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Tickets are sold through Kulturbiljetter, and at the door.

Tickets are sold per day, or for all days, with or without a bus ticket

Wild Voyage: The bus leaves from Götgatan 100, 18.30 on thursday and friday, saturday at 15.00.


The venue opens at same time as the bus leaves.

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Jen Rosenblit

 I'm Gonna Need Another One

Performance date: Friday September 13, 19.30

Parts of things are in the painful process of becoming whole things themselves. I’m Gonna Need Another One troubles the authentic or singular self by elevating the inevitability of things falling apart. The work situates itself within the proximity of twelve green foam blocks as they leave dusty traces, eventually crumble and disappear in form. Rosenblit stands in as Performer, Herself, as well as multiple figures which speak to problems for the preparation for future strategies and ways of organizing how we come to know where and who we are.


From a Sous Chef, to Chiron: the Greek God of pain known for the acknowledgment of the wound on his animal leg, a Wheat Farmer, a Soldier, Dorothy from The Wizard of Oz, and a Compulsive Re-arranger of Furniture, the figures orient and reorient the work as we get lost in the multiplicity of this solo body, performing a strategy of endurance based on distraction. A picnic occurs, a small wheat field gets cultivated and for one moment, this imitation land obscures the figure of the body. A monologue takes us through profiles of the figures and finally opens up to include a short pause to speak about things that we like. We are left with an illegible city plan, suggesting that being lost is a valid location. 




DRAMATURGIE Kuchar & Co / Adham Hafez and Adam Kucharski, Jay Scheib


CHESS FLOOR Christopher Füllemann 

APRON Quinn Czejkowski

METAL WORK Abigail Lloyd / Pine Pine Studio

PRODUCTION MANAGEMENT MiCA / Katharina Meyer and Raisa Kröger

A production by Jen Rosenblit. Funded by the Hauptstadtkulturfonds. In cooperation with The Chocolate Factory Theater(NYC) and Sophiensaele(DE), with support from Atelier Mondial. 

Jen Rosenblit makes performances in New York City and Berlin surrounding architectures, bodies and ideas concerned with problems that arise inside of agendas for togetherness. Rosenblit’s works lean toward the uncanny and maintenance of care, locating ways of being together amidst impossible spaces. The research process tracks the tangential rather than the linear, looking for meaning as it emerges between things.Rosenblit has collaborated with artists including Simone Aughterlony, Miguel Gutierrez, A.K. Burns and Philipp Gehmacher. Recent works include I’m Gonna Need Another One(2018-2019 co-production between Sophiensaele(DE) and The Chocolate Factory Theater(NYC)), Everything Fits In The Room( a 2017 collaboration with Simone Aughterlony, HAU Hebbel am Ufer), Swivel Spot (2017, The Kitchen), Clap Hands (2016, The Invisible Dog/New York Live Arts), a Natural dance (2014, The Kitchen).Rosenblit is a 2018 Guggenheim Fellow, a 2018 Atelier Mondial Artist-in-Residence in Basel, Switzerland, a 2015-16 Movement Research Artist-in-Residence, a 2014-2015 Workspace Artist through Lower Manhattan Cultural Council, a recipient of a 2014 New York Dance and Performance “Bessie” Award, a 2013 Fellow at Insel Hombroich (Nuese, Germany) and a recipient of the 2012 Grant to Artists from the Foundation for Contemporary Arts.

PHOTO CREDIT: Simon Courchel

Jen Rosenblit

Michele Rizzo

Prospect <E V A>

Performance date: Saturday September 14, 16.00

Prospect <E V A> is an immersive audio and performative set up which stems directly out of SPACEWALK, a performance made by Michele in 2017.

In Prospect <E V A> a number of performers inhabit the floor of HALLEN and by means of a detailed choreography of hands aim to reach out towards  an ulterior space, in which unknown forces and laws manifest and determine the dance of their arms. While the music of Billy Bulltheel guides the performers in this journey,  the movement acts as a gateway between the physical space of HALLEN and the boundless space of their imagination.


