KNOT BODY (2016-17)

KNOT BODY (2016-17)


Choreographer: Leandro Zappala & Anna af Sillén de Mesquita


Premier date 1-3 April 2016, Inkonst Malmö
Further dates 27-28 April 2016, MDT Stockholm

Choreography & Concept: Leandro Zappala & Anna af Sillén de Mesquita. Performance: Leandro Zappala.
Light: Daniel Goody & QUARTO. Sound: Palle Lindqvist. Manager: Koen Vanhove. This project is co-produced by MDT,
Inkonst and the Cullberg Ballet and is part of the framework of the “Life Long Burning” programme supported by
the Culture 2013-2018 Programme of the European Union and the Cullberg Ballet. Developed in artistic residence at:
Uferstudios Berlin (Through The Swedish Arts Grants Committee’s International Programme for Dance Artists), MDT Stockholm,
Inkonst Malmö and Cullberg Ballet. Supported by: The Swedish Arts Council, Stockholm’s Culture Committee,
The Stockholm County Council and The Swedish Arts Grants Committee.


The Knot Body is revealed in the moment we experience a body entangled in a 500m long rope.
What happens when the body becomes a knot and the knot a body?


QUARTO’s attention lies in the experimentation between a body and a 500m long rope – rope-body,
node-body, entangled-body, knot-body – as an attempt to escape from the body’s/object’s daily
attributes and give it an unsuspected meaning, beyond the understanding of a representative
body/object relation. Thereby, what is provoked with the entanglement of the knot intends to
abandon some recognizable forms, movements and choreographic scores that have been dominant,
while dealing with an object that is one of the oldest and most important inventions of mankind: the rope, the knot.

The Knot Body is revealed in the moment we experience it entangled in the rope, where the limit between body and
knot is vague. Precisely in this place we witness the creative potentiality of the body/object through liberating
it from its social representations. The KNOT seeks to produce spaces, images and fragments where the body is
involved with the rope: winding, untangling, pulling and unraveling. Knot Body reminds us of the endless layers
and complexities of the huge contemporary KNOT we are entangled in today, in various spheres, economical, political,
ecological, social and ethical, both personal and collective knots that also intertwines and connects us all.

About Quarto

QUARTO is an artist duo founded in 2003 by Anna af Sillén de Mesquita and Leandro Zappala. QUARTO exists as an
interdisciplinary platform. Based in Stockholm they live between Brazil and Sweden collaborating with other artists,
researchers, academics and institutions devoted to research and development in the art field.



Blind Spotting (2014)

Direction/Choreography/Costumes:Margrét Sara Guðjónsdóttir
Music by: Peter Rehberg
Light design: Andreas Harder
Set design: Margrét Sara Guðjónsdóttir/Andreas Harder
Development of concept: Margrét Sara Guðjónsdóttir/Angela Schubot

Performed by: Annie Kay Dahlström, Louise Dahl, Catherine Jodoin, Laura
Siegmund, Angela Schubot, Suet-Wan Tsang, Marie Ursin, Rodrigo Vilarinho

Advice: Anja Röttgerkamp, Thomas Schaupp.
Production: Björn&Björn, Gabi Beier.

Blind Spotting-film version: Antoine Verbiése

Photography: David Kiers


Co-producers: Hauptstadtkulturfonds Berlin, Wilderness Residencies project
of the Nordic-Baltic contemporary dance community keðja, Co-Production by
Slingan: Atalante Gothenburg, Dansstationen Malmö, MDT. Life Long Burning
cultural programm of the European Union 2013-2018 and the Cullberg Ballet

Residency support: Wilderness Residencies project of the Nordic-Baltic
contemporary dance community keðja, Tanzfabrik Berlin and Advancing
Performing Arts Project (APAP) production studio berlin.


With an ensemble of eight dancers Margrét Sara Guðjónsdóttir steps into the
blind spot of the exhausted common body in order to excavates its power from
its alleged weakness. In arrestingly and at the same time unsettling pictures,
Blind Spotting exposes the vulnerability of our fragile bodies in our achievement-
oriented society. 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 dilapidated bodies, moving forward in an
indefinable speed in time and space.

The performance will be an invitation to a shared experience of the fragile self,
a self that is gazing at its own gaze, staring at its own stare, perceiving its own
perception, unsettled by its own borderlessness in the blue light of empathy.

The performance “Blind Spotting”(2014) has an original a cast of 8 dancers.
The “Blind Spotting Performance Seri" born out of the original “Blind Spotting”
performance includes at this point; Blind Spotting- film version (47 minutes long
artistic film by Antoine Verbièse created out of the performance and available
for screening), the duet performance “Spotted”(2014) and the solo installation
performance “In the Blind Spot”(premiere 2015). All the pieces stand alone but can
as well be performed as double or triple bills. 

