{"id":4,"date":"2024-04-04T07:55:10","date_gmt":"2024-04-04T04:55:10","guid":{"rendered":"https:\/\/sisu.ut.ee\/ants2022\/keynote-speakers-0\/"},"modified":"2024-04-18T19:26:26","modified_gmt":"2024-04-18T16:26:26","slug":"keynote-speakers-0","status":"publish","type":"page","link":"https:\/\/sisu.ut.ee\/ants2022\/keynote-speakers-0\/","title":{"rendered":"Keynote Speakers"},"content":{"rendered":"
\"Ene-Liis
Ene-Liis Semper<\/figcaption><\/figure>\n\n\n\n

Ene-Liis Semper <\/span><\/b>(b. 1969) is an Estonian video and installation artist and theatre director. Semper is one of the most internationally acknowledged Estonian contemporary artists. Her works almost always involve a kind of duality, maintaining a precisely measured cognitive balance between seriousness and irony. The artist interacts with the viewer through testing the limits of both physical and psychological space. Semper<\/span><\/span>\u2019<\/span><\/span>s video works have been shown in a number of exhibitions around the world including Manifesta (2000) and the Venice Biennale (2001).<\/span><\/span><\/span><\/p>\n\n\n\n

In 2004, together with Tiit Ojasoo Semper founded Theatre NO99, becoming its artistic directors, as well as the authors of original texts for most of its productions<\/span><\/span><\/span><\/p>\n\n\n\n

Theatre NO99 <\/span><\/span><\/b>(2004-2019) was<\/span> a serial work of contemporary art. <\/span><\/span><\/span><\/p>\n\n\n\n

At the beginning of it was an idea that considering the inherently finite nature of time and its finality, time should instead be measured backwards. This served as the impetus for Tiit Ojasoo and Ene-Liis Semper<\/span><\/span>\u2019<\/span><\/span>s idea for a theatre where only 99 stage productions should open and which thus moves along sequential numbers to zero, towards oblivion.<\/span><\/span><\/span><\/p>\n\n\n\n

Theatre NO99 was a platform for different types of works of art. <\/span><\/span><\/span>Over the years many of its productions achieved considerable success at the most prestigious European festivals<\/span><\/span>, including Wiener Festwochen (2009, 2010, 2014), Festival d<\/span><\/span>\u2019<\/span><\/span>Avignon (2015), Holland Festival (2015), Venice Theatre Biennale (2017) and NET Festival Moscow (2018). <\/span><\/span><\/span><\/p>\n\n\n\n

In 2015, Theatre NO99 won the main prize Golden Triga at the Prague Quadrennial, and in 2017 the European Theatre prize New Theatrical Realities.<\/span><\/span><\/span><\/p>\n\n\n\n

Ene-Liis Semper is a recipient of numerous awards for directing, as well as for her work in the field of Fine Arts, including Estonian National Culture Prize (2002, 2008, 2011), Cultural Endowment annual prize (1997, 2001, 2011, 2018), Kristjan Raud Prize and Hansabank Culture Prize (both 2002). Together with Tiit Ojasoo, she has also <\/span><\/span>won<\/span><\/span> the Best Director of the Year on several occasions.<\/span><\/span> <\/span><\/p>\n\n\n\n

\"Ida
Ida M\u00fcller and Vegard Vinge<\/figcaption><\/figure>\n\n\n\n

Ida M\u00fcller<\/span><\/span><\/b> (b. 1977) is a German scenographer and director, Vegard Vinge<\/b> (b. 1971) is a Norwegian director and performance artist. <\/span><\/span>The<\/span>ir<\/span><\/span> artistic duo rank among the most influential theatre makers in Europe today. Dedicating their works exclusively to Henrik Ibsen plays, they also reference an immensity of other artworks<\/span> \u2013 <\/span><\/span>from Shakespeare to Verdi to Paul McCarthy to South Park to A-ha. Their marathon performances create moments of wild excess, extreme theatricality and enormous tenderness, traceable back to an ever-present tension at their root, between meticulous precision and profound improvisation, making their work both unpredictable and coherent, equally devoted to their self-contained artistic universe as to the ever changing now<\/i> of their performances<\/span>.<\/span><\/span><\/p>\n\n\n\n

