers and dancers.


Sound Artist 12: Small White Man

The framework for the collective improvisations created under the Small White Man project was established by visual artist FOS. FOS is well-known for his design of structures that shape aesthetic and social experiences, and in this case by creating a system to co-compose and conduct an improvisation. The system comprises of a “traffic light” system of light bulbs installed in front of each player. The light bulbs, controlled by FOS, have three rules attached: A red light is a signal to play free and lead, a blue light to follow, and all lights off to stop playing. For each show FOS brings a new complement of players put together in collaboration with producer and musician Nis Bysted. The system of light bulbs erases and enhances the common sense of both players and conductor and unites the two into a third organism.



Neon x Illdjinn

Piece 7: Neon by Hannes Þór Egilsson

CHOREOGRAPHY: Hannes Þór Egilsson | LIGHT DESIGN: Valdimar Jóhannsson | COSTUME DESIGN: Þyri Huld Árnadóttir | ORIGINAL SOUNDTRACK: Valdimar ar Jóhannsson, Scwarzmann, & Michael Bundt | DANCERS: Aðalheiður Halldórsdóttir, Cameron Corbett, Einar Nikkerud, Halla Þórðardóttir, Hjördís Lilja Örnólfsdóttir & Þyri Huld Árnadóttir. The video is recorded at Reykjavik City Theatre in May 2016.

During the creative process of creating Neon all movements were choreographed in the Icelandic Dance Company studio in the presence of the IDC dancers. Guided by his own experience as a dancer, Hannes Þór Egilsson searches for movements and compositions that are both entertaining and exciting for the eyes and ears whilst simultaneously emphasizing the importance of being aware of every single moment while dancing. Each movement has undergone strict censorship and the outcome demonstrates the path Hannes intends to continue on as a choreographer. With this he strives to make the dancer’s intent more visible and lend it a stronger focus thus making every detail impressive.

Hannes Þór Egilsson graduated from London Contemporary Dance School in 2006 whereupon he joined the Icelandic Dance Company. As a dancer he has worked with various internationally established choreographers such as Erna Ómarsdóttir, Damien Jalet, Anton Lacky, Ohad Naharin and Ina Christel Johannessen among others. The past three years he has been working independently as a dancer, taking on also the role as a choreographer with i.a. the piece Flexa og Óður try to fly with Thyri Huld Arnadóttur, and latest Neon which was a part of Persona - an intimate event of dance, staging the works of three Icelandic choreographers in Reykjavik in the Spring 2016.

Sound artist 7: Illdjinn

The musician behind the blazing alias, Mads Forsby, is one of the most versatile artists on the Danish experimental music scene at the moment; with works ranging wide in expression, genre, format, and artistic collaborations, Forsby has become recognized for his role as percussionist in i.a. Fire! Orchestra, Girls in Airports and Pinkunoizu. With the solo project Illdjinn he has moved towards a field of crossing art forms. Emerging originally as a video and installation work the project uncovers Forsby’s strength as a solo artist with an interest in the borderland between sound art, film and music.


Right Angled Curves (Dance Suite) x Astrid Sonne & Xenia Xamanek

Piece 8: Right Angled Curves (Dance Suite) by Noa Eshkol

CHOREOGRAPHY: Noa Eshkol | PERFORMANCE: The Noa Eshkol Chamber Dance Group, 1992-1993 | DANCERS: Racheli Nul-Kahana, Ruth Sela | CAMERA: Asi Rusak | COURTESY: The Noa Eshkol Foundation for Movement Notation; neugerriemschneider, Berlin. The videos are recorded in Israel 1992-93.

Israeli choreographer Noa Eshkol’s dances are exercises in movement notation composed either in notation or in terms of notational concepts. The purpose of composing with notation is to be able to analyze a movement theme into its elements without preconceived ideas, and the numerical treatment of amounts and order of movements can reflect these processes. In an extensive research on notation carried out at the EWMN Center Eshkol developed movement techniques which do not dictate forms of movement but which are to be learned through diligent practice until the skills are acquired. This suite of dances was the first of Eshkol’s compositions to be published as a complete score, and since the entire focus is upon movement, there is no musical accompaniment, scenery, special costumes or lighting effects - none of the usual adjuncts of theatrical dance.

Noa Eshkol was a choreographer dedicating most of her life to the development of the Eshkol-Wachman Movement Notation (EWMN) system. Defining and symbolizing elements of the movement of the human body objectively was the main idea of the book Movement Notation made by Eshkol and Avraham Wachman in 1958. It exposed the method of EWMN which entails an expression of the spatial relations and changes of relation between the parts of the body which can be treated as a system of articulated axes. The system is the result of an analytical process which disassembles body, space and time into basic units, thus creating a spherical system of reference in accordance with the structure of the human body. In 1954 Eshkol founded the Chamber Dance Group, which to this day is the name of the dance group - now in its fifth cycle of dancers - embodying the symbols and numbers of the EWMN system.

