Margrét Bjarnadóttir

The opening performance of CHART Art Fair 2024.

Seven people walk around Kongens Nytorv and the surrounding area with “protest signs” – handpainted text pieces by Margrét.

Unlike protest signs which normally aim to be clear and direct and not open to misunderstanding, here, the messages are deliberately left open and ambiguous.

VIIBRA flute septet – release concert.

The Icelandic flute septet viibra celebrated the release of its first album with a concert in Norðurljós Harpa, where four of the album‘s pieces were premiered. Margrét directed and choreographed the concert.

From press release:
viibra was founded in 2016 to support Björk's album Utopia. They are best known for their dynamic role in Björk's highly praised theatrical concert Cornucopia, which viibra performed in from 2018 to 2023.

Margrét Bjarnadóttir worked with viibra on stage movements for almost seven years and joined them for this unique concert experience. Margrét has an enigmatic way of weaving together movements in flow with the flutes that take the music to new depths.

Photos: Anna Maggý

Choreography for Marianna Simnett's stage debut GORGON. Premiered in HAU2 during Berlin Art Week, September 2023.

GORGON is a 'flute opera' following Greta, a girl working night shift at a train station doughnut stand, and Gorgon, a shape-shifting entity whose piercing wail can shake the ground.
Transporting the ancient Greek myth of Gorgon into a contemporary fairy tale, GORGON explores love, envy, power and empathy in the age of machine learning. Unfolding through sound, light and movement, it brings together collaborators from the fields of music and stage performance, set and costume design, AI technology and choreography.

SONG AFTER SONG is an attempt to see what happens when ten dancers meet ten different songs - what these particular songs leave or evoke in the bodies of these particular dancers and at the same time what the dancers evoke in the songs. Through endless improvisation, the songs were gradually revealed in the dancers and this combination was created, song after song.

The piece is by Margrét Bjarnadóttir in collaboration with the dance group Forward.

Forward with dance is a dance group for dancers aged 18-25. With Forward, young dancers can continue to develop their technique and creative work skills by composing and dancing with different choreographers. The dance group is run by Dansgarðurinn. About 12 participants take part in various projects each semester and create dance pieces for art festivals both in Iceland and abroad.

www.dansgardurinn.com

The work is supported by Dansverkstæðið- The dance Atelier.

About the team:

Choreographer: Margrét Bjarnadóttir

Dancers: Alma Kristín Ólafsdóttir, Andrea Urður Hafsteinsdóttir, Anna Margrét Stefánsdóttir, Emilie Anne Jóhannsdóttir, Guðrún Mist Hafsteinsdóttir, Karen Eik Þórsdóttir, María Kristín Jóhannsdóttir, Marta Ákadóttir, Olga Maggý Erlendsdóttir, Rebekka Guðmundsdóttir.

Photos: Carlo Cupaiolo

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Lag eftir lag er tilraun til að skoða hvað gerist þegar tíu dansarar mæta tíu ólíkum lögum – hvað þessi tilteknu lög skilja eftir eða kalla fram í líkömum þessara tilteknu dansara og um leið hvað dansararnir kalla fram í lögunum. Í gegnum óteljandi spuna framkölluðust lögin smám saman í dönsurunum og þessi samsetning varð til, lag eftir lag.

Verkið er eftir Margréti Bjarnadóttur og unnið með dansflokknum Forward.

Styrkt af Dansverkstæðinu og Leiklistarráði

Forward with dance er danshópur fyrir dansara á aldrinum 18-25 ára. Með Forward, geta ungir dansarar sem hafa góðan grunn í dansi, haldið áfram að þróa tæknina, kunnáttu sína á skapandi vinnu og aðferðum með því að semja og dansa með ólíkum danshöfundum. Danshópurinn er rekinn af Dansgarðinum.

www.dansgardurinn.com

Um aðstandendur:

Danshöfundur: Margrét Bjarnadóttir

Dansarar: Alma Kristín Ólafsdóttir, Andrea Urður Hafsteinsdóttir, Anna Margrét Stefánsdóttir, Emilie Anne Jóhannsdóttir, Guðrún Mist Hafsteinsdóttir, Karen Eik Þórsdóttir, María Kristín Jóhannsdóttir, Marta Ákadóttir, Olga Maggý Erlendsdóttir, Rebekka Guðmundsdóttir.

Ljósmyndir: Carlo Cupaiolo

Margrét choreographed Björk´s concert series and theatrical production, Cornucopia, which premiered at The Shed in New York on May 6th, 2019.

In a first for the innovative multidisciplinary artist, Björk and a team of digital and theatrical collaborators, including award-winning filmmaker, screenwriter, and director Lucrecia Martel, present a new staged concert of live musical arrangements, digital technology, and stunning visuals. A chorus and cast of musicians join Björk for this eight-concert engagement in The Shed’s iconic space, The McCourt.

The Utopia tour began in London on May 27th, 2018.