Touring dates 


-12,13,14,15 June “Blind Spotting” at Sophiensaile theater Berlin, Germany
-8 August “Blind Spotting – film version” at keðjaMariehamn 2014, Åland Islands, Finland
-27,28 August “Blind Spotting” at LÓKAL and Reykjavik Dance Festival Reykjavik, Iceland
-18,19 November "Spotted" at Atalante Gothenburg, Sweden
-22,23 November "Spotted" at MDT theater Stockholm, Sweden
-26,27 November "Spotted" at Dansstationen Malmö, Sweden


-14 march “Blind Spotting” at Bora Bora Aarhus Jutland, Denmark
-2015- “Spotted”WUK performing arts Vienna, Austria


“The quality is not just produced by that age old playing with the gaze. There
is also a slowness, seemingly born of an endless exhaustion; the infernal
silence from which Peter Rehberg's music is created and of course the quality
is produced by the Icelandic choreographer Margrét Sara Gudjónsdóttir's
movement art, like a puppet hanging from a string”.
Arnd Wesemann, tanz, 08/2014

“Again and again we see exhausted bodies, retreating within themselves.
There is hardly communication between the protagonists. Each one going
their toilsome way. Everyone is exhausted. It is in this weakness of the human
body where the choreographer searches for the body's strength and she
succeeds, by parading this weakness, without any one secret, in the bright
light  [...]  Blind Spotting makes a mirror out of the public and out of the actors
in which they mutually look at themselves for three quarters of an hour."
Aura Cumita, Neue Deutche presse, 16.06.2014

Black Cats Can See in The Dark But Are Not Seen (2013)

A project by Dinis Machado

With David Cabecinha and Jorge Jácome
Costume collaboration with Ian Mcinnes

"Black Cats... comes from my fascination to provisory structures and nomad ways of life. More than a work “about” nomadism I work to construct a nomad performance in itself. The performance as the suspended time in between the rising and the destruction of this provisory place. On stage, three operators work on this process that becomes also a fiction.  Around this architectonic gesture that crosses the performance, they will physically put together heterogeneous materials, creating a dramaturgical density that invites us to another space, through this continuos “doing”. In the end of the performance, over the scenic remains, there will be nothing left to see, to keep or to buy... Only this immaterial “know how” embodied on the agents of this performance through the experience of the daily reconstruct of this space that reenacts this event for the public. They have nothing (to lose). Their patrimony is a certain specific technique." Dinis Machado about his work.


Lisbon, ZDB/Negócio in the context of Festival Temps D'images 27th to 30th November 2013 at 9.30 pm

Other presentations:

Nottingham, Waverley Studio Theatre, 14th January
London, Chelsea Theatre, 16th January

Next presentation Zagreb, PRIX JDE LAB  29th April 2014 

Black Cats Can See in The Dark But Are Not Seen was developed in residency at MDT (Stockholm), Dance4 (Nottingham) and Agora Collective (Berlin).

Produced by Corp and Dance4  Co-produced by Cullberg Ballet in the framework of "Life Long Burning" supported by the Culture 2013-2018 Programme of the European Union Project developed with the grant for the arts from the Arts Council England Supported by the internationalization grant of Fundação Caloust Gulbenkian, ZDB, Nottingham Trent University and Citemor  Administration: Interim kultur Dinis Machado is an associated artist from ZDB/Negócio. 


MODUL 6 - swarming the event horizon (2013)

A project by Rasmus Ölme

In collaboration with Linda Adami, Ulrika Berg, Dan Johansson and Tilman O´Donnell, Rasmus Ölme has, during the autumn 2012, worked on MODUL 6. They called their common body The Swarm. From individual and shared interests The Swarm developed a score that treats elements that The Swarm considers constitutive of a performative choreographic situation. During 2013 The Swarm shares the work with another group entity: the Prague based group MeSa, through the participation of Karolína Hejnová, Andrea Lamešová and Martina Hajdyla Lacová.

The work springs from, and turns around, concepts like spectating, becoming-animal, pre-linguistic thought, composition as meaning production, kinaesthetic presence, time sculpture and deconstruction of representation through the three terms of mirroring, reflection and diffraction.

MODUL 6 is a study in becoming through movement, and in the relation beween thinking and doing. In this case the thinking and doing can be represented by composition and improvisation. For example, playing chess you think before you do and what´s done cannot be undone. Then, on the other hand, what would it be to start by doing and to avoid defining the action through thought? The compositional side of the work is a certain sense making and choreography can be seen as a way to structure meaning. A line in space appears, or a movement is repeated, and structure appears.

MODUL 6 is aiming for a dynamic relation to choreography in which structure appears out of doing. Thinking through doing. The next level in the work is the question of how we frame the transmission of what we are doing to the audience. As the first sentence here above claims, the work is a study and the performance is both a result of the study and a part of it.

Next presentation DOCH, Sweden on the 19 May 2014!