The title of the work refers to the extra-vehicular activities of the cosmonauts immersed in the cosmic void, which are compared to the autotelic movements reproduced by the dancers.

The choreographic landscape is offered to the audience with the invitation  to navigate and co-create the hybridity of the performance, which is presented as a space existing in its own right. 

Choreography: Michele Rizzo

Performance: Wilma Maunula, Sonja Karoliina Aaltonen, Daphne Giannikopoulou, Wilma Seppälä, Cilia Herrmann, Natalia Drozd, Taika Rautiainen, Jane Sievänen, Heta Asikainen, Mariê Mazer, Sigrid Sjöholm, Arttu Halmetoja, Viktorija Ambrazaité, Veslemöy Frengstad

Music: Billy Bultheel

Technical crew: Jonatan Winbo, Foad Arbabi (MWF)

Michele Rizzo (b. 1984), Italian choreographer based in Amsterdam, graduated in 2011 at the School for New Dance Development in Amsterdam (SNDO), and in 2015 at the Sandberg Instituut Amsterdam in the Dirty Art Department Master program for visual arts.Since 2017 he is cofounder of the choreographic platform DANSCO Amsterdam, the art and dance space Jacuzzi Amsterdam, and he is a GRIP supported artist. 


His work has been shown throughout Europe in venues such as, among others, URB Festival, Helsinki; Rencontres Chorégraphiques Internationales de Seine-Saint-Denis; La Briqueterie, Paris; Santarcangelo Festival, Rimini; Short Theater, Rome; Festival DDD, Porto; CAMPO, Ghent; Triennale Teatro dell’Arte, Milan; Koreja, Lecce; Fierce Festival, Birmingham; Stedelijk Museum, Amsterdam; and over sea at Actoral, Montreal; Galleria Vermelho, São Paulo. 

His work HIGHER xtn. has been acquired by the Stedelijk Museum of Amsterdam in 2019.

He has participated to artistic residencies at Q21 Museum Quarter in Vienna, and Live Works Centrale Fies in Trento.

He is a regular guest teacher in choreography and movement research at the SNDO in Amsterdam, and has thought workshops at, among others, Impulstanz Vienna, ISAC Bruxelles, Studio 303 Montreal.

PHOTO CREDIT: Luca Ghedini

Michele Rizzo

Paolo de Venecia Gile


Performance date: Thursday September 12, 21.30

The Filipino word “Mahal” means “dear” in English, which could be “älskling” in Swedish and “skat” in Danish. Simultaneously, “skat” also means “tax” in English. “Ang mahal!” in exclamation, means “Åh vad dyrt!” in Swedish. 


“Mahal” is a work-in-progress solo performance with macho dancing at its core. After training in contemporary dance techniques in Denmark, Paolo returns to his Philippine roots by delving into the movement vocabulary of macho dancing with the assistance of Youtube videos and field studies at gay bars.


The vocabulary of macho dancing emerged in the Philippines as an effective means to sexualize male-coded bodies - a reappearing spectacle performed for financial exchange. 


For the context of My Wild Flag, Mahal slips into the ongoing social space of HALLEN i Farsta, teasing out negotiations between romance, erotics, nostalgia and home.

Performance & Choreography: Paolo de Venecia Gile

Assistant: Stina Ehn Hillberg

Artistic advice: Andreas Haglund

Light design: Jonatan Winbo 

Sound design: Paolo de Venecia Gile

Music: Bonnie Tyler - Total Eclipse of the Heart; Carola - Främling; Lady Gaga - Shallow; George Bizet - Habanera; Heart - Alone; Sade - Sweetest Taboo; Eurythmics - Sweet Dreams


Special thanks to: Eisa Jocson, Lydia Östberg Diakité, Den Danske Scenekunstskolen, Amalie Bergstein, Camilla Lind, Siren (Søren Job Moseholt), the macho dancers and their publishers on YouTube

Paolo de Venecia Gile (b. 1994, Manila) is a Copenhagen-based dance artist who migrated from the Philippines to Sweden as a young teen. He holds a diploma in dance and choreography from the Danish National School of Performing Arts. He transitioned from nursing to dancing studies in 2014, the same year he was a candidate for Mr Gay Sweden as part of Stockholm Pride. He is currently involved with a project led by Ofelia Jarl Ortega and has performed in works by Frédéric Gies, Eleanor Bauer, Pontus Pettersson and a variety of smaller projects.