Margrét Bjarnadóttir - choreography
Heimir Sverrisson - stage design
James Merry: masks
Edda Guðmundsdóttir: styling
Hungry: makeup
viibra flute ensemble: Melkorka Ólafsdóttir, Áshildur Haraldsdóttir, Berglind María Tómasdóttir, Steinunn Vala Pálsdóttir, Björg Brjánsdóttir, Þuríður Jónsdóttir and Emilía Rós Sigfúsdóttir - flutes
Bergur Þórisson - electronics and trombone
Manu Delago - drums and percussion

Pictures by Santiago Felipe from rehearsal shows in Reykjavík on April 9th and 12th

2017

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A ballet for eight dancers and eight guitars.

By Margrét Bjarnadóttir and Ragnar Kjartansson

with original music written by Bryce Dessner

Commissioned by The Iceland Dance Company

The piece received the choreography award at the Icelandic Theatre Awards as well as an award for the best overall production, across dance, theatre and opera – the first time in the history of the awards that a dance piece receives the main award.

Performers:

Anaïs Barthe
Aðalheiður Halldórsdóttir
Elín Signý Ragnarsdóttir
Halla Þórðardóttir
Heba Eir Kjeld
Hjördís Lilja Örnólfsdóttir
Inga Maren Rúnarsdóttir
Lovísa Ósk Gunnardóttir

poster photo: Saga Sig
performance photos: Jónatan Grétarsson

Text by Margrét Bjarnadóttir:

Ragnar called me and asked if I’d have lunch to “discuss ballet.” We met in a restaurant in downtown Reykjavík and, as always, Ragnar was dressed for the occasion, wearing a pink “ballet scarf” (these were his words) around his neck. It was an elegant meeting: we ate devilled eggs, had some wine, and I think Ragnar also ordered a salad because that’s what he imagined ballet people would eat. And he showed me a drawing he’d made of a ballerina with a guitar and asked if I’d be interested in creating this piece with him. I can’t remember if there were really any more meetings to discuss the work. Rehearsals with the Iceland Dance Company began about a year later. In the meantime, Bryce Dessner had written some of the music and the dancers had taken a few guitar lessons, since none of them had played the guitar before. And while eight dancers were taking guitar lessons in Reykjavík and Bryce was writing the music in Paris, Donald Trump was elected president of the United States. Two weeks before his inauguration, we began working with the eight dancers. I mention Trump because even though the work had absolutely nothing to do with him, I think this new reality — this dark shadow that was suddenly so apparent and ever-present — ended up being some sort of an anti-guiding light for the piece. We would talk about the latest news on our way to rehearsals and during lunch and coffee breaks. The studio therefore became not only a precious escape, but also a room to amplify something else. We were in desperate need of more beauty and harmony. We never discussed it during the process and probably weren’t even aware of it, but afterwards it was pretty obvious that this piece is everything that Trump is not. The qualities that the dancers need to perform the piece are all those that Trump so obviously lacks. It’s all about grace, listening, tenderness, and inner strength. And it’s not selfish, because the dancers are all moving and playing together as one person, which requires a lot of empathy and sensitivity. Then we gave it the nihilistic title No Tomorrow, which was borrowed from Point de lendemain, the eighteenth-century novella by Vivant Denon.

Four years later, No Tomorrow is still touring, and the former president resides in Florida.

An evening with the Bel-Air Glamour Records gang. 
Ragnar Kjartansson and Friends.

Barbican Theatre, July 19th. 2016

Icelandic artist Ragnar Kjartansson surrounds himself with musicians who share his open and eclectic approach to art and performance. Here he invites talents affiliated with his record label to perform and collaborate together.

A name that instantly conjures up a sense of the theatrical, Bel-Air Glamour Records brings together a community of musicians who don’t feel restrained to one art form. From Kristίn Anna Valtýsdóttir (formerly of Múm), to Kjartan Sveinsson (formerly of Sigur Ros), Aaron and Bryce Dessner (The National) and more, expect enveloping ambient music, performance poetry and everything in between.

‘Bel-Air Glamour Records is the megalomaniac dream of how I want the music industry to be… very relaxed and about making good arty records.’ Ragnar Kjartansson

Performers:
Aaron Dessner
Bryce Dessner
Davið Þór Jónsson
Gyða Valtýsdóttir
Halldór Laxness Halldórsson
Hallveig Rúnarsdóttir
Ingibjörg Sigurjónsdóttir
Kjartan Sveinsson
Kristίn Anna Valtýsdóttir
Margrét Bjarnadóttir
Ragnar Kjartansson

photos: Michael Wilkin

2015

An event curated by Matthew Barney and Brandon Stosuy at the studio of Matthew Barney, Long Island, NY.

Artists: 
Zia Anger
Gabe Bartalos
Margrét Bjarnadóttir
Michael Lucas

2015

Gamla Bíó

The opening performance of Reykjavík Dance Festival and Lókal´s Everybody´s Spectacular festival. 

