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Waiting for the Sun

En hel natt på Black Box teater / A night at Black Box teater

19. Oct 2018

Waiting for the Sun is back for its second edition of an all-night journey, a durational and cross-disciplinary event that focuses on peculiar listening and hearing experiences. It explores voices and sound landscapes, through a con- stellation of immersive works. Waiting for the sun will include different works by musicians, performing and visual artists.

19.00-20.00. Store scene:
Lasse Marhaug: The first eight + Death of the noise artist

20.30-21.15. Lille scene:
Mette Edvardsen, Jonathan Burrows, Matteo Fargion, Francesca Fargion:
Music For Lectures – Every word was once an animal

21.30-07.00. Store scene:
Anne Juren: Fantasmical Anatomy
21.30-22.15: The Tongue, desire for language
22.15-23.30: Readings and talks
01.00-01.45 / 03.00-03.45: Anatomy far away version (radio)
06.00-06.45: The body, desire for symmetry

22.30-00.30. Foajé:
Northern Drone Works: Transmission VI

00.00-04.00. Foajé:
Samuel Brzeski: Miserable I hope you do too

02.00-03.00. Foajé:
Anders Paulin: Soon after, or just before

04.15.-05.45. Foajé:
Rouzbeh Rashidi: Phantom Islands

06.45. Foajé:
Sunrise Breakfast

Note: The timetables are given as and indication and may be subject to changes

While most of our season program is dedicated to the presentation of individual shows, we also wish to propose other formats with different agencies. Through 12 hours, Waiting for the Sun gathers artists working with various mediums in a common venue (Black Box teater as a whole), intended as a space for experiences, encounters, possible resonances and interferences. The night is composed of performances, shows, installation, sound installations, talks and films.

Waiting for the Sun is an invitation to a moment and a space where time is suspended, where aesthetic experience and theoretical contents are combined, where we are available to what we hear, where the withdrawal of prominent images generate another sense of awareness and sensitivity.
It is an invitation to embark on a journey with an incomplete map and find your own navigation, to open up the senses, feel the time dissolving softly and enter refracted landscapes. And maybe it will open up for specific states of attention, availability and perception. And maybe it will allow specific rooms of imagination and fiction, for producing images, for being with oneself together with others. Waiting for the Sun is a journey into the beauty of the unstable.

Detailed program will be available soon.

The First Eight (2016)
Multi-channel audio piece made on commission by INA-GRM which premiered at the PRESENCES électronique festival in Paris, 2016. The sound sources in this piece are mostly acoustic, including voice (Stine Janvin Motland), tuba (Martin Taxt), acoustic guitar (Håvard Skaset), double bass (Guro Moe) and percussion (Jaboc Felix Huele), but the source material has been edited and structured in such a way that sounds more like the electronic noise music Marhaug is known for.

Death of the Noise Artist (2018)
Multi-channel audio piece made on commission by Tectonics Festival, Glasgow in 2018. This is a 23 minute work that was made during a two year period in Nordland, above the arctic circle in the north of Norway, where Marhaug investigated the environment and surroundings in which he grew up, trying to find paralells in the landscape and his electronic noise music. The piece is a mixture of location recordings made during winter, and electronics inspired by the harsh arctic climate. After the premiere the piece was describred as “Seismic. Plates shifting, mountains crumbling, forests collapsing, the visceral reverberation of Norway sinking quadraphonically into the fucking ocean.”

Lasse Marhaug has since the early 1990s been one of the most active artists in the Norwegian noise/experimental music scene. As a performer and composer he has contributed to well over 300 CD, vinyl and cassette releases over the years, as well as extensive touring and performing live on all continents of the world. In addition to his solo work, Marhaug has collaborated with many artists in the fields of noise, experimental, improv, jazz, rock and extreme metal, as well as working with music and sound for theatre, dance, installations, cinema and video. In 1990 Marhaug ran the TWR Tapes and Jazzassin Records labels. In the 2000s he ran the record labels Pica Disk. In 2011 he started his own print publishing Marhaug Forlag. He has also been active as an organizer, promoter, producer and visual artist.

By: Lasse Marhaug

Music For Lectures – Every word was once an animal

In this lecture with live music Mette Edvardsen will speak about language and repetition as material in her work. What does it mean to do the same? What does it mean to do something again? Every word was once an animal is part of the series Music For Lectures by Burrows and Fargion that aims to collide academic practice with the actuality of performance and continues their recent practice of creating often in proximity and collaboration with somebody else’s work.

