Pictures by Nadia Roccato



by Julia Giertz

The origin of the piece SHILL is Anne Carson’s text “The Gender of Sound”. In this text Carson discusses the cultural codes of the gendered voice. She argues that there is an embedded prejudice against the female gendered voice and that the cause of this dismissal is related to the bright frequency quality of this voice.

In SHRILL, sound artist Julia Giertz has been working with vocal syntheses as well as speech synthesis. The sounds that we hear in this piece do not come from humans, however at times they do share frequency spectra and formant structure with human voices.

The piece was created for 24-channels at Notam in Oslo and EMS in Stockholm. It has been presented at Italienska Palatset in Växjö, and november 22-24 it will be part of an installation at Sound of Stockholm. At Danseatelier Giertz will present a binaural version of the piece.

SHRILL is part of a new body of work that Julia Giertz is developing together with choreographer Marie Topp (DK).

*Tuning into the space between*

by Ingvild Bertelsen

How is it possible to address the nothing as an object in a physical discourse?

This is a solo.
This is something new. This is a continuation.

I will continue to try and challenge different expectations, this time focusing on the nature of observing. I will still play on arbitrary social norms and ambiguous codes of identity and communication.


by Jonathan Bonnici

a performance journal composed of monads and their invocations to the spaces in-between

*Slutty Hjerte*

by Anna Lea Ourø Jensen, Emilie Gregersen & Naya Moll

Velkommen til det klichefyldte og nemme.
Små ting; som gamle malerier, en rose
holder fast i både følelser, tid og mange historier.
Vi masserer en fortid og en fremtid ind i vores fine, groteske hjerter.
Åh længsel, åh slutty slutty hjerte.

*Mermiad of the Hypersea*

by Snorre Jeppe Hansen

Dancing as a body of water.
Singing like a mermaid of the sea within.

Mermaid of the Hypersea is a liquid concert that extends us and connects us through the water we all consist of into a dance of transformations.


Christoffer Jørgensen


Olga M. Andrynowska

Technical assistance

Lasse Munk


an evening of performances, dancefloor and food

November 24th 2018


We, Olivia, Emilia and Karis, invite you to read this prelude for the night ‘Drama’. We see this as a way to offer an insight into our thoughts around the curation of the night and Danseatelier as a context.

Danseatelier is a physical space and a group of 11 dancers/choreographers/friends that came together 3 years ago from a need to be together in our relationship with dance and choreography. Living with dance can easily be dominated by instability, insecurity and lack of social and artistic support. We wanted to nurture another kind of relation - creating a mix of a dance home, an atelier and a venue. When we invite artists to show their work, we want to emphasize that this mix is the setting that they show their work within. Besides offering a specific context for the works that are shared on these public performance evenings, we wish that this setting also creates a convivial “being” around the performances and each other.

Each public event has been organised by different constellations within Danseatelier, and therefore the ways of curating have been shaped and altered with time and individual interests. One returning parameter though has been to nurture ‘the near’ and people from the freelance field. In ‘Drama’ we have invited locally anchored artists because we really want to cultivate close relations and continuity, and try our best to say no to the need for shopping for the ‘new’. Besides invited artists, two from Danseatelier are also showing, as we see these performance sharings as an important part of having a work space. This is how we mix it up when we host public events.

The act of titling the evening ‘Drama’ is meant as a texture and a potential connective tissue between the works, rather than the filter through which the works have been selected. This is just to say that we didn’t select artists dealing with drama as part of their artistic research. Of course drama may very well appear or materialise in the evening because of it being the headline of the night. As a word ‘Drama’ arose from a gut feeling during a sort of meditation session. It landed on our laps and we got excited. We see a double meaning in the word, and both can be applicable to the evening; drama as the act of placing and drama as an exciting or emotional event. The dramaturgy of the night is borrowed from the musical build-up of prelude, interlude and postlude.

Poster by Oline Marie Andersen