 

2014

The National Gallery of Iceland.

A performance lecture in the Group show PIANO, curated by Tinna Þorsteinsdóttir for Reykjavík Arts Festival.

by Margrét Bjarnadóttir

Performers:
Gunnar Þorri Pétursson
Kristín Anna Valtýsdóttir
Kara Hergils
Margrét Bjarnadóttir
Tinna Grétarsdóttir
Valgerður Rúnarsdóttir.

2013

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by Margrét Bjarnadóttir and Saga Sigurðardóttir, in collaboration with
the graduating students at the Dance department of the Iceland Academy of the Arts.

A room full of mattresses, nine females, a drummer and a drum kit. A pile of leftover objects which are brought to life. The mattresses become a springboard for the dancers´ impulses. The piece is about a leap into the void. It is highly energetic, driven by playfulness, wild joy and humour. And guts. Original music score by Icelandic electronic/acoustic duo Good Moon Deer.

Set and costumes: Eva Signý Berger
Music and sound: Good Moon Deer (Guðmundur Úlfarsson and Ívar Pétur Kjartansson)

Performers:
Anna Kolfinna Kuran
Arna SIf Gunnarsdóttir
Arndís Benediktsdóttir
Berglind Ýr Karlsdóttir
Birkir Benediktsson
Elín Signý W. Ragnarsdóttir
Elísabet Birta Sveinsdóttir
Gígja Jónsdóttir
Guðrún Selma Sigurjónsdóttir
Halla Þórðardóttir
Ívar Pétur Kjartansson

2011

by Me And My Friends

A group devised theatre piece examining the rituals and neuroses of social gatherings.

Be my Guest was the second production by the Icelandic theatre collective, Me and My Friends, which consists of ten artists - actors, dancers, a musician and a designer.

Me and My Friends are:
Álfrún Helga Örnólfsdóttir
Dóra Jóhannsdóttir
Friðgeir Einarsson
Friðrik Friðriksson
Gísli Galdur Þorgeirsson
Jörundur Ragnarsson
Margrét Bjarnadóttir
Rósa Hrund Kristjánsdóttir
Saga Sigurðardóttir
Sveinn Ólafur Gunnarsson

2010

Produced by K3 – Tanzplan Hamburg
Premiered at Kampnagel Theatre, Hamburg.

Concept and direction by Margrét Bjarnadóttir

Performed by Margrét Bjarnadóttir, Dani Brown and Saga Sigurðardóttir
Set and costume by Elín Hansdóttir
Sound by Alessio Castellacci

When understanding collapses, confusion follows, and in the mess new discoveries can be made. On Misunderstanding looks into the nature of misunderstandings, into how communication can break down, into behavioral malfunctions, into illusions, distortions and parallel realities. Is it all a question of perspective? A bad translation? Or is reality the most basic misunderstanding of all?

On set photos by Florian Thiele

2009

by saga & magga (with Úlfur Hansson)

Performed by Saga Sigurðardóttir and Margrét Bjarnadóttir
Music by Úlfur Hansson

A choreographed concert for two performers and two bass guitars.

PRETTY BASSIC was created in and inspired by the elemental surroundings of the deserted Galtarviti lighthouse in the Westfjords of Iceland. It premiered in Reykjavik Dance Festival in September 2009.

2009

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by Me And My Friends

Humanimal is a kaleidoscopic look at human behaviour: our drives, our hungers, our malfunctions, and our excesses. We playfully dissect the humanimal. How did this strange species evolve? What are its customs? What does it long for and how does it go wild?

Humanimal was the first production by the new Icelandic theater collective, Me and My Friends, which consists of ten artists - actors, dancers, a musician and a designer.

Me and My Friends are:
Álfrún Helga Örnólfsdóttir
Dóra Jóhannsdóttir
Friðgeir Einarsson
Friðrik Friðriksson
Gísli Galdur Þorgeirsson
Jörundur Ragnarsson
Margrét Bjarnadóttir
Rósa Hrund Kristjánsdóttir
Saga Sigurðardóttir
Sveinn Ólafur Gunnarsson

2007

A dance piece for radio.

by Margrét Bjarnadóttir

A collaboration with The Icelandic Dance Company and the Icelandic National Radio.

Performed by Aðalheiður Halldórsdóttir, Lovísa Ósk Gunnarsdóttir, Tanja Marín Friðjónsdóttir and Friðrik Friðriksson

Sound engineer - Páll Sveinn Guðmundsson

Broadcast live from the studios of RÚV (Icelandic National Radio.)

2006

by Margrét Bjarnadóttir
Performed by Dani Brown & Margrét Bjarnadóttir
With The Band & The Embarrassed Army

A psychosomatic thriller.

Everyone has experienced embarrassing moments, but for some people these embarrassing moments become a continuous state of being. Under the steady gaze of the ever-present Embarrassed Army and a calm rock band, two female characters genuinely celebrate embarrassment.