large auditorium
No Title offers a fascinating look at the capacity of language and its possibilities in today’s world.
Renowned non-conformist Norwegian artist Mette Edvardsen began her unconventional exploration of language four years ago with Black. “Up until then my pieces were usually quite mute. I worked a lot with objects. For me the objects also form a part of language, like an action, a movement, the space.”
But then everything changed. The talented Edvardsen, who sees her works as a form of writing in time and space, decided to push the boundaries of her artistic style and to work with empty space, to create a project with “nothing”. And so No Title features speech, but not as a previously written text. “I am not a writer. For me it is important that the text I speak both in Black and for No Title is really with and in space, and in time, for a present audience. It does not exist as such outside of the performance.”
Credits
Mette Edvardsen – Brussels-based Norwegian choreographer, performer and artist Mette Edvardsen possesses a distinctive artistic style and is known for her ability to present even difficult subjects in a comprehensible manner and with humor. She is a fixture on the international scene, and is constantly working on new video works on other original projects. Some of her best known works include Private Collection (2002), Opening (2005/2006), The way/ you move (installation, 2006), Time has fallen asleep in the afternoon sunshine (2010), Black (2011) and No Title (2014). Her most recent piece is We to be (2015).
Created and performed by: Mette Edvardsen
Production: Natalie Gielen/ Manyone vzw and Mette Edvardsen/ Athome
Co-production: Kaaitheater/ Brussels, BUDA/ NEXT Festival/ Kortrijk, Teaterhuset Avant Garden/ Trondheim, BIT/ Bergen, Black Box Teater/ Oslo
Supported by: Vlaamse Gemeenschap, Norsk Kulturråd
Special thanks to: Heiko Gölzer, Mari Matre Larsen
Photo by: Lilia Mestre
Graphic design by: Michaël Bussaer
In frame of Norway Artway project and the 4 + 4 days in motion festival.
