KORFU with Ingri Fiksdal

KORFU meeting
10 December 2013, 12.300-15.30 hrs
Oslo National Academy of the Arts
Fossveien 24‎, N-0051 Oslo
(Room to be announced)

Ingri Fiksdal will present her Fellowship project, outlining and discussing its main issues with the group.

The meeting is open to interested parties within the professional staff of the Department of Dance.


KORFU (choreographic research group) is an initiative to bring together choreographers involved in research and development projects on a regular basis to discuss and support each other’s projects.


I wanted to do something specific in the space. I wanted to create something, document something and finding tools. I worked inside the yellow cocoon again, because it is not everyday you can be in a yellow space of concrete where even the curtains are yellow and round as well. I played with the eyes in the ceiling and the rods with hooks on each end.


The rods in steel are 60 cm long and the rods in plastic are half the size. The plastic ones are in green, pink and black. First I tried to put all of them, 14 in steel and 14 in plastic, inside the yellow room in some kind of construction, hanging them up in the six eyes in the ceiling. Then after some consultation I hung only the steel ones inside the cocoon. This gave some more space and acoustic. I could see more clearly how they infected each other and the space. I tried to be outside the cocoon while I build and changed the rods and the space. The choreography was simply to test the possibilities in making connections, breaking and making new connections.  Paying attention to the sound the rods made when they hit each other, or when they fell apart and hit the floor. Paying attention to what shape they made; clusters, triangle, square. To see and change them from different angles and see if only changing one rod could infect all the others, set them in motion, or make them swing. I love when they can swing like a hammock construction, and to see how this work gave me something to attend to, paying less attention to everything else quite disturbing in being a body.

Thread of coat hangers

Then I made one long connections with the plastic roods stretching from the cocoon to the other rooms. It was funny to test these possibilities and to feel I had to take some risks where the thread of rods could easily fall apart. The last time I ended up with too few roods, but luckily I found some coat hangers to fasten the thread of rods into the bathroom.

Amanda gave me this great sentence: Awareness – attention- action.

I take with me these tools from this day: analysing my own awareness through the glossary of Arakawa and Gins. Naming my attention, understanding more of what I do/ want to do through naming or recognising it as an immediate or imaginary landing site. Understanding how to work with the dimentional site where my attention comes into action.

A floor safari

Hello earth. Today we have been looking at floors. Strange? Perhaps, but in the Lofts there are different cards with tasks written by Arakawa and Gins. One of these are “Use the floor to chart the intricate set of actions by which you succeed time and again in regaining your balance”.  Difficult task, indeed- and here are some thoughts.

Read More

Being, changing, living

Yesterday I spent two and a half hour on my own in the space. I now try to create language for the experience and link it up to the on-going process of using Arakawa and Gins vocabulary. The space we live in, Kehai Coordinating Unit were my landing site, and inside new landing sites developed. (Landing site: where my attention is drawn)

Arakawa and Gins speak about three different layers in understanding the landing sites: immediately perceived sites, imaginary sites and dimentional sites. Can I use this vocabulary to analyze my experience yesterday in retrospective? Is it possible to say that the immediate site is linked to the question what did you do, that the imaginary site is linked to how did you think/ project/ perceive what you did and can the ‘why did you do that’ be linked to ‘dimensionalising site’?

What did I do? I worked intuitively in the space for two and a half hours, not putting restrictions to where, how long and what to do/ produce. I wanted to investigate being; investigating the immediate interests in the space and at the same time knowing that to find and make new tools for choreography is the headliner for our stay here. In memory of Helen Keller I wanted to work spontaneously.

What became my landing sites? I started in the open room with the bamboo mat, stretching, moving, seeing, I had an idea that I wanted to move. I climbed up and sat and laid in the hammock under the ceiling, finding new places for it and I found some grapes that where hanging from one of the eyes. I spent time inside the yellow cocoon, receiving support at different parts of my body, finding the hooks at the end of rods and making new connections, I moved this outside in the big space. I read and organised the 32 instruction cards from Arakawa and Gins for inhabiting the lofts and then I understood that I had too little time.



