A Selection 2013 - 2025

BOOK Sandra Lundberg
DIRECTOR Emily Magorrian 
SET DESIGN & COSTUME Sofia Romberg
MASK Linda Hyllengren
LIGHT DESIGN Thabiso Kubheka Persson
SOUND DESIGN & COMPOSER Börn Lönnroos
PERFORMERS Bernard Cauchard / Karin Li Körsbärsdal / Magdalena Eshaya
DRAMATIC ADVISER Erik Gripenholm
PHOTO Sören Vilks

PLAY Emelie Östergren
DIRECTOR Carl Johan Karlson
SET DESIGN & COSTUME Sofia Romberg
MASK Linda Hyllengren
LIGHT DESIGN Jesper Larsson
SOUND DESIGN & COMPOSER Christoffer Karlsson
PERFORMERS Melinda Kinnaman / Tanja Lorentzon / Elle Kari Bergenrud
DRAMATIC ADVISER Anna Kölen
PHOTO Sören Vilks

PLAY Johanna Emanuelsson
DIRECTOR Carl Johan Karlson
SET DESIGN & COSTUME Sofia Romberg
MASK Helena Andersson
SOUND DESIGN Christoffer Karlsson
LIGHT DESIGN Hebbe Hertzberg
PERFORMERS Lisa Hu Yu / Dasha Nikiforova / Marika Holmström
PHOTO Markus Gårder

PLAY Christian Lollike
DIRECTOR Carl-Johan Karlsson 
SET DESIGN Sofia Romberg
COSTUME DESIGN Jasminda Blanco
MASK Giovanni Indelicato
SOUND DESIGN Christoffer Karlsson
LIGHT DESIGN Johan Sundén
PERFORMERS Marika Holmström / Peter Järn / Maria Simonsson

Treasure Hunting is a participatory practice expanding and exploring the format of a Treasure Hunt initiated by Charlotta Ruth. Participation resembles playing a computer game in a live environment. In Treasure Hunting you co-create your own and others journey with an emphasis on intuitive interpretation of tasks and clues. 

Laura Weiss / Sofia Romberg / Julian Vogel / Johannes Burström / Dominik Grünbühel / Marina Losin / Johanna Wolff / Johanna Pfabigan / Alessandra Kopp as well as 80 Treasure Hunting participants and 40 video Treasure Hunters at WUK season opening.

BY Charlotta Ruth Grünbühel

Frank Martin Engström / Dominik Grünbühel / Peter Mills / Sofia Romberg,
supervisor/time-donator Marco Muniz as well as testers/time-donators.

Made from discarded theater silk-curtains, re-colored black while letting its past stitchings and patterns still shine through. The hole in the middle is cut out and possible to step through. The title and work draws inspiration from the book Through the Looking-Glass, and What Alice Found There by Lewis Carrol (1871).

I am  drawn to re-use and mis-use the tools from the theatre - off stage. The curtain has historically been used within the playhouses as a division between audience (reality) and the stage (fiction). Curtains are
often also used for more practical reasons: making the sound environment less brute, controlling the light and making hiding spaces for props and actors. The curtains I worked with here are about three decades old and have an immaterial archive of their own that I
wanted to display by placing it in a setting where you can view it from both sides in a day-light setting.

The curtain was also part of the play “The Opening Night” directed by the artist Iris Smeds 2023 at The Art Academy. We were asked to use a work of our own and create a script/life around it, all our parts were then assembled
and became material for the play that Iris wrote. I used the curtain as a point of departure and wrote it a monologue that I shared from the stage wrapped around it.

CREDITS LilaRo Skrädderikompani & Riksteatern

”The everyday imposes its monotony. It is the invariable constant of the variations it envelops. The days follow one after another and resemble one another, and yet - here lies the contradiction at the heart of everydayness - everything changes.”

From Henri Lefvebres essay ”The Everyday and Everydayness” 1987

House, Garden and So Forth Beyond was filmed between the summer of 2021 and 2022 in the house and garden that belonged to my grandparents Sture and Reetta. A single camera placed on furnitures, flower boards and the ground documents the ebb and flow of everyday encounters between generations, internal and external events, still and active life, intimacy and loss, without a hierarchy in-between.

This visual setting of “the flow of time” during a one year time frame is accompanied by sounds from the films mainly disconnected from the images; The radios disparate tableau, fragments from conversations and environmental sounds. The captions is a montage from transcriptions of our voices, milieu and  descriptions from a manual regarding Super-8 screening.

The installation was built in a newly emptied storage room for tech equipment at the Royal Institute of Art. I was interested to work in a space with its own personal traces, like if caught in an in-between - about to move in or out? I covered parts of the floor with a paper often used during renovations, and placed a soft carpet on another part for its domestic and welcoming quality along with garden chairs. In the back of the space I built an installation with props from my grandparents home, as well with objects from the original space. Here I placed a screen with the sibling piece Ljusår that consits of my grandfathers Super-8 recordings viewed from the monitor of a Vu-Editor, while its beeing scrolled through. The main film was projected on four connected screens covered in thin cotton, letting the construction shine through and the image to bleed out and reflect the surfaces behind and above it.

Camera & Editing Sofia Romberg
Super - 8 Sture Romberg
Text Animation Rahul Gunnarsson
Sound Design Jon Lennblad & Sofia Romberg

Special thanks to my professor Ming Wong & the input from the student group of performance in the expanded field at the Royal Institut of Art during this process, aswell the awing technical support from Caio Marques De Oliveira and Astrid Braide Eriksson <3