MARC Artists in Residence 2017

Joanna Kotze, August/September 2017:.


Choreographer Joanna Kotze articulates her research at MARC through the creation of What will we be like when we get there, an interdisciplinary dance performancewith long-term collaborators Jonathan Allen (visual artist), Ryan Seaton (composer/musician), and Netta Yerushalmy (dancer/choreographer). Her new work investigates physical, emotional, and artistic spectrums while reflecting on personal journeys and current events - bringing attention to our desires, flaws, strengths, and fantasies. By flipping from humor to violence in one movement, or slowly building a single ordered note into a cacophony of sound, these spectrums evolve into dances, songs and visual design. Furthering the notion of an artistic partner, the team utilizes place as their fifth collaborator. How does where one works shape who one is and what one does? Multidisciplinary collaboration is the core of this work - intimate collaborative exchange pushing each artist into new territory and ways with engaging with the place and people at hand. What we will be like when we get there will premiere at New York Live Arts March 28th-31st.




At Work with Joanna Kotze

August 26th, 19.00 at MARC (free of charge)
September 9th, 19.00 at Skillinge Teater (tickets must be purchased)

Both events include an exhibition of collaborator Jonathan Allen's work. There will be food and drinks at both events.

Reservations: To book tickets for MARC contact, to book tickets for Skillinge Teater go to:

The events are designed to show the progression of the artistic work and we highly recommend that you attend both, however, you may book for one event only as well.

At Work is a new initiative that invites the public to follow dancers and choreographers from the beginning to the end of their process during artistic residencies at Milvus Artistic Research Center (MARC). The project is presented by MARC and Simrishamns Riksteaterförening, in collaboration with Riksteatern, Riksteatern Skåne, and Skillinge Teater.



Photo credit: David Dashiell, taken at Jacob's Pillow, MA

Photo Credit: Carolyn Silverman, taken at New York Live Arts, NY


Philippe Blanchard, September/November 2016:.

Choreographer Philippe Blanchard articulates his research at MARC through a two part residency with collaborators from the fields of dance, the visual arts, and music/sound. Through the residency the artists exchange methods and crafts searching for new modes of production and knowledge by questioning previously defined working patterns.   

Philippe Blanchard (FR) has created independent and commissioned performances at the forefront of Swedish contemporary dance and with European dance companies for nearly twenty years. His works are articulated through installation-like studies with skilled as well as untrained performers. Suggesting rather than telling, Blanchard's finely layered pieces address the creative potential of each viewer by making room for interpretation, uncertainty, and wonder. An adventurous artist daring to explore unknown subjects and methods, he develops his expression in a continual process of investigation where every project is bound to its own rules while moving consciously forward from the previous one. After creating works such as "Airbag", "Noodles", "Quiproquo", "One's company”, and "How about you?" Philippe relocated to the U.K where he created the works " This is that" and " There are no such thing such as silly things".


Anke Philipp (DE) is a visual artist who articulates her work through collaborations with artists, choreographers, performers, and curators. She studied fine art at Städelschule Frankfurt and Kassel as well as arts in education, art history and cultural anthropology at the University of Frankfurt,a M. She is currently collaborating with Vienna based artists Deborah Hazler, United Sorry, and Oleg Soulimenko. She has created stage installations, set designs, and costumes for Arttu Palmio, nadaproductions, Anat Tainberg/Roisz, Jeremy Wade, Hanna Hurzig, and Adekwat/Philippe Blanchard. In collaboration with set designer and visual artist Doris Dziersk she has realized interventions and site-specific works in Austria and Germany at venues including Hebbel am Ufer Berlin.

Neil Callaghan (UK) has created performances since 2002 with collaborators from the fields of dance, theatre, and the visual arts. He has participated in works with theater companies including, Lea Anderson’s Featherstonehaughs, Requardt&Rosenberg, Emilyn Claid, Doris Uhlich, Nicola Conibere, and Meg Stuart. He is involved in an on-going collaboration with Simone Kenyon and they have shown their work at Hayward Gallery, Lilian Baylis Theatre, and Fierce Festival, Birmingham. Neil is a member of the Sadlers Wells Summer University (2015-18), and is currently touring Until Our Hearts Stop with Meg Stuart/Damaged Goods. Neil’s current interest is sensation, perception and shared experience. 