Text by: Mette Edvardsen. Music by: Jonathan Burrows, Matteo Fargion, Francesca Fargion. Production Mette Edvardsen/ Athome & Manyone (Brussels)

Mette Edvardsen
Mette Edvardsens work is situated within the performing arts field, also exploring other media or other formats such as video, books and writing, and her interest is always in their relationship to the performing arts as a practice and a situation. With a base in Brussels since 1996 she has worked for several years as a dancer and performer for a number of companies and projects. Since 2002 she develops her own work and presents her performances internationally. A retrospective of her work was presented at Black Box teater in Oslo in 2015. In 2010 she initiated the project Time has fallen asleep in the afternoon sunshine to develop learning by heart as a practice, a process which is still ongoing today. She contributes to publications, and is regularly teaching, mentoring and involved in jury work at several arts institutions. She is currently a research fellow at Oslo Arts Academy.

Matteo Fargion
Matteo Fargion studied composition with composers Kevin Volans and Howard Skempton. He has been a close collaborator of Jonathan Burrows for 28 years. He has also written extensively for other choreographers, recently in collaboration with Mette Edvardsen on her acclaimed piece Oslo. Fargion has also developed a composition workshop for dancers, which continues to be invited widely internationally.

Francesca Fargion
Francesca Fargion studied music at Goldsmiths University and then went on to do postgraduate studies in piano performance at the Guildhall School of Music and Drama. She has performed with Jonathan and Matteo in a number of performances. She also writes her own music and plays keyboards in an experimental rock band.

Jonathan Burrows
Jonathan Burrows is a choreographer whose main focus is an ongoing body of pieces with the composer Matteo Fargion, with whom he continues to perform around the world. His A Choreographer’s Handbook has sold over 13,000 copies since its publication in 2010. Burrows is currently a Senior Research Fellow at the Centre for Dance Research, Coventry University.

Matteo Fargion and Jonathan Burrows are co-produced by: Kaaitheater Brussels, PACT Zollverein Essen, Sadler’s Wells Theatre London and BIT Teatergarasjen Bergen.

Fantasmical Anatomy
Over the past few years, Anne Juren has been expanding the notion of choreography over a larger research which includes poetic, fantastical, speculative imaginative dimensions and unfolding it into Fantasmical Anatomy. The study is an ongoing research in the format of experimental corporeal speculative aesthetic lessons. Each lesson open a creative space in which the choreography is placed directly inside the spectator’s body. It proposes different choreographic strategies and body practices related to the text and its multiple phantasmagoric images, to the body’s boundaries, proposing dysfunctional relations, unexpected images, possible phantasms and imaginable actions.


Anne Juren is a choreographer, dancer and performer based in in Vienna. Juren seeks to expand the concept of choreography in her work. She explores the physis, the sensory system, kinaesthesia and sensuality by challenging the boundaries between the private and the public. Her works are shown in theatres, museums, festivals and biennale exhibitions worldwide. Juren has been a Feldenkrais Practitioner since 2013. In 2003, she founded the Wiener Tanz- und Kunstbewegung association together with artist Roland Rauschmeier. She is currently working on her Master in Choreography programme at DOCH, Stockholm University of the Arts.

Anne Juren last performed at Black Box teater in 2012 with the piece Magical together with Annie Dorsen.

Transmission VI

Northern Drone Works (NDW) is a collaborative initiative and the recording output of Snorre Sjønøst Henriksen. The project has taken several forms since it began with the initial site specific performance Irrlicht in Zionskirche, Berlin. With references in American minimalist music, the expression is based in experimentation, while at the same time there is the presence of a neo-romanticist leaning towards classic horror and science-fiction aesthetics. NDW performs live in various constellations, including in the context of performance art and dance, often making situation specific works in response to concept or space. On the occasion of Waiting for the Sun, NDW will present a mix of repertoire compositions, as well as new themes and improvisations. With this particular ensemble, the interplay between visuals and sound is always a research, based equally as much in the art of cinematography as in sound production, and functions as a live edited proposal for an unfixed narrative.

Miserable I hope you do too

Miserable I hope you do too is a durational performance in which the artist repeats a poem of the same name by Sam Riviere over a several hour period, with each repetition changing one small part of the poem. It is an exercise in presencing, in trying to create some sort of a shared experience of extreme presence through repetition and insistence. The meditative rhythm of the voice-as- mantra creates a sonic experience of the cycles of time, change, repetition and memory. At the same time, the words spoken expose a vulnerable masculinity when juxtaposed with the artist’s presence.