PHOTO CREDIT: Paolo de Venecia Gile

Paolo de Venecia
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Ceylan Öztrük

Oriental Demo

Performance date: Thursday September 12, 19.30

In her performance Oriental Demo, Ceylan Öztrük demonstrates the strong connection between heteronormativity and orientalism. Under the gaze of the audience, she learns how to bellydance with the guidance of a local oriental dance teacher. In a spontaneous and generous approach, the artist merges actions and theoretical considerations in order to question the manner in which eurocentric patriarchal narratives determine the representation of and the gaze directed at women. She takes this performance moment to experience the belly dance practice and, from there, to manifest on how the repertoire of stereotypical orientalist images structures sexuality and its politics.

Ceylan Öztrük lives and works in Zürich. She opens up accepted forms of knowledge and focuses on how it was built to shift a specific flow and thus become tools of the structures of power. She aims to break the flow of information in the mainstream with a multi-disciplinary approach, offering to setup new channels that co-exist with and sometimes replace the existing ones. She employs interventions and site-specific features in her practice as a methodology with which she tries to transform existing situations and frameworks.


She completed her practice-based Ph.D. (2016) in Mimar Sinan Fine Arts University (Istanbul) that she initiated her subject in Vienna in Academy of Fine Arts on Post Conceptual Art Practices in 2014. She received her graduate (MFA-2011) and undergraduate (BFA-2006) degrees from the Fine Arts Faculty at Anadolu University. 

Some of her shows are, Oriental Demo, Les Urbaines, Arsenic, Lausanne (2018), Building Poems, 1.1, Basel (2018); LBH Saga, Löwenbrau Lebt, Kunsthalle Zürich, Curated by M. Akanji, D. Baumann, L. Koper and O. Roth (2018); Episode 10: Boudoir Sulk, Curated by Agatha Valkyrie Ice, Oslo10, Basel (2017); the Venuses of Monruz, Special Moments, Zürich (2016); Call me Venus, Mars, Istanbul (2016).

PHOTO CREDIT: James Bantone

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Nadja Hjorton 

On air



Performance dates: Thursday to Saturday

with different guests

On air is a dance performance that navigates through radio broadcasting, dancing and conversing in a choreographic context. It is collaborative work that Nadja Hjorton developed in 2014 together with dancers and choreographers Halla Ólafsdóttir, Zoë Poluch, Jessyka Watson-Galbraith, set designer Chrisander Brun, sound designer Elize Arvefjord and dramaturg Caroline Åberg. 


For My Wild flag Nadja was invited to bring the radio format from On air into the context of the festival. To explore live conversations as expanded documentation and something that can give context to and generate discussions about the works being presented at the festival. 


On air - MY WILD FLAG EDITION, is not a panel discussion and not an artist talk but a conversation that people can listen to online or in the performance space where the festival takes place. There will be three conversations in groups of four with artists from the festival and people within the context of MWF. The conversations will play with the radio format, practice presence and liveness and embrace the personal as political. On air - MY WILD FLAG EDITION proposes a conversation that can become a confident friend, an unruly sibling or a pushy neighbor to its listeners, using the radio format as a potential of bringing people together. The conversations will take place around a round table and be structured by a score and determined by time and music.