Blue Java  MARC Mentorship, August/September 2016:.

In a world where sight no longer defines our kinetic experience, bodies meet through an investigation of hearing and tactility. How is distance and touch measured through sound? Where does contact begin and end?

Blue Java, by and with Sindri Runnude and Tanja Andersson, is an evening-length duet that unfolds on a two by three-meter microphoned platform, in close proximity to the audience. During the "In-process" showing at MARC the audience will have the opportunity to meet the artists through an excerpt of the work and dialogue.

Blue Java is a MARC Mentorship Residency for emerging choreographers. The artists have worked with mentors Anna Pehrsson and Ulrich Ruchlinski.




All the Way residency, May/June 2016:

Is this it?, May/June 2016, performances Malmö Panora Folkets Bio and MARC

"We are forever teetering on the brink of the unknowable and trying to understand what cannot be understood." -Isaac Asimov

"Break 360 degrees, break impulse, break intuition, break what you sense, break no, break trusting, break sense, break no, break things, break things, break, break, break…"  -Rachel Tess and Gregg Bielemeier

"Is this it" is an assisted solo created for Rachel Tess by choreographer Gregg Bielemeier. Beginning with energy and image directives, the work meanders through scrambled choreographed dialogue and densely scattered movement that ranges from abstract to representational. Beginning with the destruction of a house of words the performer asks “is this it” - is this what we have been working on? Time shortness becomes length in a search for what length means. Everything begins with a dot and expands into a further questioning as the performer navigates in and out of movement - flinging it against the walls, the floor, and the ceiling. Is this it? Is this what we were meant to create?





Conveyance, July 2016

Conveyance is a collaboration that tests the potential of dance on film. By replacing the live performer with recorded material, artists Harumi Terayama (film/performer), Jubal Battisti (photography/performer), Isaac Spencer (performer), and Simon Goff (composer), investigate how choreographic, cinematic, and acoustic materials, activate a kinesthetic response in the viewer. The process stems out of choreographic research in which the artists create a physical palette of qualities that are tested as recorded and live material. The choreography is sourced from somatic processes rather than the execution of a linear narrative. The movement qualities are designed to offer the viewer a continuous stream of a determined physical intensity. The resulting spectrum of body tension, speed, density, rhythm and weight offer a visceral experience to the viewer. The work is articulated through the creation of a short film slated for release in 2017. 





Den Kosmiska Havsträdsgårdspassagen, June 2016


Den Kosmiska Havsträdsgårdspassagen is an interactive, choreographed performance and installation for the very young by choreographer Peter Mills. Themed as an exploration of the unknown wonders of the underwater, cosmic, and botanical realms of nature, Mills offers the audience a calm and safe space to explore movement with the performers. The performance leads the audience through constantly shifting and contrasting visual, tactile and auditory stimuli. The baby’s freedom to move, observe, and interact with the installation and dancers, shapes the performance. Framed as a performance and ongoing research project the work was created at MARC and premiered at Valfisken in Simrishamn. 





Paradigm, January 2016

A performance by Dinis Machado (SE/PT)

With original music by: 
Hanna Kangassalo (SE/FI), Robert Tenevall (SE), Erik Sjölin (SE)

Outside eyes: 
Pedro Machado (BR/UK), Gonçalo Ferreira (PT), Jorge Gonçalves (DE/PT)

In Paradigm, choreographer and performer Dinis Machado creates a DIY folklore for bodies with blurry identities through the invention of alternative fictional artefacts, narratives, dances, rituals and music.

"Paradigm" is a dance of an exoticism from nowhere. A ritual claim for difference and citizenship. A landscape created from a cadavre exquis of paradoxical references coming from the places where we were born, the places where we live, places we have never been, and most of all, from fictional places. All of them glued together with daily practice.

