Some movements speak before language.
Some encounters unfold beyond ideology.
Some bodies carry histories no nation‑state can contain.
Kunsthall 3,14 invite you Tuesday the 16 of June to an evening where art enters the fragile space between bodies, memory, and movement. Through the works of Shwan Dler Qaradaki and Mona Tahani, dancers Lorena Olguín and Mirte Bogaert engage in a live encounter with the exhibitions, extending their themes through movement, presence, and embodied response.
In Qaradaki’s works, metallic birds move across landscapes marked by silence and devastation, while the ground becomes an archive of vulnerability and survival. His drawings reflect how violence can be exercised from a distance, even as gestures of resistance continue to emerge — women standing in quiet solidarity, poetry rising against systems that seek to control bodies, memory, and narration.
From Tahani’s project February 28th, we encounter a different form of wordless language — artist books and prints forming a quiet archive of immediacy, where gesture replaces narration and making becomes a way of staying connected across borders that cannot be crossed.
These tensions become a point of departure for the performers, whose movements respond to the works through acts of presence, attention, and bodily awareness. This evening transforms the exhibition into a living encounter shaped through movement, embodiment, and shared space. It is an invitation to reflect on the precarious body. The one thing we all share, and the one thing so often sacrificed in the name of borders, belief, and belonging.
Creating a space where histories can be carried differently: not explained or resolved, but felt, witnessed, and remembered collectively.
Curated by Gitte Sætre
About the two dancers:
Lorena Olguín’s practice is rooted in embodied emotion, where movement grows out of memories, inner landscapes, and the willingness to inhabit discomfort. Her work navigates the shifting currents of feeling in search of what is still unknown a space where body, mind, and spirit are transformed through presence, improvisation, and choreography.
Coming from a Mexican context marked by everyday proximity to violence, her artistic language carries the tension between constant alertness and the human need to live fully. This awareness shapes her movement: the unspoken rules of safety, the pressure of navigating public space, and the quiet resilience that emerges in response.
For Olguín, resistance exists both in the intimate act of choosing joy and in the broader struggles she witnesses around her, activists, mothers, and communities confronting a system that perpetuates harm. Through performance, she allows her body to become a bridge between experience and audience, offering each gesture as a small act of survival, insistence, and connection.
Mirte Bogaert
Mirte Bogaert is a dancer and choreographer based in Bergen and Brussels, known for a distinct movement language shaped by improvisation, somatic practice, and rhythmic sensitivity. Educated at Høyskolen for Dansekunst and P.A.R.T.S. Research Studios, she has developed a physical vocabulary where breath, micro‑movement, and the eyes become choreographic material.
Her work unfolds in close relation to the space and those present, often in interdisciplinary collaborations where music — including silence — plays a central role. Since 2019 she has also created performances for the youngest audiences in collaboration with Mari Kvien Brunvoll and KODE, exploring how dance can open pathways into visual art.
For Bogaert, practice begins with listening: to rhythm, to stillness, to the shared atmosphere of a room. Entering into dialogue with an existing artwork allows her to activate the visual through movement, creating a bridge between image and living bodies. Her performance becomes a way of inhabiting the work from within — attentive, responsive, and deeply present.