Choreography: Nadja Hjorton

Set Design: Chrisander Brun

Jingel:Elize Arvjefjord

Technical crew: Jonatan Winbo, Foad Arbabi (MWF)

Thursday 12/9 20.30

Host: Lydia Östberg Diakité

Guests: Ceylan Öztrük, Meleat Fredrikson, Samuel Girma

Friday 13/9 20.30

Host: Zoë Poluch

Guests: Michele Rizzo, Jen Rosenblit, Paolo de Venecia Gile

Saturday 14/9 17.00

Host: Nadja Hjorton

Guests: Angela Goh, INSISTER SPACE - Lisa Schåman, Cajsa Godeé

Nadja Hjorton [SWE] is a choreographer and dancer based in Stockholm. She is interested in thinking choreography through different contexts and formats and is seeking to challenge norms and notions of what choreography and dance is and can be. Her works deal with issues like power, body politics, sexuality, humor and desire and she is always busy with finding different ways and spaces for people to spend time together - the theatre room being one space full of potential for this activity.


Nadja had made a numerous of independent and collaborative works over the years. Her latest works, MILF, Cuteness overload (with Lisen Rosell and Anna Efraimsson) and Grottbjörnens folk (with Lisen Rosell and Amanda Apetrea), are moving around thematics like motherhood, cute aggression, object/subject, gaze and sexual desire. In her two pieces Radio dance and On air radio broadcasting became the format for the choreography. Nadja’s works have been presented at several venues and festivals around Europe.


Nadja is part of the feminist collective ÖFA-kollektivet that has been a recurring point in the culture scene for more than 10 years. She also works collectively with choreographers Zoë Poluch, Stina Nyberg, Halla Ólafsdóttir and Amanda Apetrea and together they constitute a group, SAMLINGEN, with a shared interest of dance history and history writing.

PHOTO CREDIT: Märta Thisner


Meleat Fredriksson


Performance date: Saturday September 14 18.00

How you gonna do it if you really don’t wanna dance

By standing up the wall?

(Get your back up off the wall)

Tell me baby

How you gonna do it if you really won’t take a chance

By standing up the wall?

(Get your back up off the wall)


Let’s take a chance

No excuses

No promises



In YES Meleat (middle-upper class, low-income, functional, Swedish, Ethiopian, adopted, female artist – could you tell?) is tuning into and questioning how her blackness is connected to her artwork. On the mission to duck imposed white values, standards and affirmation she seeks out how dance found her so many years ago and wonders what happens when you place your whole (intersectional) self at the core of the research? - Unapologetically. 

Credit & thanks to: Lydia Östberg Diakité, Thomas F. DeFrantz, Kool & The Gang, Kendrick Lamar, Aida Rønnvik, James Brown, Azealia Banks, Kai Merke, Stefflon Don, Buddy, Cardi B, Jacob Petersen, The Union – The Danish Cultural Workers Union for Black and Indigenous People of Color.


Meleat Fredriksson is a dancer and choreographer, educated from The Danish National School of Performing Arts in Copenhagen. Since graduating in 2015 she has been part of

danseatelier: a studio-collective consisting of 11 dance artists working with creating continuity within the freelance world and explore art making, sharing and hosting - using multiple hierarchies.


Meleat's work often springs out of and features improvisation, rhythm and attitude. She has worked a lot with open structured improvisation as a way to investigate how the body and mind can be (un) aware of choices in a wider spectra; how to create a choice and use it,recognizing it as only being one of endless possibilities. It is not to say anything goes but a way of saying that anything can be grasped. Her work has been shown in Norway, Denmark, Sweden and Hong Kong at festivals such as Gothenburg Dance and Theatre Festival 2018, TheCarrierBag Festival 2016, Hong Kong International Choreography Festival 2016.


Besides different projects with visual artists, designers and musicians Meleat is also working for choreographers Julie Schmidt Andreasen, Francesco Scavetta (Wee Company) and Noé


PHOTO CREDIT: Jacob Petersen

Ceylan Öztruk
Nadja Hjorton
Meleat Fredrikson

Angela Goh

Predictable Dances

Performance date: Saturday September 14, 21.30

“ Predictable Dances is an ongoing project since 2014. For each performance I engage the services of a psychic to predict what will happen during the performance. Then I perform the prediction. It is very simple. There is nothing else to really understand about it other than that a dance is prophesized and that it comes true, and so it is just a dance that is meant to be.