To read more about the project and the artist go to: Dinis Machado Website



MARC Artists in Residence 2014/2015

Haligh/A Lie, November 2015:

Caroline Pyo Soon Byström is a choreographer and dancer based in Stockholm, Sweden. She received her MA in choreography in 2014 at DOCH. She also studied at the MA for choreography and performance ATW in Giessen/Frankfurt Am Main, and has a BFA in dance from Salzburg experimental Academy of Dance (S.E.A.D.) in Austria. She is currently a dancer with WELD Company in Stockholm and is involved in working processes with choreographers Julian Weber, Rebecka Stillman, and Margaretha Åsberg. Between 2012 and 2014 she was part of the collective Universal Performance with choreographers, dancers, and curators Jean Lorin-Sterian, Ingeleiv Berstad, Alice Pons, and Nina Djékic. She is the recipient of a 2012 DanceWeb scholarship.

Byström completed research for Haligh/A Lie at MARC in 2015 with dancer Elise Brewer and sound artist Shida Shahabi.

"Haligh/A Lie" starts from the ordinary, the voice. In 70's horror movies obsession is portrayed as something that speaks through the young woman's body. In Cabaret Liza Minelli masks the sound of the train passing and simultaneously exteriorizes herself with a scream. The voice is para-bodily, exceeds the body and is 'cored' in its interiority. The project's starting point is to examine what and who the dancing body have listened to and listen to. It is, amongst others, a research into an ancient body system and inspired by related practices.

Viewed as a script that enters the body and affects its physiological, psychological and spiritual form, the practice works as a structure that generates scripts populated by suggestions on dancing bodies movements, owls, collective memories. On the basis that "this dance we dance for you is already here."

The work was created with support from Helge Ax:son Johnsons Stiftelse, Kulturrådet, Konstnärsnamden, WELD, in Stockholm, and Skövde konsthall & konstmuseum and administrated by Interim kultur AB (svb)




HUE, September 2015:

Lisanne Goodhue is a Canadian dancer and choreographer based in Berlin. She graduated from Ladmmi (Montreal, Canada) in 2010 and has worked as a dancer, teacher, and choreographer throughout Europe. Her work focuses on the combination of visual art and dance and has been shown in Europe and Canada. She is a long-term collaborator with the team of choreographer Sebastian Mattias in their research on groove.

Simon Goff is a British composer and musician based in Berlin. He specializes in contemporary and experimental music and has performed throughout Europe with a wide variety of collaborators. He creates experiential performances that explore how compositional and technical devices enhance the relationship between audience and musicians.

Sebastian Kite is a multi-disciplinary artist based in London. His practice lies at the intersection of art and architecture, with a particular focus on site-specificity. Kite’s installations use structure, kinetics, light, projection, and sound as strategies to engage new readings of spaces.

Elise Bergeron is a Canadian dancer and choreographer based in Montreal. She graduated from L’École de la Danse Contemporaine in 2010 and has since worked as a freelance dancer and choreographer. She is a co-founder of Atypique-Le Collectif and a member of Bouge de là Company since 2013.

The artists completed the first MARC Mentorship residency in the fall of 2015 with Dinis Machado as mentor. During their time at MARC the group researched for HUE, completed two public showings, and worked with NOVA Academy in Simrishamn and Kulturcentrum Skåne from Lund through the Wanås Konst/MARC educational exchange.

HUE is a new work that explores the perception of color in our environment. The work questions the boundaries of installation, performance and audience participation, investigating color as a bridge between visual art, dance, and music.
For more information go to:



DINIS MACHADO, March and December 2015

Dinis Machado is a Portuguese performer and choreographer living and working in Sweden. Machado holds a BA in Theater from the Superior School of Theater and Cinema (Lisbon, PT). He completed the Independent Studies Program in Visual Arts at Maumaus (PT) and graduated with an MFA in choreography from Dans och Cirkus Högskolan (SE) in 2014. In 2013 he received a Life Long Burning co-production with Cullbergbaletten for his work Black Cats Can See In The Dark But Are Not Seen. His works have been presented at MDT, Chelsea Theatre, Festival de Danza Contemporanea de Uruguai, Festival Escritas Na Paisagem, Festival Temps D'images, Festival Da Fabrica, Quarta Parede, ZDB/Negocio, NEC, Edificio (O Rumo do Fumo/Forum Danca), Plataforma HR, among others.

