Performances

And the Needle Was a Golden Key For CHART 2025, Fiona will perform ‘And the needle was a golden key’, a ritual performance in three parts, unfolding across three locations over two day The audience follows a singing being who buries the dead and lets new creatures be born and carried out into the world. Through sculpture, song, movement and painting, the performance explores the threads of fate that weave us together across time and species. Song/Music Composition: Lucie Cure August 2025 CHART Art Fair Copenhagen, DK Performance https://usercontent.one/wp/ceciliafiona.com/wp-content/uploads/2025/10/Video.mov

Ghost Flower Ritual Ghost Flower Ritual is a multi-sensory and interdisciplinary artwork created by Danish visual artist Cecilia Fiona in collaboration with Danish composer Sophie Søs Meyer performed by musicians from the classical ensemble Athelas Sinfonietta Copenhagen. Ghost Flower Ritual brings together visual art, music and performance in a sensuous ritual that explores transience and the power of transformation in the face of today’s biodiversity crisis. The work is inspired by an alchemical myth of a flower that burns and rises from its own ashes.  Cecilia Fiona has transformed CC’s Hall 6 into a magical landscape where architecture, paintings, sculptures and costumes come together in a living scenography of materials, colours and textures. The installation is brought to life through a series of live concert performances, in which Sophie Søs Meyer and the musicians from Athelas Sinfonietta activate the work with sound and music, while Cecilia Fiona’s sculptures and costumes are taken over by performers. The audience is invited to enter an occult ritual where flower spirits, the biodiversity crisis, and hopes for resurrection are woven together in a sensory and ceremonial experience. Genre:Performance by Cecilia Fiona in Collaboration with composer Sophie Meyer Composer:Sophie Søs Meyer Ensemble:Athelas Sinfonietta Copenhagen Performers:Andrea Deres, Nikoline Due, Marguerite Vermersch, Alice Martucci, Mette Hommel Musicians:Hélène Navasse (flute), Mette Hommel (flute), Amalie Kjældgaard (violin), Emilia Wareborn Brantelid (viola), Andrew Power (cello), Jesper Egelund (bass) Supported by:Minister Erna HamiltonsLegat for Videnskab og KunstAage og Johanne Louis-Hansens FondStatens KunstfondKnud Højgaards FondBeckett FondenAugustinus FondenWilliam Demant FondenKoda KulturDet Obelske Familiefond April 2025 Copenhagen Contemporary Copenhagen, Dk Performance https://usercontent.one/wp/ceciliafiona.com/wp-content/uploads/2025/10/IMG_7919.mov https://usercontent.one/wp/ceciliafiona.com/wp-content/uploads/2025/10/20250417_182832.mp4 https://usercontent.one/wp/ceciliafiona.com/wp-content/uploads/2025/10/20250417_180608.mp4

I Am a Human Without a Body Participatory performance and poem created at the residency “Speculative Ecologies” is an international program focused on the creation of a new sensitive regime stimulated by narratives that foster nature-cultures agencies.  In the expanded field of the forest, coexistence is part of the poetic and artistic process and will be an inspiration for the creation of artistic languages in dialogue with the challenges of the Amazon. Created by Labverde in collaboration with The National Institute of Amazonian Research (Inpa) and Chico Mendes Institute for Biodiversity Conservation (ICMBio), Speculative Ecologies gathered a group of artists, indigenous people and scientists to come together to recognize and narrate nature, in an attempt to create new ways of existence and interaction with the environment; and to co-imagine new approaches to the future of the Amazon. Text by Cecilia Fiona from the catalogue:‘The forest is a master of living and dying all at once. In the forest I found myself losing the sense of where I began and where I ended. No words were useful here.  I created an offering for the pregnant tree, the sick tree. The performance explores different kinds of human existence, life cycles and transformations. Fifteen faces sculpted from the forest soil were lying in a circle on the dry ground on dead leaves. Fifteen participants from the residency collected the faces and carried them in a procession into the forest. Offered under the pregnant tree in a new form.’ Materials: Soil from the Amazon, Urucum Seeds as red pigment, dead leaves Duration: 1 hour Performer:Andrea Barbour Photography:Christian Braga Video Documentation:Christian Braga, Ingrid Styrkestad, Marina Weis. Supported by the Danish Arts Foundation  Read Cecilia Fiona’s poem Dec 2024 Labverde Residency ‘Speculative ecologies’ Amazon forest, Brazil Performance

