Mette Edvardsen

Mette Edvardsen (1970, Lørenskog) is a choreographer, dancer and performance artist from Norway, but who lives and works in Brussels, Belgium.

Since 1996, Mette Edvardsen has her home base in Brussels, Belgium, where she started working as a dancer and performer for the choreographers Hans Van den Broeck (1996-2000) and Christine De Smedt (2000-2005) when they were still connected to les ballets C de la B.

She was a performer in (They feed we) Eat, eat, eat (Hans Van den Broeck / les ballets C de la B, 1996), Au Progrès (Hans Van den Broeck / les ballets C de la B, 1997), La sortie (Hans Van den Broeck / les ballets C de la B, 1999) and 9 X 9 (Christine De Smedt / les ballets C de la B, 2000).

She also assisted director / choreographer Hans Van den Broeck on Lac des singes (Hans Van den Broeck / les ballets C de la B, 2001).

These productions toured internationally.

Since 2002 Mette Edvardsen has developed her own work.

Although some of her works explore other media or formats - such as videos, books and texts - her interest always lies in their relationship with performing arts as a practice and situation.

Whatever the chosen medium is, Mette Edvardsen consistently examines the boundaries of language, time and space.

Her first production, Private Collection (Mette Edvardsen, 2002), was a performance about how we organize, collect and organize things.

She explored concepts like presence/absence, transformation and disappearance.

In 2002–2003, Mette Edvardsen produced, in collaboration with Heine Avdal, Liv Hanne Haugen and Lawrence Malstaf, the production Sauna in Exile, a performance / installation that takes the sauna, the cliché of Norwegian identity, as point of departure.

Version Christine De Smedt, Ghent (BE)'', a performance of a dance score by the German choreographer Thomas Lehmen (2002-2004).

In 2003, she danced in Common Senses by Thomas Hauert, a Swiss choreographer who resides in Brussels.

This choreography is part of the production 5 (Thomas Hauert, Mark Lorimer, Sarah Ludi, Samantha van Wissen and Mat Voorter / ZOO, 2003).

In 2004, she worked as a dancer / choreographer together with her colleagues Christine De Smedt and Mårten Spångberg on ''Schreibstück - 11.

In 2004 Mette Edvardsen also participated in Act 1 PRELUDE from The Invisible Dances (2004 – 2006) by Bock & Vincenzi.

She also contributed to 1, 2, 3 / Propositions (2005) of les ballets C de la B.

In 2005, she was part of DOCUMENT 4 (Lynda Gaudreau, 2005) and Music and Words on the DOCUMENT 4 Project (2005) by the Canadian choreographer Lynda Gaudreau.

With Heine Avdal, she again collaborated in 2008 as an performer in you are here (Heine Avdal, Christoph De Boeck and Yukiko Shinozaki / deepblue, 2008).

In 2008, she made for the first edition of the Dansand!

Festival the production Easy Pieces (Mette Evardsen and Paul Gazzola, 2008) with the Australian artist Paul Gazzola, with whom she already collaborated on La sortie (Hans Van den Broeck / les ballets C de la B, 1999).

With her book every now and then (Mette Edvardsen, 2009) she was laureate of the Prix Fernand Baudin 2009, a prize awarded by a specialized jury to books from the Brussels-Capital Region and Wallonia, which demonstrate an outstanding quality both in their conception (editorial and graphic) and in their production (printing and binding).

With Christine De Smedt, Mette Edvardsen collaborated again in 2010 when they created the mass choreography The Long Piece (Christine De Smedt and Mette Edvardsen, 2010) created for the Ostend festival Dansand!

- edition II.

In the later trilogy consisting of Black (Mette Edvardsen, 2011), No Title (Mette Edvardsen, 2014) and We to Be (Mette Edvardsen, 2015), she examined the possibilities and limitations of language in the real and imaginary space.

She looked at what is not, to provoke thoughts and fantasies.

They play out in the interval, in the blank space that occurs between two words (Black (Mette Edvardsen, 2011)), between a performance and a score (Opening (Mette Edvardsen, 2005)), between a book and a listener (Time has fallen asleep in the afternoon sunshine (Mette Edvardsen, 2010)), between a live and a recorded action (Time will show (Mette Edvardsen, 2004)), coffee & cigarette (2006 and 2008)). In her work, she uses repetition as a strategy, as a way of making things visible, of activating them. She is more interested in the interest of the audience in things than in the things themselves. She is also interested in how situations leave traces in memory, and how memory becomes an active part of reading something. Her work is both profound and witty, sober and rich in detail. By using a playful approach to thoughts and references Mette Edvardsen examines how language can be used to form pictures in the heads of the audience.

Mette Edvardsen performs her work worldwide.

In 2013 she was the chairman of the jury that awarded the Prix Fernand Baudin, and together with graphic designer Joris Kritis she was responsible for the catalogue published on the occasion the award ceremony that year.

In 2013, Mette Edvardsen created, together with the artists Sarah Vanhee, Alma Söderberg and Juan Dominguez, Manyone, a supportive structure that helps them organize their work in both a sustainable and tailor-made way to their individual practice.

The organization originated from a sense of solidarity and the desire to connect and support each other as artists.

Manyone is not a label, but a collaboration structure that respects the individual autonomy of the four artists involved.

They develop and finance their work independently.

The organization receives structural funding from the Flemish government based on the Kunstendecreet (Arts Decree).

In addition to Manyone, Mette Edvardsen also has her own structure for the production of her work: Athome.

A retrospective overview of her work was presented in 2015 at the Black Box Theater in Oslo, Norway.

In 2016, Mette Edvardsen received for her project We to be (Mette Edvardsen, 2015), the Norwegian Ibsen Award, a prestigious award awarded annually since 1986 to a Norwegian theater author by the municipality of Skien (the birthplace of playwright Henrik Ibsen).

In oslo (2017), a solo and anagram, she extends the concept of the solo into the entire theatre space, where thoughts, words, things and actions multiply.

Mette Edvardsen's pieces operate in an interim time and interim space.

With Mårten Spångberg, she collaborated again in 2017 as a dancer in his production Gerhard Richter, une pièce pour le théâtre (Mårten Spångberg, 2017) for the Brussels Kunstenfestivaldesarts.