Mirko Guido

Mirko Guido (b. Italy) is a choreographer and dancer based in Aarhus, Denmark, where he is an in-house artist at Bora Bora – Dance and Visual Theater. He holds a Master’s degree in New Performative Practices from DOCH / Stockholm University of the Arts.

As a performer, he has been a member of renowned companies such as Cullberg Ballet, Thoss Dance Company, Donlon Dance Company, Tanz Theater Bielefeld, and has worked with a diverse range of choreographers, including Benoît Lachambre, Deborah Hay, Tilman O’Donnell, Crystal Pite, Johan Inger, Mats Ek, Paul Lightfoot & Sol León, Itzik Galili, Alexander Ekman, Marguerite Donlon, Guy Weizman & Roni Haver, Rafael Bonachela, Jo Strømgren, Marco Goecke, and Cristina Caprioli, among others. His early choreographic career was recognized with First Prize and the Audience Prize at the International Choreographic Competition in Hannover (2008) and a nomination as Young Choreographer to Watch in Ballet Tanz Magazine (2009). He has created commissioned works for institutional dance companies such as Saarbrücken Staatstheater and Wiesbaden Staatstheater, before transitioning to independent choreography, where he immersed himself in contemporary, experimental, and interdisciplinary practices.

His choreographic work unfolds in theatres, museums, galleries, and public spaces, approaching movement as a process of attuning and navigating shifting relationships between body, space, materiality, and presence. His projects take shape through immersive environments, where bodies interact with architectural structures, resonant materials, and sonic landscapes—allowing choreography to extend beyond the body and into the surrounding space. Whether through the vibrational interplay of movement and matter in the upcoming work TECTONIC (2026), the collective and transient spatial negotiations of Vanished (2024), or the disruptive presence of performing bodies in museum spaces in The Longest Gap (2022), Mirko Guido’s work challenges conventional modes of spectatorship and perception, shifting focus toward processes of emergence, transformation, and relational becoming.

His choreographic works have been presented at international festivals and venues, including the 20th PuSh Festival (Vancouver, Canada), 6th Athens Dance Festival (Greece), Festival La Becquée (Brest), Festival MAP/P E-motional (Porto), Teatri di Vita (Bologna), Dance Station (Belgrade), SPEL – The State Gallery of Contemporary Art (Cyprus) Weld and Dansens Hus (Stockholm), Bora Bora and ARoS Art Museum (Aarhus), The Royal Theater-Skuespilhuset and Dansekapellet (Copemhagen), among many others. His choreographic research has been supported by institutions such as Summer Studios Rosas, Work Space Brussels, Uferstudios Berlin, PACT Zollverein, MDT Stockholm.

For Mirko each choreographic work operates as a physical, material, and conceptual inquiry into movement as a system of responsiveness, guiding attention toward the co-existence of multiple temporalities, perspectives, and ways of being-with. Rather than positioning movement as a singular expression, his choreographic research engages both performers and audiences in a shared process of perception, tuning, and reorientation, offering dance as a means to reconsider our entanglement with the world.