Skin, body fluids, breasts and buttocks. There is no escaping them. In our daily lives, we all encounter a constant stream of images of bodies in sexualised positions. They are on billboards, in films, on the internet, in newspapers and magazines. How we behave in public and private spaces is highly influenced by these erotic images, texts and sounds. The ability to switch off no longer exists. Desire has become a 'must'.<\/p>\n
The question is whether we can think and act freely about our sexuality at all?<\/p>\n
Mette Ingvartsen's<\/strong> choreography dissects how we view pleasure and desire. \"To come (extended)\"<\/em> is a performance that literally dissolves sexual rules and conventions. The dancers merge into a single organism and the choreography plays with sexual poses and orgasmic expressions. 'To come (extended)' is a development of her work. \"To come\"<\/em> from 2005. It is part of her series \"The Red Pieces\"<\/em> where she explores the themes of desire, pleasure, pornography, sex and the relationship between sexuality and the public sphere. The series includes the previous works \"69 Positions\"<\/em>, \"21 pornographies\"<\/em> and \"7 Pleasures\"<\/a> which was performed on Dansens Hus' main stage in autumn 2016.<\/p>","protected":false},"excerpt":{"rendered":" On desire and the sexualisation of everyday life<\/p>","protected":false},"featured_media":37702,"menu_order":0,"template":"","class_list":["post-21230","dh_event","type-dh_event","status-publish","has-post-thumbnail","hentry","dh_eventcategory-forestallningar"],"meta_box":{"components":[{"component_type":"artist","embed_group":{"embed_type":"gallery"},"component_artist":{"artist_image":"13819","artist_heading":"Mette Ingvartsen","artist_text":" Mette Ingvartsen<\/strong> \u00e4r koreograf och dansare. Hon har studerat i Amsterdam och Bryssel och tog 2004 examen fr\u00e5n skolan P.A.R.T.S. i Bryssel.<\/p>\r\n Mellan \u00e5ren 2004 och 2014 gjorde hon en l\u00e5ng rad av verk s\u00e5som \u201d50\/50\u201d<\/em> (2004), \u201dWhy we love action\u201d<\/em> (2006), \u201dGiant City\u201d<\/em> (2009) och \u201devaporated landscapes\u201d<\/em> (2009). \r\n\r\n<\/p>\r\n 2014 startade hon en serie av verk under samlingsnamnets \u201dThe Red Pieces\u201d.<\/em> Det andra stycket i serien var \u201d7 Pleasures\u201d<\/em> d\u00e4r en grupp av 12 dansare utforskade varianter av nakenhet och sexualitet. Det handlade om begrepp som njutning och lust och hur massan st\u00e4lls mot individen, objektet mot den egna kroppen.<\/p>\r\n \r\n\r\n<\/p>\r\n Mellan \u00e5ren 2013 och 2016 arbetar Mette p\u00e5 Kaaitheater i Bryssel. Hon har ocks\u00e5 varit knuten till universitetsv\u00e4rlden och har en doktorsexamen i koreografi p\u00e5 UNIARTS.<\/p>\r\n \r\n\r\n<\/p>\r\n
2010 arbetade hon med flera platsspecifika verk med teman kring artificiell natur, s\u00e5som \u201dThe Extra Sensorial Garden\u201d<\/em> i K\u00f6penhamn (2010)<\/p>\r\n
F\u00f6rst ut var \u201d69 Positions\u201d<\/em> som ifr\u00e5gasatte gr\u00e4nsen mellan privat och offentligt rum genom att bokstavligt talat s\u00e4tta en naken kropp mitt bland teaterpubliken.<\/p>\r\n