Lavaskogen (2022), October 13th 2022

"inn i skogen", by Julie Rongved Amundsen

"(...) Den fantasieggende og lekfylte formen i Lavaskogen overlater mye til publikum samtidig som estetikken sannsynligvis er veldig spennende og ny for mange av barna. (...)"

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Spectral (2020), September 4th 2020

"Være en del av gresset som gror", by Anette Therese Pettersen

"(...) Fiksdal and Floen make human bodies, objects, textile, light and sound breath and hum together, as a total organism. (...)"

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Klassekampen, September 5th 2020

I kaleidoskopet, by Julie Rongved Amundsen

"(...) Fiksdal and Floen have created a space I want to stay in, where my associations can play along, but where I also feel free to just float along on a wave of space and movement. (...)"

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Kritiikin Uutiset, November 23rd 2020

"Kummitteleva tarjoiluehdotus 2050 - luvulle - ANTI-festivaali 2020", by Riikka Ala-Hakula

PhD Research Articles

Ingri Fiksdal

"Affective Choreographies" by Ingri Fiksdal

Ingri Fiksdal

"Thinking Alongside" edited by Ingri Fiksdal

Deep Field (2018)

Klassekampen, November 9th 2018

"På vei mot noe annet", by Victoria Kielland

"(...) It´s basically about Fiksdal´s exploration of the body´s ability to displace itself. The idea that something is always on its way to something else, against another form, against the overruns. It is about the total collapse. That something can always be or become something completely different. And that makes Ingri Fiksdal´s artwork strong, but not least hopeful and heavenly sympathetic. (...)"

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Norsk Shakespeare Tidsskrift, November 2018

"Kosmiske løpebanar", by Kristine Myklestad

"(...) I tried to grasp the transitions, but they escaped me through this mathematically-intricate choreography. The focus was on one performer for a while, then on another. I tried a wide-angle view, but then had to sacrifice details that could inform me about how the chaos was structured. This tension between flow and formula, and between carefully paying attention but still being unable to follow, create interest in me. (...)"

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"What is she talking about when she talks about choreography", by Chris Erichsen

"(...) Deep Field is Ingri Fiksdal's final performance in her choreographic research project at KHiO. It has become an ending that it is somewhat beautiful and worthy, where everything is distilled down to its own essence: this was what I always wanted, that's what I'm talking about when I talk about choreography.(...)"

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Bergens Tidene, March 4th 2019

"Flytsonen er et vakkert sted", by Grethe Melby

"(...) For det er godt med et rom der man bare kan være, la tanken vandre, følge rommets bevegelser, være ett med rommet. Og la tankene vandre igjen. Dette rommet får vi i Ingri Fiksdals forestilling Deep Field. Forestillingen er rett og slett et utrolig deilig sted å være.(...)"

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DIORAMA (2017), November 28th 2017

"Diorama for Shoalstone Pool", by Diana Damian and Anette Therese Pettersen

"(...) By the edges of the ocean, in the colours of seawater, the bodily and the scenographic collide in a meditation on togetherness and movement. Diorama for Shoalstone Pool explores Torbay both as a timeless place, and one marked by change; the shifting tourism, changing industries, new generations and wider political changes - Fiksdal´s work makes space for those to appear, gently, observed only by the viewer keen to see them.(...)"

Read whole review », March 13th 2018

"Iskaldt, men vakkert", by Ingrid Tellefsen Relling and Una Mathiesen Gjerde

"(...)Oslo Internasjonale Teaterfestival er i gang for fullt. Blant stykkene som ble presentert under åpningshelgen, fant vi Ingri Fiksdals «Diorama»på Hukodden strand i Oslo som et av de mest spennende.(...)"
"(...)Ingri Fiksdals danseforestilling vekket flere spørsmål enn svar. Dermed får vi lyst til å se den igjen, men ikke nødvendigvis for å bli noe klokere.(...)"

Read whole review », March 22nd 2018

"Byens hjerte", by Chris Erichsen

"(...)Det snør. En lett tåke ligger over fjorden. Vi forsyner oss med puter, tepper og noe varmt å drikke og vagler oss opp på en lang benkerad med utsyn mot snøen, vannet og livet derute. Der sitter vi og forsøker å venne oss til hva som finnes der.(...)"
"(...)Mørket siger inn over oss og jeg får følelsen av at nå kan hva som helst skje og det vil uansett passe inn.(...)"

