D The Time Stroll
Film & Walk - 2020 <!-- Google tag (gtag.js) --> <script async src="://www.googletagmanager.com/gtag/js?id=G-TCYDJK6LMY"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-TCYDJK6LMY'); </script
Scenography & Costume
A Selection 2013 - 2024
Kattpromenaden
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
Dramaten 2024
Frankas monster
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
Dramaten 2024
Hör så tyst det är
IDÉA & CONCEPT Nyxxx
SET DESIGN & COSTUME Sofia Romberg
MASK Hanna Elwe
PERFORMER Gabriela Anselmo / Jannie Östergren
DRAMATIC ADVISER Sofia Westerlund
Regionteatern Blekinge & Kronoberg / tour
BIBU 2022
Slutet enligt Rut
PLAY Jesper Weithz
DIRECTOR Nora Nilsson
SET DESIGN & COSTUME Sofia Romberg
MASK Rebecca Afzelius
SOUND DESIGN Christoffer Karlsson
LIGHT DESIGN Imre Zsibrik
PERFORMERS Cecilia Nilsson/Per Burell/Catherine Parment
PHOTO Märta Thisner
Riksteatern 2017
Akta dig för Rödluvan
PLAY Emelie Östergren
Örebro Länsteater 2018
PLAY Emelie Östergren
DIRECTOR Carl Johan Karlson
SET DESIGN & COSTUME Sofia Romberg
MASK Giovanni Indelicato
SOUND DESIGN Christer Christensson
LIGHT DESIGN Ronny Andersson
PERFORMERS Christer Christensson / Emelie Florén / Linus Lindman / Maria Simonsson
PHOTO Kicki Nilsson, ICON Photography
Örebro Länsteater 2018
Det finns ingenting att vara rädd för
PLAY & DIRECTOR Sara Giese, (based on the book by Johan Heltne)
Uppsala Stadsteater 2017
PLAY & DIRECTOR Sara Giese, (based on the book by Johan Heltne)
SET DESIGN & COSTUME Sofia Romberg
SOUND DESIGN Anna Haglund
LIGHT DESIGN Johan Sundén
MASK Anne-Charlotte Reinhold
PERFORMERS Tomas Andersson / Björn Elgerd / Jakob Fahlstedt / Anna Haglund / Mikaela Knapp / Anna Lundqvist / Slaven Spanovic / Cilla Thorell
PHOTO Jonas Jörnberg
Uppsala Stadsteater 2017
Skimrande Vattnet
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
Riksteatern
Det Normala Livet
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
Örebro Länsteater
Uppgång & Fall
PLAY & DIRECTOR Sara Giese, (book by Liv Strömqvist)
Uppsala Stadsteater
PLAY & DIRECTOR Sara Giese, (book by Liv Strömqvist)
SET DESIGN / COSTUME / VIDEO Sofia Romberg
MASK Anna Lilja
COMPOSER Pelle Lindroth
LIGHT DESIGN Pontus Eklund
PERFORMERS Moa Silen / Gloria Tapia / Göran Engman / Bashkim Neziraj / Cilla Thorell
POSTER Klara G
Uppsala Stadsteater
Treasure Hunting “ WUK, Vienna ”
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.
Practiced with co-creators/time-donators:
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.
Treasure Hunting “ DOCH, Stockholm ”
BY Charlotta Ruth Grünbühel
Practiced with co-creators/time-donators:
Frank Martin Engström / Dominik Grünbühel / Peter Mills / Sofia Romberg,
supervisor/time-donator Marco Muniz as well as testers/time-donators.
Hejdå Elever, Hej Pengar
DIRECTOR Lisa Lie
SADA
DIRECTOR Lisa Lie
PLAY Hanna Borglund / Lisa Lie
SET DESIGN Sofia Romberg
COSTUME Jasminda Blanco
MASK Daniela Mengarelli
SOUND DESIGN Christoffer Karlsson
LIGHT DESIGN Johan Sundén
PERFORMERS Tove Sahlin / Nina Jeppson / Wilhelm Grotenfelt / Johanna Karlsson / Elin Skärstrand / Martin Hamberg / Otto Stockhaus / Sofia Romberg & the rat Ramon
PHOTO José Figueroa
SADA
Grattis
DIRECTOR Eva Molin
SADA
DIRECTOR Eva Molin
PLAY Gunnar Eriksson
SET DESIGN / COSTUME / LIGHT / PHOTO Sofia Romberg
PERFORMERS Lou Kauppi / Jonatan Rodriguez / Figge Norling
SADA
Time Strollers:
Port as in Portal,
HD 16:9, 03:23 min
Film & Walk
2020
Part of the collective virtual & live group exhibition Connecting Georgia (2019-2020) hosted by Intercult. An artist-led project exploring post-industrial waterfront heritage in the context of urban planning and community development, connecting the city of Batumi with other European cities. I was invited by SIMKA (Karin Lind & Simon Häggblom) to make a site-specific work connected to the path between Slussen & Londonviadukten, Stockholm.
Photo -
Port as in Portal,
HD 16:9, 03:23 min
Film & Walk
2020
Part of the collective virtual & live group exhibition Connecting Georgia (2019-2020) hosted by Intercult. An artist-led project exploring post-industrial waterfront heritage in the context of urban planning and community development, connecting the city of Batumi with other European cities. I was invited by SIMKA (Karin Lind & Simon Häggblom) to make a site-specific work connected to the path between Slussen & Londonviadukten, Stockholm.
I conducted many walks back and forth during the week we worked, giving myself different tasks of walking, looking, listening while making memory notes after each walk. I then made a montage of some of these texts together with quotes from Walter Benjamin's writings regarding the flaneur, read by an AI voice. During the opening I also invited the visitors to perform silent backward walks with me.
Participants from Stockholm -
Oskar Gudéhn, musician och architect
Felice Hapetzeder, visual artist
Sofia Romberg, visual artist and set designer
SIMKA, curators och visual artists
Credits -
Intercult
BAHA, Batumi Art House Argani
Baltic Sea Cultural Center, Gdansk
PPV Knowledge Networks
TU konstplattform/Art Platform
Svenska Institutet
Photo -
José Figueroa
Link Intercult >>
Through the Looking Screen
5,3 x 3 m (16:9) Curtain Installation
2022
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.
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.
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
Lightspiel
Animation (Loop) 01:00 min
2023
Lightspiel consists of an animation of red colored still images picked from a Super-8 film capturing an eclipse. This is the first filmed solar eclipse that we know about and was filmed by the magician and astronomy enthusiast Nevil Maskelyne in North Carolina on May 28th 1900. This animation is intended to be presented as a projection in different scales and on different surfaces.
Original still from footage by Nevil Maskelyne,
restored by BFI National Archive.
Image from the performance lecture day at School of Economics, Stockholm, with Prof. Wontag. Here the film was projected accompanied with shadow play performad by Jaana-Kristiina Alakoski & Elmer Blåvarg. Photo by Neil Bhat.