“Philosopher Alva Noë wrote that experience is not something we have—it is something we do. For the BodyCartography Project this is not an abstract philosophical concept but an operational principle.”

Boris Oicherman, Mapping (your) body reflection on the felt roomWAM website, 2018

“The BodyCartography Project is a group with a rare and wonderfully powerful gift to offer us.”
Twin Cities Daily Planet, 2010

“They can always be counted on to keep us guessing and eagerly anticipating their next moves”
Dance Company of the Year, City Pages, 2013



BC _065

“There’s breaking the fourth wall and then there’s disintegrating it into nothing…closer offers fascinating illuminations of human behavior and interaction.”
Sheila Regan, Star Tribune

“They’re using real dance skills of sensing, paying attention, and examining perspective to redefine engagement.”
Emily Gastineau, mnartists.org

“They are feeling. The are feeling their bodies. They are feeling their bodies awake. They are remembering the life of their bodies. We forget, and need each other to remind ourselves of our own beautiful, unfolding presence.”
Karl Kronin, karlkronin.org

“This was Paxton’s “little dance” full grown, Contact not necessarily contacting, but yes reading the other’s expression and presence into passive/active space and time: affect, behavior and cognition gone wilding.”
Sean Smuda, bodycartography.org

“I found closer(solo) to be, a socially engaged, thought-provoking, movement-making, sensational performance art work.”
Anna Bate, Theatreview

“closer animated our whole festival space with the frenetic act of spectatorship and performance. The surfaces of Wellington Waterfront came alive with the playfulness of this interaction, blurring distinctions between the works and the passers by and altogether enhancing the spirit of our event in dimensions not yet seen before. closer is an unusual and surprising work that changes dance and changes space.”
Sam Trubridge, director of the Performance Arcade

“As the dancer’s audience of one, I have choices to make, real agency in determining how this work is realized: Where do I stand? Do I dance along with him? Do I watch every second, or turn away? When he runs, do I race to follow or lag behind? May I make eye contact? Should I smile? Can he feel the support and solidarity of my attention? How are we connected in this space, in this movement?” Susannah Schouweiler, mnartists.org

“closer(group) is a daring piece of art”  www.broadwayworld.com


Emily Adams performs Low

“I want to simply say – erotic pelvic intelligence…Low is a sexy and intriguing piece of choreography to be party to. The work foregrounds choreography as a conduit for social research. It socialises unique methods for empathising guttural feeling-tones through the performance space as artistic practice.”

Val Smith, Theater Review


“It is testament to Bieringa and Ramstad’s sensitivity and tenderness as choreographers that the final exit is so moving – as the dancers turn and simply walk out, with each body comfortable in its own gait, its own rhythms. It is beautiful.”
Sam Trubridge Theatreview

untitled(working title)

“Otto’s dancing is a visceral joyride. He truly sources movement from the inside out, so hard to track but if you try you will go deep with this guy. Splendid was my watching experience.” 
Penelope Freeh, Walker Art Center blog, 2013

Super Nature

Super Nature Anna solo

“Here was a deeply intellectual experience of consciousness conveyed through physicality. Across the synapses between sensation and thought, the animal and the human, the ecological and illogical, the participants in Super Nature roared, howled, tingled, and leapt, flinging themselves over to feel out the distance and, for a moment, close the gap between the animal spirits and what it means to act naturally.”

“Socially unorthodox”
NY Times, 2013

“Sneaky-smart…demands patience but it yields many rewards”
Minneapolis Star Tribune, 2012

“They continue to pull the proverbial rug from under the spectators’ feet…”
Bachtrack, 2013

Super Nature

one-on-one installation

Are we lovers? Survivors of a shipwreck? Who is to be without the recourse of words…It’s intense. Or maybe the right word is dense: I’m vividly aware of my choices, of the branching paths of the possible spiraling off in every direction. This is exhausting and simultaneously addictive.”
Lightsey Darst for mnartists.org


 Emmett Ramstad and Otto Ramstad photo: Sean Smuda

Star Tribune, 2010

“it’s a stirring piece, viscerally, and you’ll be thinking about it afterwards…”
Twin Cities Daily Planet, 2010

“heady subjects with visceral theatricality”
City Pages, 2010



Mammal“the dancers quickly established a delicate inner world.”
Lyon Capitale.fr, 2010

1/2 Life


“The dancers held us in frozen rapture for the entire duration of the performance
and quietly found their way into our very bones.”
TC Daily Planet, 2010

Star Tribune, 2010

“channeling the collective unconscious of the 21st century”
Dance Magazine, 2010

“visually stunning”
mnartists.org, 2008


Holiday House

stage work

 photo: Cameron Wittig

“It’s always nice when nothing much happens in a piece and yet you’ve acquired some concentrated sense of emotional truth. “Holiday House” works by a gradual accumulation of apparently arbitrary activities and by its strange air of drugged calm.”
New York Times 2009

“We are treated to unobstructed views of a cast of extraordinary movers. Quicksilver Olive Bieringa attacks space with power and agility. Dustin Haug’s virtuoso duet with a red bicycle is reason enough to leave home on a cold night: frantically twisting the front wheel, Haug balances on the seat and jerks at the handlebars, then repeatedly crashes into the set while remaining upright.”
Brooklyn Rail, 2009

Holiday House

site work

photo: Sean Smuda Olive Bieringa + Morgan Thorson

“The pleasure of viewing is so intense here, so fun as to be nearly guilty…what you see is at once brilliantly planned – lighting, angles, perspectives clear as cinema – and breakneck. The movement feels dangerously unhinged.”
MSP magazine, 2008

“These performers could just as easily run rampant through your house, upending your best-laid plans, haunting your dreams… With sly wit and subtle socio-political commentary, the BodyCartography Project revealed the teeming chaos within the shadows of even the happiest home.”
Artists of the Year, City Pages 2008

Holiday House


 Sean Smuda and Olive Bieringa

“Hoilday House,” however, is in a class by itself as the sort of gift that comes not once a year but rarely…. as if an experimental Maya Deren film had been spooked by “The Evil Dead.”
Minn Post, 2008



Lagoon, 2003

“It has high visual impact and offers a series of images that can seem like the eye’s equivalent of Haiku…”
Evening Post, New Zealand, 2002

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dev2005og0415“This was not lighthearted stuff, but singularly emotional, and moving.”
mnartists.org, 2006


Dry Wash


Dry Wash

“In a series of slowly accumulating images, it presented a vision of individual and communal struggle set against a gorgeous, unforgiving and quintessentially Western landscape.”
The San Diego Union Tribune, 2005