Read whole review », March 2018

"För närvarande, i Oslo", by Svante Aulis Löwenborg

"(...) För att bara ta ett verk. Ett verk som på många sätt belyser vad Oslo är, eller skulle kunna vara. Ingri Fiksdals episkt utopiska Diorama, ja, jag vill nästan kalla det episkt, ett berättande episkt verk, kunde upplevas i fyra dagar under festivalens första veckoslut på Hukodden. Jag var där i häftigt snöfall och dimma, där dansarnas, eller snarare formationernas kroppslighet i ett ständigt skiftande landskap påminde om hur allt ständigt förändras. Det var installation, dans, bild och rörelse.(...)"

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Dagsavisen, March 10th 2018

"Happening på Huk", by Inger Marie Kjølstadmyr

"(...)Koreograf Ingri Fiksdal har nå tatt med seg prinsipper fra nettopp dioramateatret og skapt en fin, også men veldig langsom forestilling på Huk på Bygdøy.
Ved å plassere 12 dansere og enkelte scenografiske elementer i landskapet på Huk, vil Ingri Fiksdal fremheve nettopp det eksisterende landskapet der. Og akkurat det lykkes hun med i denne forestillingen, som kanskje like mye kan kalles en happening eller en opplevelse.(...)"

Read whole review », March 11th 2018

"Med naturen som ramme", by Grace Tabea Tenga

"(...)Stedsspesifikk dans er å utvikle og sette opp en danseforestilling med utgangspunkt i å bruke potensialet til et bestemt sted, som regel offentlige rom. Det varmer en osloborgers hjerte å se hvor vakker ens badestrand er i et helt nytt lys. Samspillet mellom vintersolen og de gull- og sølvfargede heldekkende draktene, av kostymedesigner Fredrik Floen, er estetisk magisk og stykkets fremste komponent.(...)"

Read whole review », August 4th 2018

"Diorama / Night Tripper", by Léa Poiré

"(...)Among these rocks, where the foam breaks out, soft sculptures of metallic reflective materials are hidden and detached from the horizon. A sound resonates, the Diorama can begin. Cradled by the waves and the deep sound layers that are superimposed on a nagging techno, the panorama is imperceptibly transformed. The mineral forms move, regroup or extend in an extreme slowness. The sun slowly rises and its light twinkles the fabrics by tinting them with a purple and iridescent glow.(...)"

Read whole review », October 1st 2019

"Wie Moss auf einem rollenden Stein", by Martin Pesl

"(...)Moss grows fat on a rolling stone, Don McLean once sang in his big hit "American Pie". This song line comes to mind involuntarily in the choreographer Ingri Fiksdal's current project. The Norwegian, who has just completed her doctoral thesis on "Affective Choreographies", lets her performers slowly crawl along objects in the landscape like moss, growing out of them, so to speak. (...) The choreography seems to imitate the geographical movements in nature. (...) It's more about taking the time to see things you normally miss in everyday life: gradual changes in temperature or wind direction, birds or planes flying by, or the waves coming up on the coast. It has something meditative about it.(...)"

Read whole review », October 11th 2019

brut Wien am Asperner See: Ingri Fiksdal mit "Diorama"

"(...)Amorphous formations lie in the landscape by the lake, even on a small island, like bubbles or bulky balloons. The fabrics glitter and shine in many colors, enveloping these shapeless, immovable objects that have fallen to earth and water like foreign bodies. Electronic sound sets like a carpet of sound on the lake, and after a long time, only very slowly, something begins to move. (...)
Between the dead and the living, the inorganic and the organic, alien-like the visual. The result is a fascinating play with the perception of time and speed, of sound and noise, repose and movement. Meditative, contemplative. By focusing our attention, optical and acoustic stimuli that we take for granted become relative. And always: pay attention to the edges!(...)"