Predictable Dances is not surprising nor seductive, it just is. There is nothing to fight for or to figure out, all that is needed is to sit back and let the future breeze past the present for a moment, without desire or meaning, but together with a dance that does nothing other than fulfil its own prophecy. In this moment, we don’t have to ask anything of the dance, like why it exists, what it means, or what it is doing here, because for a moment dance just becomes another given fact. It is just here, and that is the only reason it is here. Just because. "


Angela Goh is an Australian dancer and choreographer working with dance in theatres, galleries, and telepathetic spaces. Her work considers the body in relationship to commodity, materiality, technology, and feeling, and explores how meaning is both revealed and obscured through image making. Her works have been presented across Australia and internationally, most recently at SPRING Festival (NL), Baltic Circle Festival (FIN), PS122/Performance Space New York (USA), Auto Italia South East (UK), Liveworks Festival (AUS), Artspace Sydney (AUS), Perth Institute of Contemporary Art (AUS), Campbelltown Arts Centre (AUS), Fusebox Festival (USA), the Asia-Pacific Triennial of Performing Art, among others, and presented by Galerie (int) at La Biennale de la Danse (Lyon); Jan Mot Gallery (Brussels); Dansehallerne (Copenhagen); Menagerie de Verre (Paris); Saal Biennial (Tallin) and Oslo Internasjonale Teater Festival (Oslo). Angela has been artist in residence at Tanzhaus Zurich (CH), Cite Internationale des Arts (FR), Critical Path (AUS), Arts House Melbourne (AUS), Bundanon Artist Trust (AUS), Rimbun Dahan (MY), Dance Nucleus (SG), and received the danceWEB Europe Scholarship, the 2019-2020 Create NSW Emerging Fellowship, and won Best Artist in the 2017 FBi Sydney Music Arts and Culture awards.

PHOTO CREDIT: Keelan O’Hehir

Angela Goh
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Wild voyage

Wild Voyage is your commute bus to HALLEN in Farsta, departing from Götgatan 100 in collaboration with RättBuss, Wild Voyage is your pep ride to the festival, each day with different invited people hosting a different take on what this wild voyage can be, come take a ride with us!

Wild Voyage #1 12/9 18.30 - Quiz with Samuel Girma

Wild Voyage #2 13/9 18.30 - Lecture with Maria Lönn

Wild Voyage #3 14/9 15.00 - Cajsa Godeé and

Sepideh Khodarahmi (Analkollaps)

Tickets are found here, where you can buy a day pass, or for all three days, with or without the busride.

Wild Voyage

Bitter Pills

Yes, Bitter Pills was a bar, but it was not only a bar. Bitter Pills was the place for queer and non conforming friends and allies, to gather, talk, mourn and rejoice. As the only queer bar in Stockholm it was devastating when it closed down. The safe space that Bitter Pills was left a hole, an empty space in the hearts of the humans that made it what it was. Not alone, but far to obvious, queer spaces don’t belong to the neoliberal housing market, where tendands have more rights then culture - ie culture that don't produce or is driven by cold cash. 


We have to insist on safe spaces, practice and invite through sharing our stories and by creating new ones. 


Bitter Pills was run by Lotta Nordlander and Anna Ekenfors, and together with the amasing crew Hanna Pettersson, Samuel Girma, Sara Jansson, Hanna Nygårds, Vincent Durant, Pontus Pettersson, Erik Sermoneta and Niklas Janzon and many more, created something out of the ordinary.


MWF is very proud and happy to invite Bitter Pills to the festival as the bar will resurrect and once again be that triumphant place where we can laugh, cry, drink and share our stories. 

Bitter Pills
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