"Dinis Machado is interested in the ability of the body to experience a sense of space even without visual input. In his solo piece Out in Space (Experience on Autonomy) Machado is wearing a blindfold when he meets each spectator to lead them into the room. It is as if [Machado], with his whole body, is trying to create another room, independent of the actual room we find ourselves in, here and now. A room just as imaginary as it is tangible."
- Thomas Olsson/

During his residency at MARC Machado performed Out in Space at MARC and at Wanås Konst as part of the MARC/Wanås educational exchange. He also began the creation process for his new work Paradigm. For more information on this project go to: Machado will be joining us in December, 2015 to finalize and perform Paradigm.  



PETER MILLS, October 2014 and January 2015

Reflective Nebula, with choreographer Peter Mills, is both an educational and artistic exploration of community.

Inclusion in a community shapes what one values and the choices one makes. A focus on the movements that shape these communities, micro and macro, can better inform us how and where our value is formed and shaped. "Reflective Nebula" is a two-part project hosted by MARC. The project employs reflective choreographic practices during encounters with specific communities to demonstrate how community functions and reveal how systems of value are produced.

During his residency at MARC, Mills had multiple encounters with different communities throughout the Skåne Region. He visited the groups in their own context and each group also traveled to MARC to work in the studio. These groups included 6-9 year-olds at Hammenhögsfriskola, adults from in and around Kivik, Gymnasium students at NOVA Performance Academy in Simrishamn, and a group of educators at Wanås Konst.

Using the internet, images, videos, texts, histories and observations of situations harvested during the encounters, he constructed a space filled with objects echoing or directly lifted from the experiences within the communities in the studio at MARC. The groups and public were invited for a final 48-hour performance in which they interacted with Mills as a performer and the objects amassed throughout the residency period.

As you enter the space you are greeted by an unaccountable history. It is clear that something has happened or perhaps is happening. Papers, objects, black bags, white sheets, posters, a space blanket, and books lie on the floor in no particular order. As you navigate the exhibition of mess and clutter you find hidden reasons and pathways that speak through many voices including your own.




KENNETH BRUUN CARLSON, October/November 2014

Bruun Carlson is a Norwegian freelance dancer and choreographer living and working in Sweden. He is a graduate from the London Contemporary Dance School (2000) and the Amsterdamse Hogeshool voor de Kunsten (2003). Carlson has been a member of Danish Dance Theater (DK), The Cullberg Ballet (SE), Kenneth Kvarnström & Co/Helsinki Dance Company (FI), and Skånes Dansteater (SE). He has worked with independent choreographers Marten Forsberg, Helena Franzen, Shumpei Nemoto, Björn Safsten, and Rachel Tess among others. His choreographic works have premiered in Norway, Sweden, Denmark, the Netherlands, and London. He is the recent recipient of a Norwegian Art Council project grant for the choreographic work We are Still in Love with dancer Live Strugstad and musician Stian Westerhus.

During his residency Bruun Carlson began the creation process for the duet We are Still in Love with dancer Live Strugstad. Performances of the final work in collaboration with musician Stian Westerhus are slated for June of 2015 and the project is produced by Dans I Nord-Trøndelag.

“We are Still in Love” is a collaboration with and by performer Live Strugstad and choreographer and performer Kenneth Bruun Carlson. Together with the audience the performers create new spaces and communities through close and intimate encounters.

By believing in the intelligent body and its ability to obtain and systematize information using somatic methods, the performers trace physical availabilities to achieve ecstatic and euphoric states of mind. They search for the stages/states of ecstasy and euphoria that give a higher sense of awareness and an intensified physical experience, giving rise to extreme physical situations.