Read whole review », February 20th 2020

"Interview with Ingri Fiksdal, Fest en Fest", by Ines Carvalho

"(...)Diorama is a series of performances conceived to explore the natural and urban landscapes in various environments. The Norwegian choreographer Ingri Fiksdal turns the city space into an open stage for active and accessible participation; the audience is invited to experience the passing of time, the landscape changing and how the human body places its physicality across different contexts.(...)"

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Sans og Samling (2017), January 3rd 2018

"Sansenes dramaturgi" av Anette Therese Pettersen

"(...) Danserne ruller, de plukker opp de bamselignende putene - og én av dem står innimellom på hodet, med puta hengende ned fra ryggen, slik at den liksom står på hodet. Etter hvert får handlingen og bevegelsene et mer herjende preg - Holden og Skjeldal er bajaser som baser i puter, som slenger seg ned på dem og kaver rundt, til mange av de smås store begeistring. Fra en mer forsiktig utforskning får de tablåaktige sekvensene et mer rotete uttrykk, mer kaos og virvar - hvor så også publikum inviteres inn.(...)"

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STATE (2016)

Norsk Shakespeare- og Teatertidsskrift, nr 4/4 2016

“Utopia in a Black Box” (extract) by Lisa Nøttseter

"(...)I was moved in a variety of ways. Ingri Fiksdal and Jonas Corell Petersen have created the work State which through its persistent presence penetrates the nervous system visually, kinaesthetically and aurally.
State is a totally immersive experience where the central elements – costume, sound and movement – build and support one another, ably aided by the lighting. The elements are woven together so skilfully that it is almost impossible to differentiate between them in order to describe them.(...)"

Read whole review », October 21st 2016

"Overveldende, kompromissløst og hengivent" by Chris Erichsen

"(...)– Du sitter ikke og tenker på teorier rundt kollektiv og affektiv event. Bevegelsene har en brutal eleganse som hekter meg på – og holder meg på, skriver Chris Erichsen om Ingrid Fiksdal og Jonas Corell Petersens nye forestilling.(...)"

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The Chicago Maroon, February 21st 2019

"The MCA´s "STATE" Presents a Vision of Society" by Lynn Chong

"(...) a striking performance art piece that uses dance and a fluid performer-audience relationship to explore the role of rituals in shaping national identity. Despite the work´s distinctly political title, Fiksdal and Petersen´s collaboration displayed a whole abstract and interpretive vision within which the audience could find their own realities.(...)"

Read whole review », February 8th 2019

"For Fashion Textile Lovers", Amy Munice

"(...) The six dancers clad in interesting abstract motif design leotards don sheets that might also make you clamber to quickly remember that Charlottesville doesn´t exist in Denmark. They soon appear to take poses of an icy landscape. The dancers´forms move slowly under their bluish hue of white blanket, eventually breaking off into separate islands of movement. The icy landscape appears to be melting down into the ground.(...)"

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Shadows of Tomorrow (2016), August 9th 2017

"Ravnedans" by Diana Damian Martin

"(...)Shadows of Tomorrow, which presents itself as an immersive experience of a psychedelic concert, in which bodies - wrapped in a plethora of clothing that doesn´t allow for any one identification - move and part, sync and drift. Inspired by a psychedelic hip hop album by Madvillian and MF Doom and the cosmic journeys of a Sun Ra piece, the performance toys with the notion of a beat as an embodied energy, and t4eases the abstraction of being together.(...)"

Read whole review », August 29th 2017

"Födelsemärken" by Karl Svantesson

"(...)I Shadows of Tomorrow utvecklar Ingri Fiksdal konceptet av en psykedelisk konsert vilken hon påbörjade med BAND (2013)(...)
(...)När jag såg BAND dansades verket av fyra dansare. Nu är de 24. 24 dansare som upprepar samma rörelse och följer varandra. Detta skapar en helt annan musikalisk kraft än i BAND; mer kollektiv och betydlight djupare, mer fraserat än i uttrycket som kom ur den lilla gruppen. Dansarna syns nu genom i sitt egna rörelsesmönster just för att gruppen är större; Individ kan spegla individ, och grupp kan spegla grupp.(...)"

Read whole review », May 23rd 2019

"See how it goes" by Lennert De Vroy

"(...)This is not about tension or an arc, but about a flow : you don't keep looking to know how it ends, just to see how it goes on.(...)"