The duo <\/span><\/span>ha<\/span>s<\/span><\/span> achieved fame and recognition with their Ibsen productions<\/span> since 2006<\/span><\/span>.<\/span> They <\/span><\/span>create poignant and painstakingly detailed reimaginings of Ibsen\u2019s domestic settings reflecting contemporary postmodern culture. In <\/span>M\u00fcller\u2019s and Vinge\u2019s<\/span><\/span> stagecraft, cartoon-like figures inhabit spaces of seemingly endless citationality and obsessive references to pop culture. The duo\u2019s aesthetic is characterized by meticulously choreographed movements, alienating mask-voice-and sound loops, by transgressive outbursts of violence, improvisation, and foremost, by moments of sublime transcendence. Consistently homages to the artists that have inspired them, M\u00fcller<\/span>-Vinge<\/span><\/span>\u2018s Gesamtkunstwerk<\/i> use Ibsen\u2019s dramas as a starting point for monumental reworkings of the Ibsen canon that shatter the boundaries of theatrical convention and serve as uncompromising commentaries upon contemporary life. <\/span><\/span><\/span><\/p>\n\n\n\n

M\u00fcller and <\/span><\/span>Vinge play with many levels and philosophies in their <\/span>work<\/span><\/span>. The<\/span>re work <\/span><\/span>can be <\/span>interpreted<\/span><\/span> from many different <\/span>angles<\/span><\/span>: philosophical, historical, pop cultural, high cultural, etc.<\/span> The work of M\u00fcller and<\/span> Vinge emphasize<\/span>s the process<\/span><\/span> rather than the end result, <\/span>they rethink <\/span><\/span>the position of the performer and the<\/span> audience<\/span><\/span>, and<\/span> they bring into focus<\/span><\/span> space and time relationships.<\/span> T<\/span><\/span>he<\/span>ir<\/span><\/span> exceptionally loosely structured performances <\/span>last for <\/span><\/span>8<\/span> to <\/span><\/span>18 hours<\/span>. <\/span><\/span><\/span><\/span><\/p>\n\n\n\n

Their maximalist and extremist aesthetics have earned them multiple awards and invitations to Europe\u2019s most prestigious stages, including their former artistic home, The Volksb\u00fchne Berlin<\/span> and several invitations to the prestigious Theatertreffen festival in Berlin<\/span><\/span>.<\/span><\/span><\/span><\/p>\n\n\n\n

Selection of works:<\/span><\/span><\/span><\/span><\/p>\n\n\n\n

<\/p>\n\n\n\n

\"stage\"
M\u00fcller and Vinge<\/figcaption><\/figure>\n\n\n\n

A Doll\u2019s House<\/span><\/span><\/em>, <\/span>Ibsen, <\/span><\/span>Grusomhetens Th<\/span>e<\/span><\/span>atre Oslo, 2006;<\/span><\/span><\/span><\/p>\n\n\n\n

Ghosts<\/span><\/span><\/em>, Ibsen, Black Box Teatre, Oslo, 2007; <\/span><\/span><\/span><\/p>\n\n\n\n

The Wildduck<\/span><\/span><\/em>, Ibsen, The Bergen International Festival, 2009;<\/span><\/span><\/span><\/p>\n\n\n\n

John Gabriel Borkman<\/span><\/span><\/em>, Ibsen, Volksb\u00fchne Berlin, 2012<\/span> (invitation to Theatertreffen)<\/span><\/span>; <\/span><\/span><\/span><\/p>\n\n\n\n

12-Sp<\/span><\/span><\/i><\/span><\/span>artenhaus<\/span><\/span><\/i> (after Ibsen\u2019s Enemy of the People<\/i>), <\/i>Volksb\u00fchne Berlin, 2013 (invitation to Theatertreffen);<\/span><\/span><\/span><\/span><\/p>\n\n\n\n

Nationaltheater Reinickendorf<\/span><\/span><\/em>, Berliner Festspiele, 2017<\/span> (invitation to Theatertreffen)<\/span><\/span>;<\/span><\/span><\/span><\/p>\n\n\n\n

Panini \u2013 BoysRoom <\/span><\/span><\/i>(after Ibsen\u2019s Peer Gynt<\/i>), <\/i>Bergen International Festival, 2018<\/span><\/span><\/span><\/span><\/p>\n\n\n\n

Hedda Gabler<\/span><\/span><\/i>, Ibsen, Det Norske Teatret, Oslo, 2022<\/span><\/span><\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Ene-Liis Semper (b. 1969) is an Estonian video and installation artist and theatre director. Semper is one of the most internationally acknowledged Estonian contemporary artists. Her works almost always involve a kind of duality, maintaining a precisely measured cognitive balance …<\/p>\n","protected":false},"author":279,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"class_list":["post-4","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/pages\/4","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/users\/279"}],"replies":[{"embeddable":true,"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/comments?post=4"}],"version-history":[{"count":5,"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/pages\/4\/revisions"}],"predecessor-version":[{"id":91,"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/pages\/4\/revisions\/91"}],"wp:attachment":[{"href":"https:\/\/sisu.ut.ee\/ants2022\/wp-json\/wp\/v2\/media?parent=4"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}