BENOÎT LACHAMBRE, March/April and June 2014

Lachambre is a Montréal-based choreographer, performer, teacher, and artistic director of Par B.L.eux. In his work he explores the dynamics of communication and perception through an exploratory approach to movement. Benoît has collaborated with Lynda Gaudreau, Felix Ruckert, Catherine Contour, Boris Charmatz, Sasha Waltz, Isabelle Schad, Laurent Goldring, and Hanh Rowe. He has created solos for Louise Lecavalier and Marion Ballester. Benoît is the recipient of the Jacqueline Lemieux Award from the Canada Council, two Dora Mavor Moores, and a Bessie Award for his work with Meg Stuart on Forgeries, Love and other matters. He is the recent recipient of the 2013 Montreal Dance Prize. Additionally he has created two evening-length works for Cullbergbaletten.

During his residency he created the duet These are bodies, These are motions, This is the place with dancer/choreographer Rachel Tess. The 50-minute duet premiered at Wanås Konst as part of the 2014 Dance Me exhibition. This residency was completed with additional support from Konstnärsnamden through a project grant and international kulturutbyte. The work is produced by Rachel Tess Dance (Oregon, United States 501c3 non-profit) with support from Par B.L.eux (Montreal, Canada). The work was performed as part of the River to River Festival through the Lower Manhattan Culture council in 2015.

In a landscape of palpable textures the performers navigate the link between inner body and tangible object; animating the inanimate through an exploration of the senses. Skin becomes canvas, bodies become abstracted, glimpses of the recognizable are sometimes present, and the byproduct of contact with the outer environment is an acoustic/rhythmic transmission of the sensuous.

Letting be, being with, and sensing the profundity of silence allows the performers to refer unobtrusively to the complexities of human relationships.

The audience is a vital part of the shifting landscape. Alternating between lounging, sitting, standing, and relocating in search of the desired vantage point, the audience is shaped by the choreography.






Gilley (b. 1977, California) is an artist and educator working in Portland, Oregon. His work exposes hidden architectures through site-specific perceptual installations that combine drawing and sculptural approaches. Drawing influence from vintage computer graphics, techno-structures, and science fiction the work integrates digital languages with the physical world to question historical, current, and potential environments.Damien holds a BFA in New Media, Suma Cum Laude, from the University of Nevada, an MFA in Contemporary Art Practice from Portland State University, and a BA in psychology and religious studies from the University of California Santa Barbara.

His work has been exhibited nationally and internationally at venues including Tetem Kunstruimte (Enschede, Netherlands), EastWest Project (Berlin, DE), Suyama Space (Seattle), The Belfry (Hornell, NY), Las Vegas Art Museum, Arthouse (Austin), the Art Museum of South Texas, and in Portland at Rocksbox, Linfield College, Wieden+Kennedy in collaboration with Rachel Tess, the American Institute of Architects, the Pacific Northwest College of Art, and the Portland 2010 Biennial, among others. Selected press includes a critic's pick on, New American Paintings, Frame Magazine (Amsterdam), Las Vegas Review Journal, Seattle Weekly, The Oregonian, the Austin Chronicle, and online at designboom,,, and PORT. He has received multiple project grants from the Regional Arts & Culture Council and an Individual Artist Fellowship from the Oregon Arts Commission. He has held residencies at Bemis Center for Contemporary Art in Omaha, ARE Enschede (Netherlands), and Crow's Shadow Institute in Oregon. He is a member of the artistic panel that advises Milvus Artistic Research Center in Kivik, Sweden and will be residence there in July 2014 creating a site-specific installation.

During his residency at MARC Gilley create Pattern Recognition. Pattern Recognition is a video created onsite at MARC that uses the existing barn interior to create an abstract spatial experiment. The camera follows the movement of two laser lines throughout the barn in darkness as they mimic the structural forms they intersect. The video pieces together moments of recording with minimal editing techniques producing a visual display that suggests computer animation. Instead, the work simulates some kind of advanced technology like 3D scanning or data processing that continuously attempts to render a simulated architectural landscape from the recorded material.

An accompanying intervention titled “Barn Scan” illuminates the process with a set of laser lines that continuously rotate throughout the space.