Read whole review », February 28th 2020


"(...)Invited to enter and respect the ready-made choreography, between the coloured lights and the dancers in position, the audience takes place in a respectful silence, until the «journey» into the world of shadows can begin.(...)"

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Cosmic Body (2015)

NRK Radio, November 2nd 2015

Kulturnytt, by Karen Frøsland Nystøyl

Review of Cosmic Body in Kulturnytt at NRK Radio.

Read whole review », November 11th 2015

"Quiet euphoria and ecstasy", by Anette Therese Pettersen

"(...) With a kind of low-tech sci-fi aesthetics the choreographer Ingri Fiksdal creates a solar system at Black Box Theatre's big stage. In a quiet euphoria the audiences are immersed in spinning orbits, writes Anette Therese Pettersen.
Towards the end of Fiksdal´s Cosmic Body it is as if I am standing in a hall, a wardrobe between several dance floors at a club. A heavy bass can be heard, far away, and while the room is spinning and the bodies on the floor do the same, it is as though I too have fallen into this movement. And I will remain there(...)"

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Hoods (2014), April 24th 2014

“Black Box is burning” by Hanne Frostad Håkonsen

” (…) The distinction between performer and audience ceases for real in Fiksdals HOODS, where the audience are dressed up in identical costumes as the performers. As a spectator I feel liberated in the dark, scenic landscape where bodies move side by side. The cultic aspect in the choreography creates fear and interest at the same time, while the music intensifies the ritual and repetative experience. The audience movements becomes an important part of the piece, and HOODS expands the composition term to be about all the bodies presence in the room; not only the performers (…)”

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Norsk Shakespeare- og Teatertidsskrift, 2-3 / 2014

"Hoods - a contemporary ritual", by Snelle Hall

"(...) Ingri Fiksdal and Signe Becker invites to a weird and disturbing, but also entertaining encounter at the intersection of performance, installation and performance.
Hoods are both as theater and dance a good example of how cooperation and equal artistic influence can manifest itself as expression. It is impossible to say when the scenography ends and choreography begins or vice versa, and mya associations goes to Craig and Appia.
Both Fiksdal and Becker are exciting artists to follow, something an increasing international attention testify. In their joint projects they manage to do the environment, including the public, to fellow players(...)"

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Band (2013)

NATT&DAG, Trondheim (NO), April 29th 2013

"Trollbandet" av Eline Bjerkan

"(...)Det kan virke litt komisk når fire kvinner kommer inn på scenen, ikledd lag på lag med mildt sagt fargeglade klesplagg. Fra topp til tå er disse kvinnene dekt med alt fra gullfarget jakke til silkeskjerf med blomsterprint. Til og med hodene deres er surret inn i tynne sjal, og man kan bli fristet til å avfeie dem som klossete, kavende figurer uten mål og mening. Så feil kan man ta.
Under den timen forestillingen varte satt jeg helt i ro, uten å lee på en muskel, trollbundet av energiene som bygde seg opp på scenen. BAND rører noe ved deg, og forandrer deg(...)"

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Klassekampen, NO, April 20th 2013

Review by Anette Therese Pettersen

"(...)Det tradisjonelle amfiet på Black Box Teaters lille scene er erstattet med en stolrekke som står vendt i en halvsirkel inn mot en av sideveggene. Foran dem er det plassert en rad med puter, og publikum blir slik sittende tett sammen (og for noen nok også temmelig ukomfortabelt) i et intimt scenerom. Inn kommer fire utøvere, som er nærmest mumifisert av draperinger med ulike fargesprakende mønstre. Iført bomberjakker, skjorter, skjørt, bukser/tights, hansker, halstørkle og med tørkle over ansiktet er det lite bar hud å spore. Så dempes lyset, og det er bare så vidt vi kan skjelne de fire figurene i det omsluttende mørket(... )"

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D2, Dagens Næringsliv, NO, December 12th 2014

"DANSENDE BAND" by Øyunn Rishøi Hedemann

"(...)Et mørkt rom. Fire dansere. Ingen musikere, ingen instrumenter, ingen musikk. I dag og i morgen er Ingri Fiksdals (32) kritikerroste forestilling «Band» tilbake på Black Box Teater i Oslo, som en del av Ice Hot-festivalen. Forestillingen utforsker hvorvidt koreografi kan skape en konsertlignende opplevelse hos tilskueren.
«Musikken» skapes av dansernes bevegelser, sammen med lyset – eller rettere sagt mørket. Første del av forestillingen er uvanlig mørk; i be- gynnelsen kan man bare så vidt skimte de dan- sende skikkelsene. På denne måten ønsker Fiksdal å skjerpe sansene hos publikum. Målet er at de skal oppslukes(...)"