Sound artist 8: Astrid Sonne & Xenia Xamanek

Astrid Sonne creates sound collages emerging from organic and digital sound sources. Through her work with viola, samples and computer generated sounds the compositions are characterized by the intensity through simplicity with an aim of balancing constant renewal and repetition. Astrid has been part of various constellations and made her presence felt during the opening concert of this year’s CPH:DOX. Xenia Xamanek Lopez composes through an editing of analogue sounds and field recordings, framing recognizable sounds in unfamiliar environments. She experiments with improvisation as well as strict sequences, seeking new forms and structures. Xenia creates music through her two aliases Equis and C.Cell and as a part of the group Boujeloud. Astrid Sonne and Xenia Xamanek Lopez will join forces to create a sound score for Right Angled Curves. Though the two have followed each other's work closely through years this will be the first time they create a piece together.


The Way Sounds Attack x Pan Daijing

Piece 9: The Way Sounds Attack by Stina Nyberg

CHOREOGRAPHY: Stina Nyberg | CAMERA: Malin Korkeasalo | LIGHT DESIGN: Chrisander Brun | ORIGINAL MUSIC: Dave Clarke “Archive One” | PRODUCTION: DOCH MA in Choreography | PERFORMANCE: Kim Hiorthöy, Nadja Hjorton, Stina Nyberg, Zoë Poluch, Juli Reinartz, Rebecka Stillman and Uri Turkenich | The video is recorded from the premiere of the piece at DOCH in Stockholm 2010.

The Way Sounds Attack is a choreography that focuses on the body’s relationship to sound and how illusions of different cause and effect are created through actions and reactions. The piece was created through a daily “techno practice” and is performed as such. Bound by the most banal relationship to music and by an attempt to avoid all interpretation, elaboration or creativity as such, the performers anticipate the music in order to do the sounds. The rehearsals consist exclusively of performing the entire piece, dancing the album Archive One by Dave Clarke, from the beginning to the end. The techno suggests a dance where no one depends on anyone else to do it but where we insist on doing it together.

Stina Nyberg is a choreographer and dancer based in Stockholm. Her work emerges through an interest in methods and notions of practice. Stina Nyberg often works in collaboration with others and with Amanda Apetrea, Nadja Hjorton, Halla Ólafsdóttir and Zoë Poluch she founded Samlingen, a project intended to foster their common interest in choreography, friendship and feminism. Also, she choreographed and performed in the “Shaking the Habitual”-show touring with The Knife 2012-14. Stina Nyberg holds a Master Degree in choreography from DOCH (2012).

Sound artist 9: Pan Daijing

Perched on the cutting edge where art and music blur into one another, musician and performance artist Pan Daijing has been developing her open practice of sonic provocation and spacial relations since the encounter of her first drum machine. Bouncing between brutal machine jam and body movement experiments, she crafts live performance based on bodily improvisation and musically composed narratives. Born and raised in Southwest China, Daijings work reflects the philosophical and uncanny ritualistic tradition from her background. From experimental synth work to noise and techno she delivers intensity in a natural and personal way.


Showroomdummies x SVIN

Piece 4: Showroomdummies by Giselé Vienne & Etienne Bideau-Rey

DIRECTION, CHOREOGRAPHY & SCENOGRAPHY: Giselé Vienne and Etienne Bideau-Rey | ORIGINAL MUSIC: Peter Rehberg except one song created and interpreted by Tujiko Noriko on music arranged by KTL (Stephen O’Malley & Peter Rehberg) | LIGHTS: Patrick Riou | COSTUME DESIGN: José Enrique Ona Selfa | MAKE UP: Rebecca Flores | PERFORMED AND CREATED WITH: Jonathan Capdevielle, Gaël Depauw, Guillaume Marie, Anne Moussellet, Anja Röttgerkamp & Tujiko Noriko | EXECUTIVE PRODUCER: DACM/ w. collaboration of Le Quartz, Scène nationale de Brest | CO-PRODUCTION 2009: Le Quartz | REHEARSAL STUDIOS: Parc de la Villette, Paris | VIDEO DIRECTOR: Stéphane Nota | Recorded February 2009 at Le Quartz, Scène nationale de Brest - Antipodes'09

Showroomdummies presents a universe of uncanny figures derived from the borderland between the animate and in-animate. With austerity and sensuality a narrative progresses with an aim of highlighting the chaos that a living body can trigger once encountering the in-animate. The stylized body is shaped by the turmoil dynamics that arise from eroticism and repulsion in the face of inertia. Inspired among others by the character of Wanda from “Venus in Furs”, the central figure exudes an unsettling ambiguity caused by her intimacy with both the mannequin and death. Thus, Showroomdummies focuses on plasticity and gesture in order to probe the unique relationship between the existence of an image and the existence of real beings. Furthermore the creation of the work deals with the core of performing arts and a wish to tackle the constant process of re-writing that takes place from show to show - especially from the three main versions that were strongly re-written over 12 years.

