Zero Visibility Corp.

Zero Visibility Corp. | Ina Christel Johannessen

Ina Christel Johannessen is a pioneer. With her company Zero Visibility Corp she thrills audiences worldwide. She is a choreographer who through her art and experience is as capable of charming audiences as she is of making them alert. Ina’s choreographies explore opposites that are constantly changing, and her work is full of both energy and poetry. Since they began touring internationally in 2003, the company has been invited to Sydney Opera House, Sadler’s Wells in London, Place Des Arts in Montreal, Mercat de Flores in Barcelona, Movimentos in Wolsburg and Belgrade Dancefestival. The sought-after Johannessen additionally works for companies such as Ballet de Monte Carlo, CCDC Hong Kong, Cullberg Ballet, Gothenburg Opera and Dance Company and Australian Dance Theatre.


Who Told You this Room Exists?
s the first part of Ina Christels upcoming trilogy which thematically builds on the following three headlines: Decay/Desire, Disaster/Tragedy, Abandonment/Loss. The creation of the three pieces are developed through a fusion of associations and references, intertwined with the underlying theme, and choices in terms of dramaturgy and form.
In this first piece Decay/Desire will be the foundation of Ina Christels examination of the following:
In Who Told You This Room Exists?  Zero Visibility Corp is exploring various rooms; Actual physical rooms, social rooms, internal rooms. What happens when your private actions are transferred into a public space?
What defines a room, and what happens to that room when borders and boundaries are moved or torn down?
Four people in constant search of space. What are the rules, and who, or what, defines which rules are to apply.
In the making of this intimate piece, Ina Christel has chosen a framing of the internal relations of the characters; Being four siblings, their actions create a certain underlying dynamic which opens up to numerous ways of interpretation.
Who Told You This Room Exists? is a piece with a physical expression of detail and distinction, accompanied by experimental electronic music by Mika Vainio.
Opening night: Dansens Hus in Oslo, NO 8th of November 2018

Frozen Songs
In 2008, an old dream of the United Nations finally saw the light: on the island of Svalbard, one of the safest and most peaceful places in the world, a large warehouse was built 120 meters inside a mountain. In the middle of the “permafrost”, a thick layer of soil that never melts, the Global Seed Vault was established. Since its opening eight years ago, 840.000 samples of
seeds have been deposited in the Vault. The seed is a source of life, the beginning of everything, and the Vault (also known as the “Doomsday Vault”) represents the need to protect it at all costs. If there are seeds, there is hope; everything that die, could blossom once again. These “sleeping beauties”, resting in the depth of a mountain close to the North Pole, could one day save the world.

Frozen Songs is a “poem” about life, delivered by award winning Ina Christel Johannessen and her collective of expressive dancers in close collaboration with multimedia artists Feng Jiangzhou and Zhang Lin. The creation is expected to unfold chapter by chapter and explore the juxtaposition between the different medias and explore the epic power of the seed.

again and a gain
come again
…and again, it might not happen..

Again is a complex interplay between written music, large electronic clusters, musicians, the orchestra, dance, and the visual scene. An artistic collaboration between choreographer Ina Christel Johannessen and the Swedish composer Marcus Fjellström.

Do not think, see, feel. It is not that easy. Again’s choreography reminds us that we are language-based creatures who depend on scores that we unfold without even noticing. Time will come for hybrid, disorder, trouble, again, which may propel the person towards a beautiful and joyful unknown. Again and elsewhere, again and always, the perspective of the choreographer wishes to disturb nothing; it is contemplative and tough, and is based on writing gestures, a language with its own grammar, codes, which assumes them as rituals that are elementary as the transition from day to night. The dancers do not show off, they execute, motivated by the inevitable ticking of an inhuman clock, which is submerged, lost somewhere in the universe.

A great example of meditative choreography, in depth and in full, which is intended for the long-run, thus requiring from the spectator’s attention, usually short, some reconnaissance work, beyond the infernal ticking, towards a salutary or insane “Again”.

– Paris, 18 July 2014 Evelyne Trân