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Night Tripper (2012)

The Guardian, UK, February 19th 2013

In between time – review by Maddy Costa

“(...)If Fake Moon was In Between Time at its most open and accessible, Night Tripper – by the Norwegian trio Fiksdal/Langgård/Becker – exemplified its feeling of intimate community. Not that Night Tripper seemed intimate: it took place in the woodland outside Bristol, within a monumental circle of trees. Two women, arms painted white and long hair covering their faces, stood at the centre of that circle and slowly revolved, while a band played abstract percussive clatters and hurdy-gurdy whines that coalesced around a violin melody. As the moon brightened above, the sense rose that we were taking part in a terrifying pagan ritual. At the height of this tension, the band started singing – and somewhere in the distance, the earth itself seemed to respond. It was an extraordinary piece, simple yet powerfully affecting – much like the festival as a whole(...)”

MASKA Performing Arts Journal, Slovenia, 2013

“Mysterious Powers Invoked by Enchanted Night Tripper” by Judith Staudinger

”(…) Fiksdal, Langgård and Signe Becker developed this unusal scenario with a lot of attention to detail, playing with the situation as if the action was taking place outside the theatre building and even out of the city, to allow the guests to take an active role in the situation which evolved gradually so that everybody could adopt a position on the idea of ghosts, good or bad.
«Night Tripper» offers a good opportunity to let your thoughts roam in a way in which, in your everday life, you might not normally be able to do, and to the carefully crafted enchanting place in the show is truly inspiring(...)"

Thomas Frank

Artistic Director at brut-künstlerhaus, Vienna

“Night Tripper is the most convincing collaboration between dancers, musicians, a forest and the sun.
A fade into the depth of the night.
A call for the ghosts of the woods.
A trip to the edge of perception.
A journey into the dark sides of your soul.
No drugs required.”

Gregg Whelan

Artistic Director of Lone Twin and ANTI festival

“Night Tripper is quite, and quietly, extraordinary. Singular in its ambition and joyously hypnotic, there’s something mischievously comic and deeply moving about it. It’s also, in simple terms, very beautiful”.

Exeunt Magazine, UK, July 9th 2012

Up to Nature by Diana Demian

“(…) As the moon appears through the tall pine branches lining the sky, pushed around by a cold summer breeze, I notice two performers standing in the middle of our circle; their arms are painted white, long hair obscuring their faces. As they move like two pendulums in and out of sync, gaining more momentum in their contact with the ground, sounds begin to filter through the site, at times atonal and at others musical, screeching and teasing out the moon light, in perfect antithesis to the durational repetition of the movement routine. It’s an extended moment that guides us through this passage from dusk to night-time, softening our landing in the deep darkness of the forest; a mesmerising accompaniment that makes visible the forest itself, all magic and mystery. (…)”

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Portland Mercury Online, US, September 21st 2015

"Performance Back to Nature with Night Tripper" by Noah Dunham

"(...)About halfway through last night’s TBA Performance Night Tripper, I was convinced I was caught in a spell. The entire atmosphere suggested an intention to engage the audience in the mystery of the natural world. For the lack of a better term, there was the sense that magic was involved.
Climbing back aboard the bus to head back into town, I found myself already disappointed to be returning to an urban environment. We had only been gone for a couple hours, but I’d be lying if I said that I didn’t feel transformed in some way by the experience of seeing Night Tripper(which is likely what Beckwer, Fiksdal and Langgård were getting at when creating this piece/concept)(...)"

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Westdeutsche Zeitung, Germany, May 14th 2018

"Tanz- und Klangrituale am dunklen See" by Christian Oscar Gazsi Laki

"(...)Grandios if somewhat enicmatic(...)"

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