Gisèle Vienne is a Franco-Austrian artist, choreographer and director. After graduating with a degree in Philosophy, she studied at the puppeteering school Ecole Supérieure Nationale des Arts de la Marionnette. Since 2004 Vienne has created more than 10 shows and has regularly been working with the writers Dennis Cooper and Catherine Robbe-Grillet, musicians Peter Rehberg & Stephen O'Malley, light designer Patrick Riou and actor Jonathan Capdevielle. Etienne Bideau-Rey is a French artist and puppeteer who studied fine arts and scenography in Belgium as well as puppeteering at Ecole Supérieure Nationale des Arts de la Marionnette. Here, the two of them first encountered. Together they created the first version of Showroomdummies in 2001, which toured throughout Europe until it was later rewritten and performed in 2009 and later recreated as Showroomdummies#3 which was a commissioned work for Ballet de Lorraine.

Sound artist 4: SVIN

SVIN is a Danish trio celebrating freedom in music. Their latest release Missionær (Missionary) from 2016 offers uncompromising cascades of psychedelic sound, placing their sound between abstract rock, drone-based folklore and ambient noise. Behind layers of polyrhythmic drums, floating keyboards, roaring saxophone, and explosive guitar, SVIN generates meditating melodies and circulating motifs. Consisting of guitarist Lars Bech Pilgaard, sax player Henrik Pultz Melbye, and drummer Thomas Eiler, the band represents some of the substantial ‘jazz’ names of the Danish experimental music scene.

Fernweh x Last Lizard

Piece 5: Fernweh by Casper-Malte Augusta

PERFORMANCE: Casper Malte Augusta Jørgensen | ORIGINAL SOUNDTRACK: Olivia Block “Foramen Magum”, Jeremy Hegge “Bridge Above the Cooks River” | LIT UP BY: Ayse Erkmen’s “Down Below” (1993/2015) | DOCUMENTATION: Sufie Elmgreen | Recorded in August 2015 at Kunsthal 44 Møen

In Fernweh the Danish performer Casper Malte delves into a body which alters between states of embodiment and disembodiment. The performance works with internalized ideals of compulsory able-bodiedness and exposes the verge between disruption and unity. The notion 'Fernweh' is German and means "a longing to go" or more specifically "a call of foreign places". Fernweh was performed as an installation at Kunsthal Møn 44 and is documented by maximalist multimedia artist Sufie Elmgreen.

Casper Malte Augusta Jørgensen is a choreographer and performance artist residing in Copenhagen. Through his practice Casper Malte is exploring in the boundaries between dance and visual arts through reflection on abilities physically and aesthetically and working towards blurring gender as core concepts. Casper Malte's work exhibits states of the private body in a public space and is actively contributing to a queer body-discourse. Casper Malte currently studies at the School of Visual Arts in Copenhagen and has earlier participated in the dance-related programmes Impulstanz 2016 "Visual Arts X Dance" in Vienna, SMASH Berlin, and holds a diploma/degree from the Ailey School in New York.

Sound artist 5: Last Lizard

Last Lizard is the alias of Alex Zhang Hungtai, a Taiwanese composer, currently living in Hong Kong. The sound of Last Lizard is longing and the compositions insisting on borderlessness - Alex considers the expression of dance as a great inspiration for his artistic work. Some of his previous works can be found in the now defunct band Dirty Beaches. Recently, Alex started to include his saxophone play to his artistic work and compositions. He is performing with the Danish ensemble Marching Church and as a part of a Jazz-trio from Portugal, exploring complex patterns of scored improvisation.

Tragedia Endogonidia
x HAJ300

Piece 6: Tragedia Endogonidia BN.#05 Bergen by Societas Raffaello Sanzio

WRITING, DIRECTION & SET DESIGN: Romeo Castellucci | VOCAL, SOUND & DRAMATICAL SCORE: Chiara Guidi | WRITING: Claudia Castellucci | CINEMATOGRAPHY & EDITING: Cristiano Carloni & Stefano Franceschetti | PRODUCER: RaroVideo | ORIGINAL MUSIC: Scott Gibbons.