Why? Tuesday evening we say the documentary  “Children who won´t die”, a documentary of the work of Arakawa and Gins made by a filmmaker who lived in the Redestiny Lofts in four years with his family.

To live and work in these spaces has been very inspiring in many different ways. The space doesn´t need me to exist. I am not sure if I am the one choosing landing sites or if it is the way the space is constructed that gives my attention direction.

In august I saw the performance “You” of Lisa Østberg and Kim Hiortøy at Black Box Theatre in Oslo. To be here reminds me of the performance and I can try to sum it up in the senctence: To play is existential.

When I am in the spaces I often try to excuse my being and amusement with: now I´m not using or producing anything. To not produce more than being can be ambivalent to me. But as long as I am not using anything either, it feels more okay.

The space serves me possibilities for changing them and creating new possibilities of existing. This is not easy to write but I feel alive and at the same time “landed” here.

How? There is a tendency of thinking that easy makes you happy, to not make an effort makes you happy. To be here brings me into being- an active state of recognising that I am alive. The house serves a sense that thinking, building, changing, perceiving through my body is important. I can transform. I can be four years old. I can climb. I can receive support different parts under my feet, back, neck, hands at the same time. The spaces receives me differently than the flat floor, right angle walls and chairs I amused to. To move makes you alive- I think. This place forces the body and the mind into moving. Things aren´t as they seem to be or as you used to.


This place forces intelligence, whole hearted, body and mind. I need less sleep here. I feel vital. I am 30 min outside the city center of Tokyo (!), we spend a lot of time her but I still want to stay. There is so much to attend to. The small doors – imagining that I am Alice in Wonderland. The hooks and ropes that I can move around in the “eyes” of the ceiling. I can be the mountain climber, the monk, the monkey, the philosopher, researcher, architect, stage designer, composer, blind and deaf, the human.

What is a tool?

Now I want to divorce with formats for performance and performativity. The expanding choreography; about how we live and interact is feeling much more important and relevant that to make an other show. I want to build instruments that you can´t play without moving through-, and infecting the space around you and I want to change, and be changed in places like this.



A performance that made me believe in performance!

– reflections on my visit to Riken Brain Science Research Institute.

I expected that the experience of having my senses hijacked and experiencing virtual reality would create a sense of unease and fear in me. But the experience I had at Riken Brain Science Institute made me feel quite the opposite. I felt exited and inspired, a sensation that reminded me about one of my first theatre experiences as a child. I was fascinated and completely into a fictional world, but at the same reminded of how this world was created. In the play between my until now known world and the world that was opened by the hijacking of my senses, possibilities of multiple realities arose.  And with that the recognition of how reality is a belief and a perspective.

For someone who has not experienced the about 10 min. performance of Ph. D Naotaka Fujii and his staff at the Riken Brain Science Institute it can be hard to understand what the experience could be like. I will not reveal all the secrets, in case you might be lucky to try this yourself. But, basically they use a technique where you see the world through video glasses and earphones. What is shown and heard is a mix between the real surroundings and pre-recorded material. The illusion dimension is highlighted by that the “actors” were wearing the same cloths/costumes in both realities. The scenario that unfolded was a scenario where they revealed the secrets of the technology. At the same time, I was unable to tell if this was a recorded reality or happening in real time. A “lie” or “truth” . This play between recorded reality and real time was experienced through the same mediums; the glasses and the earphones. This made touch, smell and taste the only senses I could use to separate the “real” realities from each other.

This inability to “understand” dragged me into, or you may even say left me in the hands of, the performance of Ph. D. Fujii and his staff. The here and now performance of the team made me want to go into a possible other reality. It was a strong reminder on how performance it self could be used as a tool to drag you into other worlds and possibilities.



