Margrét Sara Guðjónsdóttir: Boundless Ominous Fields

Two bodies on stage in altered states, traveling through internal archives beyond the personal biographical body and the immediate conscious mind. Channeling rather than presenting or representing.

Immersed with their epigenetic imprinting they hover on the borders between the unfamiliar and the hyper familiar, serving as a reflection of and a gateway into the history of our shared subconscious territories and altered states of resonance.

The performance Boundless Ominous Fields goes a step further into Guðjónsdóttirs long term phenomenological exploration of altered states of consciousness through embodiment. Created with and for Finnish performers Karolina Ginman and Marlon Moilanen, it is the first work in a trilogy commissioned by the two performers.

Margrét Sara Guðjónsdóttir

Icelandic Berlin based choreographer Margrét Sara Guðjónsdóttir studied dance in Holland and worked as a performer with various performance makers around Europe during the period 2001–2014. She co-founded the production house Panic Productions in Iceland which was active from 2004–2009 and focused on producing and initiating collaborative performance works with international artists for the Icelandic stage and beyond it. At the same time as she lived in Berlin creating and touring internationally her own performance works.

Since 2010 she has been addressing the pathological imprint of the social political body within our own bodies and its de-conditioning in her choreographic works as well as research into the deep tissue release practice FULL DROP. She considers her work involving de-conditioning as a direct political gesture and activism. In a larger sense her performance works engage in the ongoing discussion of healing, feminism, interconnectedness and notions of energetic citizenship within the choreographic context.

The performers use her FULL DROP practice to access different body states and altered states of awareness, so called HYPERSTATES. These body states are celebrated as visceral denials of the externally and internally imposed imperatives to achieve, and draw a contrast with the logic of hyperactivity by presenting an alternative kind of energy and strength. Forming a corporeal language that serves as a doorway into the subconscious which allows for radical questioning of our inner and outer realities through new knowledge and perception of ourselves.

Read an interview with Margrét Sara in Zodiak's Diary.