Part of a three-year performance project, BN.#05 Bergen is the fifth work in the series of 11 episodes in the production cycle Tragedia Endogonidia. Each episode was commissioned for a different city whose landscape and history became part of the artistic material. The aim was to represent a tragedy of the future. Where endogeny implies immortality, including the biological ability to reproduce unceasingly, the tragedy involves an inevitable end. The figures of the performance do not resemble any recognizable myth or history, but follow each other in separate frames joined by a synchronic memory. Throughout all of the episodes, basic figures recur as themes and concepts of the tragedy, and specifically in BN.#05 Bergen the text ‘descends’ from the goat, its language being composed of a set of phonemes based on the protein sequences contained in the body of the goat.

Romeo Castellucci is an author, theatre director and co-founder of Societas Raffaello Sanzio, whose performances are an exercise in culture shock in which the alchemy between extreme violence and paradoxical gentleness often leaves an indelible mark on the audience’s psyche. Cristiano Carloni and Stefano Franceschetti, who have worked with video documentation for Societas since 1999, are focused on the use of techniques designed to explore the optical procedures of vision in the transmutation of material and the temporal shift of memory.

Sound artist 6: HAJ300

HAJ300 is the alias of Katja Lindeberg, a Swedish composer, dj, and producer. The expression of HAJ300 could be described as manic and complex, and she plays with genres such as french-core and Gabber. She is part of the queer music studio collective Drömfakulteten in Stockholm and works for the initiative Popkollo where she is a mentor in the initiative “Vem kan bli producent?”, an initiative created for non-cis male persons to develop skills and a community within music and production.





Blind Spotting x Brynje

Piece 1: Blind Spotting by Margrét Sara Guðjónsdóttir

CONCEPT, DIRECTION AND CHOREOGRAPHY: Margrét Sara Guðjónsdóttir | PERFORMERS: Annie Kay Dahlström, Louise Dahl, Catherine Jodoin, Laura Siegmund, Angela Schubot, Suet-Wan Tsang, Marie Ursin, Rodrigo Vilarinho | SET DESIGN: Margrét Sara and Andreas Harder | MUSIC: Peter Rehberg | FILM VERSION: Antoine Verbiése. Premiered and recorded at Sophiensaele, Berlin 2014.

With an ensemble of eight dancers Margrét Sara Guðjónsdóttir steps into the blind spot of the exhausted common body in order to excavate its power from its alleged weakness. In arrestingly and unsettling pictures, the performance exposes the vulnerability of the fragile bodies which constitute our achievement-oriented society, simultaneously tracing the consequences of bodies obliged to ‘self-design’ and showing symptoms of exhaustion, alienation, isolation. Red theater curtains, which are usually associated with circus performances, opera and classical theater, are here used to juxtapose portraits of anonymous but yet highly personal bodies moving forward in an indefinable speed in time and space.

Margrét Sara Guðjónsdóttir(IS) has toured internationally with her own work since 2010 and currently she 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. Blind Spotting was the first work of the trilogy Blind Spotting Performance Series also consisting of the works Spotted and In the Blind Spot.

Sound artist 1: Brynje

Brynje is a duo consisting of the brothers Asger and Holger Hartvig. The sound of Brynje reflects a contemporary soundscape of fragmentation along with a journey through music history. The duo juggles Medieval melodies, neo-classical compositions - and beyond - and sculpts a pop universe filled with anachronistic currents. In the latest release Den Højes Tale (Sayings of the High One) the duo confronts the ear and perception of the listener in regards to melody, conception of genres, as well as production and consumption of music. The album brought another layer of historicism into Brynje's universe that was first introduced in their first release Til De Der Vil Lave Museum from 2015. Both albums were released on the Copenhagen-based label Visage. Both members are known from the group Synd og Skam as well as multiple constellations related to the music collective Af Med Hovedet. Furthermore, the coven of LOL Beslutning has attracted attention through their performative chamber plays and the solo show Learning Out Loud at TOVES, which staged an opera composed by the group.

Complete Body x Soma & Lil

Complete Body, Performance. Choreography: Contemporary Cruising (Tomislav Feller and Manuel Scheiwiller), Exhibition Design: Mette Woller. Photo: Søren Aagaard.