We have been digging into the world of  Arakawa and Gins. This is an glossary (in progress) of some of the basic vocabulary of them:

Landing sites –

Landing sites are used (by Gins and Arakawa) to describe the way attention operates and to simultaneously map the way these attentions come to know themselves and situate the body, albeit tentatively, within an environment. It is not “it” and it is not “you” but the energy or relationship between “you” and “it”. It is was catches your attention, what makes you aware an able to act, be, feel…

Were nothing being apportioned out, no world could form. What is being apportioned out, no one is able to say. That which is being apportioned out is in the process of landing.

—   Arakawa and Madeline Gins

You may say it is where you “land” – what draws your interest and shapes your understanding in a space. The cluster that makes it “meaningful”, “interesting”, “graspable”, etc.  It is more than a perspective. They make you present and able to grasp the world.

You look at a forest and you see a forest. Then a tree choses you, or you chose the tree. And you are drawn towards this.

Landing sites operate on three levels or scales that are singular to themselves yet also overlap simultaneously, slipping seamlessly into and out of each another. These are “perceptual,” “imaging” and “dimensionalising” landing sites.

Perceptual landing sites

Perceptual landing sites are what grab attention in the immediate; the object in front of you, the text on a page, the nearness of anything that is so proximate as to be right there in the here and now. It is what just appear to you! It is the perception of the world in shapes and color, where shape and colors are experienced as just this. It is purely perceptual.
It is immediate and in direct response to probable existence.

Imaging landing sites

Imaging landing sites can be thought of as the next stage away from the perceptual, what’s happening later in the day, what’s going on just around the corner, what you can feel but can’t see, the not quite here and now but getting there as the pre-cursor to the perceptual.
It is an imagining relationship.
An example could be how the shower suddenly appears as teleport, the tree appears as monster, and so on…

An imaging landing site it that what gives you an idea about that site.

An inuition. What beeing in/with the site evokes.

Dimensionalising landing sites

A dimensionalising landing site is quite different from the imaging and perceptual landing sites, as it loosens and widens its cast of attention to draw in the bigger picture so to speak, even if the elements thereof are imperceptible in form and substance.

Dimentionaling landig sites = mapping.

A dimensionalizing landing site combines the qualities of the perceptual landing site and imaging landing site, and in so doing, simultaneously ranges narrowly/tightly and widely/diffusely.

Something that engineers depth and dimension.

A dimensionalising landing site registers location and position relative to the body. Building, assessing, and reading volume and dimension.

Architectural body –

A body that manages to produce

– the body proper.


Coordinology –

Organising of space and time. Coordinating logic.



First impressions of Reversible Destiny Lofts Mitaka


In the beginning the Reversible Destiny Lofts MITAKA provoked me. Of all the colors, shapes and structures in the apartment – which one would get me to be more creative? Be younger?  Be Better?

My first impressions of Reversible Destiny Lofts Mitaka was a different feeling than the feeling I have now. At first, the strong color-contrasts and peculiar shapes of the rooms were provocative to me. Why I do not know. Maybe I will have an answer in a few days. I felt dizzy, was this the effect of jetlag or the really strong colors? I hunted for comfort.

Three days have gone by and I’m not dizzy anymore. At first it was uncomfortable. The structure, shapes etc. It’s strange what color can do to you and your focus. Now I have accepted and become more familiar with the place the unfamiliar colors, I have made the space “mine” using little things like hanging up clothes and my visible toothbrush at the sink. I lay tracks after me. Or was it for me? I have learned to see where in the room I want to see and I’m starting to think that I am becoming a super hero that has the power of choosing where I want to hold my focus… I am now taking in what I want to include. I take this tool with me when I trudge around in Tokyo, tools I can take with me back to Oslo…. Something that I can keep working on, getting even better at it. Comfort is found. It has given me a taste for more and now….  I will hunt for more tools.

– traces of me, clothes, my dresses my, my toothbrush…