danceWEB mentors 2019

Anne Juren & Annie Dorsen in dialogue with Mette Ingvartsen

Anne Juren

Anne Juren, born in Grenoble/France is a choreographer, dancer and performer based in Vienna. In 2003, she co-founded together with the visual artist Roland Rauschmeier the association Wiener Tanz- und Kunstbewegung in Vienna. Her choreographic works and artistic researches have been extensively presented in international theatres, festivals, and different art spaces and venues. In her work, Juren tries to expand the term choreography in engaging the body in different states of physical, sensorial, kinaesthetic and mental experiences, questioning the boundaries between private and public spheres. Since 2013, Anne Juren is
a Feldenkrais® practitioner. She is currently part of the artistic committee for the Master in Choreography at DOCH and doing a PhD at UNIARTS Stockholm University of the Arts. 

Annie Dorsen

Annie Dorsen is a director and writer whose works explore the intersection of algorithms and live performance. Her most recent project, "THE SLOW ROOM", premiered at Performance Space New York in Fall 2018. Previous projects, including "THE GREAT OUTDOORS" (2017), "YESTERDAY TOMORROW" (2015), "A PIECE OF WORK" (2013) and "HELLO HI THERE" (2010), have been widely presented in the US and internationally. The script of "A PIECE OF WORK" was published by Ugly Duckling Presse, and she has contributed essays for The Drama Review, Theatre Magazine, Etcetera, Frakcija, and Performing Arts Journal (PAJ). She is the co-creator of the 2008 Broadway musical "PASSING STRANGE", which she also directed. In addition to awards for "PASSING STRANGE", Dorsen received a 2018 Guggenheim Fellowship, a 2016 Foundation for Contemporary Arts Grant to Artists Award, the 2014 Herb Alpert Award for the Arts in Theater, and a 2008 OBIE Award. She is a Visiting Professor in Theater and Performance Studies at the University of Chicago. 

Mette Ingvartsen

Mette Ingvartsen is a Danish choreographer and dancer. From 1999 she studied in Amsterdam and Brussels where she in 2004 graduated from the performing arts school P.A.R.T.S. Her first performance Manual Focus (2003) was made while she was still studying. Her early pieces comprise among others of 50/50 (2004), to come (2005), It’s in The Air (2008) and GIANT CITY (2009) – performances questioning affect, perception and sensation in relation to bodily representation. Her work is characterized by hybridity and engages in extending choreographic practices by combining dance and movement with other domains such as visual art, technology, language and theory.

An important strand of her work was developed between 2009 and 2012 with The Artificial Nature Series, where she focused on reconfiguring relations between human and non-human agency through choreography. The series includes three performances devoid of human presence: evaporated landscapes (2009), The Extra Sensorial Garden (2011) The Light Forest (2010) and two in which the human figure was reintroduced: Speculations (2011) and the group work The Artificial Nature Project (2012).

By contrast her latest series, The Red Pieces: 69 positions (2014), 7 Pleasures (2015), to come (extended) and 21 pornographies (2017) inscribes itself into a history of human performance with a focus on nudity, sexuality and how the body historically has been a site for political struggles.

Ingvartsen established her company in 2003 and her work has since then been shown throughout Europe, as well as in the U.S., Canada and Australia. She has been artist-in-residence at Kaaitheater in Brussels (2012 to 2016), Volksbühne in Berlin and associated to the apap network.

She holds a PhD in choreography from UNIARTS / Lunds University in Sweden.

Besides making, performing, writing and lecturing, her practice also includes teaching and sharing research through workshops with students at universities and art schools. She has collaborated and performed with Xavier Le Roy, Bojana Cvejic, Jan Ritsema and Boris Charmatz, as well as invested in collective research projects such as the artist platform EVERYBODYS (2005 to 2010) for which she co-edited everybodys publications, the educational project Six Months, One Location (2008) and the performative conference The Permeable Stage (since 2016).