Infinite Pollination Infinite Pollination is a performance exploring transformation, life cycles and ecological interconnection. Created and directed by visual artist Cecilia Fiona and performed by opera singer Lucie Cure, the piece merges sculpture, movement and voice, into a meditative ritual – part funeral, part fertility rite. Wearing a hand-sewn, hand-painted costume by Cecilia Fiona, the performer moves through a sculptural landscape full of Cecilia Fiona’s sculptures created from paper pulp and resin. The performer, acting as a cosmic pollinator, carries small hybrid beings from one sculptural body to another. This repeated act of physical transfer  becomes the central gesture of the work. Her movements and voice form invisible threads between bodies and objects, forming an ecological system in the installation and connecting the micro and macrocosmos. With each transfer, the performer animates the beings she carries through her voice. She sings, hums, and breathes into them. These vocalizations evoke the buzzing of insects and the murmurs of spirits,  The work draws inspiration from natural pollinators such as bees, whose quiet labor supports entire ecosystems, as well as from the Norse Norns — mythological figures who weave the threads of fate. By combining these references, Infinite Pollination explores how bodies, species and ecological systems are interlinked across time, space and scale. Duration: 15 minutes 24 Oct– 23 Nov 2024 Andersen’s Contemporary Copenhagen, DK Performance

Pools of Prayers (All Intertwined) – SIXI Museum In the performance Pools of Prayers (all intertwined) a winged creature dressed in one of Fiona’s costumes moves slowly between two sculptures, two cosmosses; A blue mountain and a bird-figure. Each sculpture is inhabited by smaller creatures, small human faces – part future species, part prehistoric creatures.  In the first part of the performance the performer transfers the faces from the mountain to the landscape on the bird. In the second part of the performance the movement is reversed – the performer now moves the faces from the mountain and back to the bird thus creating a never ending cycle of movement between two worlds. Music composed and played by Sophie Meyer Duration: 15 minutes x 2 2024 SIXI Museum Nanjing, China Performance

Pools of Prayers (All Intertwined) – VITRINE In the performance Pools of Prayers (all intertwined) a winged creature dressed in one of Fiona’s costumes moves slowly between two sculptures, two cosmosses; A blue mountain and a bird-figure. Each sculpture is inhabited by smaller creatures, small human faces – part future species, part prehistoric creatures.  In the first part of the performance the performer transfers the faces from the mountain to the landscape on the bird. In the second part of the performance the movement is reversed – the performer now moves the faces from the mountain and back to the bird thus creating a never ending cycle of movement between two worlds. Music composed and played by Sophie Meyer Duration: 15 minutes x 2 JAN 2024 VITRINE Gallery London, UK Performance

Creatures of Silence – Independent, NY ‘Like her paintings, Fiona’s performances employ time as a key element. Three hours long, Creatures of silence (2022) involves two performers making Tai Chi-like movements in the vicinity of the artist’s canvases and painted screens, while dressed as strange, alien-looking beings who might have just stepped out of her imaginary, two-dimensional world and into our own. As the work’s title suggests, these creatures make no verbal commentary on their slow, fluid gestures. Nevertheless, it’s possible to grasp their meaning: like planet Earth, like the whole universe, they are always in motion, always changing, always becoming. Perhaps they’re beckoning us to join them, to lose—and find—ourselves in the great flow of life.’ Duration: 3 Hours Supported by the Danish Arts Foundation. Extract from text by Frieze and ArtReview writer and curator Tom Morton written for Cecilia Fiona’s solo presentation at Independent Art Fair, NY, US.  2023 Independent Art fair New York City, US Performance

Creatures of Silence – Andersen’s ‘Like her paintings, Fiona’s performances employ time as a key element. Three hours long, Creatures of silence (2022) involves two performers making Tai Chi-like movements in the vicinity of the artist’s canvases and painted screens, while dressed as strange, alien-looking beings who might have just stepped out of her imaginary, two-dimensional world and into our own. As the work’s title suggests, these creatures make no verbal commentary on their slow, fluid gestures. Nevertheless, it’s possible to grasp their meaning: like planet Earth, like the whole universe, they are always in motion, always changing, always becoming. Perhaps they’re beckoning us to join them, to lose—and find—ourselves in the great flow of life.’ Duration: 3 Hours Extract from text by Frieze and ArtReview writer and curator Tom Morton written for Cecilia Fiona’s solo presentation at Independent Art Fair, NY, US. 2022 Andersen’s Contemporary Copenhagen, Denmark Performance