Author Archive

29 dec


In POLY by admin / 29 december, 2017 / 0 Comments

POLY is a choreography and dance piece.

POLY is a fictive figure. An assemblage of qualities, ideas and logics. A third option, neither right nor left, but both in the same body. POLY is already rearranged, a body we don’t yet know. POLY is so queer that (s)he doesn’t know feminism. POLY will mingle with the audience. POLY is not a figure but a metaphor, or many! POLY, meaning ”many” or ”much”, might refer to someone practicing many loves POLY, is an attempt for re-thinking mono/poly-gamy, relationality, intimacy and the spatiality of thought. We can be close at a far distance and distant at an arms reach. POLY, a selfie with more than one person, but may also refer to polyphemus, a monster who imprisoned Odysseus. With Jedi-powers we’ll locate our new inner strengths, and attempt new modes of being ”two-gether” or maybe ”poly-gether”?

POLY wonders what it would mean to End queer, inorder for a new start, where representation becomes background, and human activities is foreground. Away from the whole debate, and away from ”queer-representations”, that has flooded the scene for a long time. To start anew without representation and preconceived ideas on body-organization. POLY wanna open up possibilities for other ways of interacting and poly-gethering.


29 dec

Body Machines

In body machines by admin / 29 december, 2016 / 0 Comments

BODY MACHINES (KROPPSMASKINER) is a the upcoming dance piece by choreographer Sebastian Lingserius. An analysis, and performance that speculates on alternative livelihood, hybrids, cyborgs, rats, queer-chauvinists, and childishly adult children. A piece that promises four delicate dancers, movies, surveillance cameras, and 10 radio-controlled tanks, in a large scenic jitter bug.

A work about identity, but that also flirts with the machinic in our existence. Improvisation-structures that re-codes our way of being  and interacting on. Movements that are both physical and mental, slipping over both country borders and ideologies, and attempts new ways for how our bodies can re-direct and fool our thoughts.


29 dec

A first side note …

In body machines by admin / 29 december, 2016 / 0 Comments

29 dec

-a first tough on brownness

In body machines by admin / 29 december, 2016 / 0 Comments


29 dec

Clownish traits…

In body machines by admin / 29 december, 2016 / 0 Comments

What clowning could be thought of, in relation to execution of scores for a dancer/performer?

Dare linking the text to the aesthetics of well executed scores (ie. remaining distant, coherent,
controlled and stable)?

06 nov


In D ANCER by admin / 6 november, 2016 / 0 Comments

D ANCER is the latest piece by Sebastian Lingserius. A project made together with Nefeli Oikonomou, Franz Edward Cedrins and Oriane Paras. D ANCER invites you to a situation of training, both as participant and spectator. A speculation on body ideals and gymnography. Towards what do we exercise at the gym? What imaginary identities do we run towards?

D ANCER is a desire to work toward something, a mental diagram, a race to an end, but an end that is always transforming. A transformative dance which triggers questions regarding our physical relationship to our surroundings, our ideas of what our body is and can be.

Take the chance, you can do it, be a D ANCER with us! Wear your pajamas, hippest yoga outfit or most comfy adidas trousers, and take the opportunity to turn on the small muscles!

DANCER asks the question of what would happen in a post queer-stamped-gym…

DANCER är det senaste verket av Sebastian Lingserius, skapat tillsammans med kollegorna Nefeli Oikonomou, Franz Edvard Cedrins och Oriane Paras.

I DANCER bjuds du in till ett annorlunda träningspass, som deltagare och åskådare.Ett verk som spekulerar i de kroppsideal vi joggar mot på gymmet, de kroppar vi stävar efter att bli. Hur spänner vi våra muskler på yoga mattan? Vad är vår relation till springbandet? Vilka imaginära personer springer vi mot?

DANCER är viljan att arbeta mot någonting, ett diagram som alltid är framför en, en jakt mot ett slut, men ett slut som alltid förflyttas.

En transformerande dans som triggar frågor gällande vår kroppsliga relation till vår omgivning, våra idéer om vad vår kropp är och kan bli.

Under en stund får du t.o.m. chansen att bli en DANCER med oss, så ta med din pyjamas, hippaste yoga utstyrsel eller luftigaste adidas-byxa och passa på att svänga loss dom små musklerna!

Concept, Choreography & Performing: Sebastian Lingserius. Choreography & Performing Nefeli Oikonomou. Choreography & collaboration: Oriane Paras.