Also at stake is the question of poetic authorship and the subjective nature of the experience of poetry. By repeating a poem by another author, but changing small parts throughout, the artist makes a suggestion of a collective ownership of the sonic realm of poetry. Miserable I hope you do too presents poetry as existing in the mouth of the reader, let go by the hand of the writer when committed to the page. Each poem as existing in eternal subjective individuality, yet at the same time can be experienced collectively and resonate alternatively with each personality.

Samuel Brzeski  is a London born artist currently living and working in Bergen. Samuel’s work explores what it means to be present, and the internal and external networks which prevent, shape, complicate, deny or assist the experience of presence. Focusing on the voice, repetition, and poetic articulation, he works primarily in text-based video installation, sound and performance. The focus of the installations, performances and interventions is on the sharing of experiences to create empathy and understanding. Recent projects have included multi-screen video installations attempting to map the process of anxious thought, durational repetitive performances in which poems or mantras are repeated for several hours at a time, and intimate text pieces fly posted around cities.

Samuel studied English Literature at University of Sheffield, UK and Fine Art at Bergen Institute of Fine Art, Norway and has been exhibited in different countries all over Europe.

Credits: Poem: Miserable I Hope You Do Too, from 81 Austerities, Sam Riviere, Faber and Faber, 2012. Music: The Mother, Nick Cave and Warren Ellis

Soon after, or just before

The invisible drama.
it´s vacant setting. The absence of event,
the imminence of an act. This is an empty stage.
Soon after, or just before an unseen dramatic event.

Soon after, or just before is an audiovisual installation. A concert and a ceremony, performed through a sculptural instrument where the tones and harmonies “are our capacity to respond to vibrations from the invisible world” (to speak with Peter Brook). Continuing where the previous work Three White Soldiers ends, the performance is a journey into the rhythm between all what-is and all what-is-not.

Anders Paulin has been directing 30+ productions at theatres as Nationaltheatret in Oslo, Deutsches Schauspielhaus in Hamburg, Stockholm City Theatre, The Royal Theatre in Copenhagen, Theater Basel, Nasjonale Scene in Bergen, Uppsala City Theatre, Malmö City Theatre, The Royal Theatre in Stockholm and Backateatern in Gothenburg. Since a number of years a recurring thematic figure has been non-mimetic performative tools, with a focus on narrative and performer as interfaces and an idea of the stage as platform for exchange and production of experience and subjectivity, rather than representations.

Anders Paulin has been teaching regularly at the Stockholm Academy of Dramatic Arts and The Danish School of Performing Arts, and  KHiO. In 2016 he curated and produced the international conference Fiction / Reality at Dansehallerne in Copenhagen. The conference was part of his recently finalised research project Non-Mimetic Performativity at the Danish School of Peforming Arts in Copenhagen. The last couple of years Anders Paulin has been working with the accumulative archive/performance Three White Soldiers together with Johan Forsman and is also currently producing a collection of essays called Twin Figure of Nemesis.

By: Anders Paulin & Johan Forsman. With: Anders Paulin. Technical design: Daniel Andersson

Phantom Islands

Phantom Islands is an experimental film that exists at the boundary of documentary and fiction. It follows a couple adrift and disoriented in the stunning landscape of Ireland’s islands. Yet this deliberately melodramatic romance is constantly questioned by a provocative cinematic approach that ultimately results in a hypnotic and visceral inquiry into the very possibility of documentary objectivity.

Rouzbeh Rashidi is an Iranian-Irish filmmaker. He has been making films since 2000, at which time he founded the Experimental Film Society in Tehran. He has always worked completely away from mainstream conceptions of filmmaking, striving to escape the stereotypes of conventional storytelling. Instead, he roots his cinematic style in a poetic interaction of image and sound. He generally eschews scriptwriting, seeing the process of making moving images as exploration rather than illustration. His work is deeply engaged with film history.

Credit: Image, Sound and Edit Rouzbeh Rashidi. Starring: Daniel Fawcett, Clara Pais.Producers: Conor Horgan, Maximilian Le Cain, Atoosa Pour Hosseini. Music: Amanda Feery. Additional Music: Cinema Cyanide. Additional Sound Composition: Vicky Langan. Assistant Director, Production Assistant: Jann Clavadetscher. Production: Runner Katie Mc Fadden. Colour: Grading Michael Higgins. Title Graphics: Pouya Ahmadi. Production Supervisor: Alan Fitzpatrick (Filmbase). Dedicated t:o Marguerite Duras, Jean Epstein and Andrzej Żuławski.