Piece 2: Complete Body by Contemporary Cruising

CHOREOGRAPHY: Contemporary Cruising | CLOTHING: Anissa Djeziri & Mette Krebs | EXHIBITION DESIGN: Mette Woller | PERFORMERS: Michael Lynn + Keyon Powers + Manny Kirby. SPACE: CompleteBody Fitness Center, NY | EXHIBITION: OCEANS BREATHE SALTY | CURATOR: Mette Woller

Complete Body consisted of three bodybuilders performing at the fitness center by the same name. The performance was part of the one-day exhibition OCEANS BREATHE SALTY and was a collaboration between the group Contemporary Cruising (CH/HR), the design duo Anissa Djeziri & Mette Krebs (DK), and curator Mette Woller (DK). Complete Body, which took place around a swimming pool while a music video was shot on site, included a choreography created by Contemporary Cruising. Inspired by gym-selfies and workout clothes, designers Anissa Djeziri and Mette Krebs developed a clothing design for the bodybuilders. With their connotations of whiteness the bodybuilders contain curatorial ideologies by referring to the White Cube and thus they figured also as a mobile and live exhibition design, developed by Mette Woller. The work is an attempt to re-think categorisations and definitions of media within curating.

Contemporary Cruising is Manuel Scheiwiller and Tomislav Feller. CC operates as a performance collective set between live performance, online magazine, production of films and performing stage technicians. CC is situated between labor and humor, do-it-yourself, and low- and high technologies that explore the mediums with which they work. Curator Mette Woller’s practice revolves around exhibition design as an aesthetic medium and ideological form. Woller is interested in curating as a laboratory platform that re-thinks the curatorial field in relation to a range of media and incorporation of other fields. For OCEANS BREATHE SALTY Anissa Djeziri and Mette Krebs created a de-functional design that articulates the tension between skin, body, and functional flexing, thus working with the ambivalence of impractical structure and exposure.

Sound artist 2: Soma & Lil

SOMA & LIL is a Danish cello duo; two cellos, two voices, two different worlds. Soma Allpass is a classically educated cellist and Lil Lacy is a rhythmically educated singer. They both sing and play cello using effect pedals, investigating possibilities where the well known and the unknown merge. The duo works with composition through improvisation and have had collaborations with artists within the field of dance, visual arts and of course music. The two musicians play and have played in a series of other orchestras such as: Valby Vokalgruppe, Trains and Boats and Planes, Travelling Tribes, Frk. Jacobsen and Sacrificed.

Everything Ends With Flowers x Body Sculptures

Piece 3: Everything Ends With Flowersby JULI/JON

CONCEPT AND CHOREOGRAPHY: Jon R. Skulberg + Juli Apponen | DANCER: Juli Apponen |
SPACE: Jon R. Skulberg | MUSIC: Lil Lacy | TUTOR: Inghild Karlsen | FILM VERSION: Jan Hajdelak Husták. Premiered and recorded in Fredrikstad, 2012.

In 2012 Juli Apponen and Jon R. Skulberg premiered with their first collaborative work, the site specific solo piece titled Everything Ends With Flowers. It was performed in industrial settings in Fredrikstad, Norway, with the audience placed more than 20 meters away from the performer, Juli herself. In this project they started to investigate choreography and the movements of a post operated body, a body that could only move for one hour per day in rehearsals. The work is minimalist and abstract with no illusion or fiction imposed and every movement, gesture and image is strictly choreographed and composed. The material derives from different memories and the physical traces of them.

JULI/JON is a duo consisting of choreographer and performer, Juli Apponen (FI), and scenographer and director, Jon R. Skulberg (NO). In their work, they are not interested in bodies with unlimited possibilities and virtuoso movement repertoire, rather they are interested in limitations, weakness, and tiredness. Their work is based on an intimate collaboration as well as material emanating from personal experiences.

Sound artist 3: Body Sculptures

Body Sculptures’ (DK/SE) sound is at times ambient and devotional, at other times gruelling and fragmented. The project brings together five leading musicians from Europe’s experimental noise scene – composer Erik Enocksson (SE), industrial artists Puce Mary aka Frederikke Hoffmeier (DK) and Ossian Ohlsson (SE) of Vit Fana – along with Jonas V. Rönnberg, Varg, co-owner of Stockholm’s Northern Electronics, and Loke Rahbek (DK) known from various projects and co-founder of the Copenhagen-based label Posh Isolation. The five individual voices do not work together in conventional band format but are more of a fluid entity, bringing whatever instruments they feel like using to recording sessions, hooking it all up and “leaving it open for anyone to go at it”. It allows the group to roam into territory none of them would visit on their own. Body Sculptures has played in parts of Europe, latest at Unsound Festival accompanied by Krakow's Royal Orchestra for the Unsound, and released the record "A Body turns to Eden" in 2016. This night will host the group's first appearance in Copenhagen.