A short presentation of Mette Ingvartsen’s research project as PhD Candidate at DOCH
Mette Ingvartsen is a Danish choreographer and dancer. From 1999 she studied in Amsterdam and Brussels where she in summer 2004 graduated from the performing arts school P.A.R.T.S. Since summer 2002 she has instigated several research projects and made numerous performances, among others “Manual Focus”(2003), “50/50”(2004),“to come”(2005) and “Why We Love Action”(2006).
Her more recent work evolve around questions of perception and sensation including “It’s in The Air” (2008) a collaboration with Jefta Van Dinther together with her latest two pieces “GIANT CITY” and “Evaporated Landscapes” (2009).
Besides her performance work she is engaged in research and her practice involves writing, making, performing and documenting work. She teaches and gives workshops often related to developing methodologies within choreographic practices. Since 2005 she has been working on “everybodys”, an open ongoing collaborative project based on open source strategies, aiming at producing tools and games that can be used by artists to develop work. She works as an editor for everybodys publications.
In 2008 she participated in 6Months1Location initiated by Xavier Le Roy and Bojana Cvejic, confronting questions around education, structures of production and artistic exchange. During the 6 months she worked on the YouTube project “Where is my Privacy”, infiltrating and utilizing contemporary communication tools as a way to rethink choreographic production. As an extension of 6M1L she took part in organizing the festival Inpresentable09 in Madrid, on an invitation by Juan Dominguez.
In 2010 she made two site-specific events, “The Extra Sensorial Garden” and “The Light Forest”, dealing with notions of artificial nature
A short presentation of Mette Invartsen´s research project as a PhD student at DOCH
For her doctoral studentship in choreography at DOCH, she departs from her current interests in how performances can create sensorial, perceptive and kinesthetic effects in the body of the spectators. Affective spectatorship and how to understand processes of immaterialization through dance and performance are key points in her investigation.
The methodological approach of her work includes a research on artist writing and how inventing writing practices can become productive for the physical practice of dance. As part of this she will over the 4 years set up several research platforms involving other artist, as an attempt to lay-out and stimulate the field of discourse production within the performing arts.
“The affective as a mode of offering, receiving and exchanging information is to me very connected to the knowledge economy we live in. My interest in movement connects to theories of immateriality. How bodies behave and act inside a certain form of productive system, such as the one defined by communication and flows of information. Technology plays an important role in information reproduction and circulation. What I would like to formulate practically and theoretically throughout the next years is the notion of incorporated technology and how it effect us both physically, emotionally and affectively.
When it comes to the research on writing I have until now mainly used models of writing like self-interviews, dialogs and essays as part of my research. With this project I would like to look for other formats of writing about work, to get beyond explanation and clarification. The many formats of writing that already exists from theoretical to descriptive texts, from lecture performances to poetry/word games, from interviews and dialogs to questionnaires, from free flow associations to scores and scripts will all serve as starting points. However writing a poetics of dance and performance is especially appealing and my focus is to invent the form of the writing through the practice of writing itself.”