Sound design: Franz Edvard Cedrins. Light: Sebastian Lingserius. Producer: Jonas Robin. Marketing/MDT: Sara Bergsmark. Photography: Aleksandra Sende and Danae Economu. Made possible with the support of Kinitiras Athens, Dansens Hus and MDT Stockholm,

Funded by: The Swedish Art Council, Stockholm City Council, Stockholm County Council.

06 nov


In D ANCER by admin / 6 november, 2016 / 0 Comments


06 nov


In D ANCER by admin / 6 november, 2016 / 0 Comments

post-postmodernism A common positive theme of current attempts to define post-postmodernism is that faith, trust, dialogue, performance and sincerity can work to transcend postmodern irony.

D ancer is a recent attempt to rethink our perceptions of training in our contemporaneity. By a continues speculation through key questions such as: What would happen in a post queer-stamped gym? How would the lack of understanding (or signinfication) of body-equipment from the 2016th bring about new uses, and new bodies? how can we merge the established dichotomy between training/performing, orsak/verkan, mimmi/musse? The general aim for some of these questions is to prepare for a re-imagination of sites and activities for future training/exercising/dancing/and moving, in a sobject-society.

readymade ”an ordinary object elevated to the dignity of a work of art by the mere choice of an artist.” Despite the utilization of readymades, with its obvious critic on authorship, an author is always present (the one hijacking the material). In vaporwave the manipulation of already existing materials raises the question of what, whom and when something is created, manipulated, treated and performed. This moves the whole discussion to not only What we Do with the ready-mades, but also Where we Do, and in how many layers things are Done. Who can tell the dancer from the dance.

Remodernism in an attempt to introduce a period of new spirituality into art, culture and society to replace postmodernism, which they said was cynical and spiritually bankrupt.

Vaporwave (British English: vapourwave) is an electronic music genre that emerged in the early 2010s, and spread over the next half of the decade among various Internet communities. It is characterized by a nostalgic or surrealist fascination with retro cultural aesthetics (most commonly that of the 1980s and 1990s), entertainment technology, consumer culture and advertising and many styles of corporate and popular music, such as lounge, smooth jazz and elevator music.

A brief history:

Sweat is, of course, natural. Let’s just say it’s more natural to some of us than others. But that special kind of sweat we see in the movies does require quite a lot of make-up work.

Pseudorealism, also spelled pseudo-realism, is a term used in a variety of discourses connoting artistic and dramatic techniques, or work of art, film and literature perceived as superficial, not-real, or non-realistic. By definition, the term is highly subjective.

Perspiration In humans, sweating is primarily a means of thermoregulation, which is achieved by the water-rich secretion of the eccrine glands. Maximum sweat rates of an adult can be up to 2–4 liters per hour or 10–14 liters per day (10–15 g/min·m²), but is less in children prior to puberty. Evaporation of sweat from the skin surface has a cooling effect due to evaporative cooling. Hence, in hot weather, or when the individual’s muscles heat up due to exertion, more sweat is produced.

in postmodern irony something is meant to be cynically mocked and not taken seriously, and in new sincerity something is meant to be taken seriously or ”unironically”;

post-irony combines these two elements by either having something absurd taken seriously or be unclear as to whether something is meant to be ironic.

06 nov


In D ANCER by admin / 6 november, 2016 / 0 Comments


06 jan

Other, Ballet, Piece

In Other, Ballet, Piece by admin / 6 januari, 2016 / 0 Comments

Ett verk som konstrueras mellan balettens kroppsliga ramverk, ett undvikande och tvetydigt subjekt, och ett musikaliskt partitur som börjar främlinggöra sig självt. Trevande, spekulativa, och utprövande förslag som diagramatiskt krashar olika material, initierar här en dialog mellan de tre.

I verket fungerar baletten både som ett system av symboler men även som ett ramverk för nya kroppsligheter. Istället för att ringa in balettens mittpunkt, försöker Sebastian Lingserius och Love Källman finna dess yttre gräns, och låta verket facilitera för åskådarens fråga: Vad och Var är baletten? Var går dess gräns, och om den inte finns, var är skuggan?

Detta är inte en annorlunda balett, utan en (av)vikande. En kropp som manövrerar alla sina riktningar, planlagd och inriktad men utan förut-bestämd representation. En återvändning till baletten där paradoxala logiker kollapsar. Ett efter-politiskt subjekt, som tycks kunna stå för allting.

”Vårt tredje alternativ är inte den ena eller den andra, utan båda!
Ett krig för kärlek, ett kärleksfullt krig, en kärlek till krig, krigen kärlek, leken krikä, kräken ke, äkenkren.”

