Marie Fahlin

choreography, curating
Sweden °1966
research interests: Choreography, curating, dressage, centaur, centauring, exhibition, exhibitor, articulation, affect, transposition, composition, transcarnation, touch, tack, aids, terminology, ‘found practice’, ‘found choreography’, expanded choreography, one, oneness, manège, poetry, intimacy, listening, entanglement, embodiment, discursivity, diagram, performing, preforming
affiliation: Stockholm University of the Arts, SKH
en

Marie Fahlin is educated at the SNDO, Amsterdam. She works with choreographic transpositions between materials and mediums in her own work and in collaboration with other artists. Within the choreographic field she has extensive experience from being curator, dancer, choreographer and researcher and has been conducting and collaborating in a number of artistic research projects, e.g. Unheimliche Verbindungen together with artist Filippa Arrias (The Royal Institute of Art) and Music in Movement with Stefan Östersjö (The Swedish Research Council). Fahlin is a member of Weld Company since 2013 and together with Rebecca Chentinell she runs the organization Koreografiska Konstitutet. Since 2014 Fahlin is a PhD-candidate in choreography at Stockholm University of the Arts with the project Moving through Choreography – Curating Choreography as an Artistic Practice. The project takes it starting point in questions around how curating is operative as an integrated part of choreography. In her artistic research expositions, Centauring, Fahlin is working with dressage as a found choreographic practice where the terminology, movements and objects from the world of dressage are part of choreographic compositions together with human bodies, exhibitors. 

research

research expositions

  • Moving through Choreography – Curating Choreography as an Artistic Practice (2021) author(s): Marie Fahlin published in: Stockholm University of the Arts (SKH)
    The purpose of the artistic research, Moving through Choreography – Curating Choreography as an Artistic Practice, has been to consider choreography and curating in their similarities and differences. Thus, at different phases of the working process, choreography and curating were treated as one and the same artistic practice; while, in other moments, as practices that are distinct from each other. Curating has been implemented as a ‘taking care’ principle and a relational activity impacting the production, presentation and documentation of choreography. Choreography has undergone a process of self-reincarnations, or rather, of trans-carnations, whereby the entire body of work has been scrutinized and altered. Key figure/body/agent of these trans-carnations has been the horse, or rather, the assemblage of human and horse, women and horses, here called ‘Centauring.’ Curating and choreography have been integrated to a scrutiny of the art of riding, specifically, the choreography of dressage. In dressage, the research has identified the rigor needed by the research to both steer and unleash the working process. The research has been pursued by purely artistic means, within a circumscribed field. Different perspectives and the making use of ramifications and loose ends, has proliferated into a plethora of intra-related works, objects and choreographies within which research result and artistic result coincide. The research har proceeded in consecutive phases. Each phase has developed its own specific artistic methodologies. The overarching methodology has provided for a clear navigation of undetermined directions and dramaturgies. The concept of ‘One’ has produced and collected both core outcomes and residual manifestations. The exhibitions and the exhibitor have carried, pursued and embodied the works and otherwise choreographies, throughout the research process.
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