Excess, nudity, orgy eroticism, ritualistic pleasure, audience participation and political engagement, all expressions of the sexual utopia particular to the counterculture and experimental performances of the 60’s. This guided tour through an archive of sexual performances, serves as a filter for Mette Ingvartsen to explore unresolved issues about sexuality in contemporary practices today. In doing so, her body turns into a field of physical experimentation and uncanny sexual practices emerge in relation to the environment that surrounds her.
69 positions leads visitors through a space with performances, books, films, texts and images brought alive through movement and speech in order to experience the connection between the intimate sphere and public space.
Premiere in 2014 at PACT Zollverein, Essen
The Red Pieces
69 positions is part of The Red Pieces, an ongoing series of performances in which Mette Ingvartsen explores relationships between sexuality and the public sphere. In it she investigates naked and sexualized bodies and their influence on societal structures. The series momentarily also comprises 7 Pleasures and the performative conference The Permeable Stage in which a number of artists and theorist were invited to reflect upon, perform and discuss the politics of sexuality in relation to public and private realms.
Concept, Choreography, Performance: Mette Ingvartsen
Lighting design: Nadja Räikkä
Set design: Virginie Mira
Sound Design: Peter Lenaerts, with music by Will Guthrie (Breaking Bones)
Dramaturgy: Bojana Cvejic
Technical director: Nadja Räikkä & Joachim Hupfer
Sound technician: Adrien Gentizon
Company Management: Kerstin Schroth
A production of Mette Ingvartsen / Great Investment
Co-production: apap / szene (Salzburg), Musée de la Danse/Centre Chorégraphique National de Rennes et de Bretagne, Kaaitheater (Brussels), PACT Zollverein (Essen), Les Spectacles vivants – Centre Pompidou (Paris), Kunstencentrum BUDA (Kortrijk), BIT Teatergarasjen (Bergen)
Funded by: The Flemish Authorities & The Danish Arts Council.
With the support of Théâtre National de Bretagne (Rennes), Festival d’Automne à Paris, DOCH – University of dance and circus (Stockholm).
This work has been funded with support from the European Commission