Koncept/Koreografi/Dans: Sebastian Lingserius | Med: Love Källman | Ljus: Sebastian Lingserius & Axel Norén| Ljuddesign: Franz Edvard Cedrins| Produktion: KASS Produktion | Samproduktion med: Weld| Utvecklat i residens hos: CCAP, MDT Stockholm och Weld | Med stöd av: Statens Kulturråd

A work constructed between the ballet’s bodily framework, an evasive and ambiguous subject, and a musical score that begins to alienate itself. Tentative and speculative proposals crashing various materials, and initiating a dialogue between the three.

In the piece, the ballet works both as a system of symbols, but also as a framework for new bodies. Instead of capturing the center of ballet, we try to find its external border and allow the work to facilitate for the viewer to ask: What and Where is ballet? Where is the limit, and if not, where is it´s shadow?

This is not another balett but rather a (de)-folding one. A body that operates all of its directions, planned and directed but without pre-determined representation. A return to ballet where paradoxical logics collapse. An after-political subject, which seems to stand for everything.

”Our third option is not one or the other, but both! A war for love, a loving war, a love for war, a waring love. A ring for love. lovar and wing, wloaevr.”

Concept/Choreography/Dance : Sebastian Lingserius | With : Love Källman | Lighting : Sebastian Lingserius & Axel Norén | Sound Design: Franz Edward Cedrins | Production: KASS Production | Co-production with : WELD | Developed in residence at: CCAP , MDT Stockholm and WELD | Supported by: Swedish Arts Council

Sebastian Lingserius
is a freelance choreographer/performer based in Stockholm. Educated first at the Royal Swedish ballet school and then did a master in choreography at DOCH. In 2011 Sebastian founded KASS produktion, through which he produces all of his works in close collaboration with venues such as Weld, MDT, and The House of Dance in Stockholm. By choreographing and dancing the last 10 years (training bodily and mental muscles on equal terms) he considers dance as a means to reimagine the human subject.

Love Källman
is a freelance dancer, educated at the Royal Swedish Ballet School , who has been working in Stockholm since 2004 and worked with choreographers such as Björn Elisson, Malin Elgan, Cristina Caprioli, Eva Lundqvist, Dan Johansson, Mårten Spångberg/Xavier Leroy, Sidney Leoni and Ofelia Jarl Ortega amongst others. His collaboration with Sebastian Lingserius goes back to shortly after their completed training together, and he has previously participated in the works ”Magnetic fields”, ” Third phase ”, ”non-phase”, ”” and ” Mover ”.

Franz Edvard Cedrins
is a composer, choreographer, artist and filmmaker based in Stockholm. He presented his work at Norrlands Operan (SE) The Royal Dramatic Theatre (SE) Sveriges Television (SE), Prins Eugens Waldemarsudde (SE), Grande Bologna (IT), National Theatret (NO, Steirischer Herbst (AU), among other places. His work encompass dance, sculpture, installation, photography, sound art, and music. As a sound artist, music producer and composer he has during the last years worked with choreographers such as Gunilla Heilborn, Halla Ólafsdóttir, John Moström, and Sebastian Lingserius.

06 jan

some nice leisure!..

In Other, Ballet, Piece by admin / 6 januari, 2016 / 0 Comments


06 jan

zizek – more leisure!…

In Other, Ballet, Piece by admin / 6 januari, 2016 / 0 Comments

What if Ballet functions as the Big Other, for Dance?.

Skärmavbild 2016-01-11 kl. 14.37.49

06 jan

surfin the net for Lacan…

In Other, Ballet, Piece by admin / 6 januari, 2016 / 0 Comments

Skärmavbild 2016-02-05 kl. 11.36.16

06 jan


In Other, Ballet, Piece by admin / 6 januari, 2016 / 0 Comments

other, Other, Other

In 1955, Lacan draws a distinction between the ”little other” and the ”big Other” (”the Other”), a distinction which remains central throughout the rest of his work.

The little other is the other who is not, in fact, other, but a reflection or projection of the ego.

The big Other designates radical alterity, an otherness which transcends the illusory otherness of the imaginary because it cannot be assimilated through identification.  Lacan equates the big Other with language and the law, and hence the big Other is inscribed in the symbolic order.

In 1957 Lacan illustrates this incomplete Other graphically by striking a bar through the symbol A. Hence another name for the castrated, incomplete Other is the barred Other.

Other, Ballet, Piece (?),