Press

"It's about a physical awareness that goes as much inwards / internal as outwards / external in the meeting between other bodies: both artificial and real ones. For this reason, it is no distanced attitude that Juli Reinartz has toward her own body in the 80 minutes long solo. On the contrary, she goes all the time in close combat with the medialised image of the body that she introduces to the audience. Fortunately, "You said you'd give to me - soon as you were free" does not include any footage, but Juli Reinartz relies entirely on the electronic sound carpet, the distinctive lighting and her own choreographic material."
Thomas Olsson, Svenska Dagbladet
https://www.svd.se/klinisk-narkamp-med-kroppsideal

"Reinartz surprises when she bisects her body by standing at the side of the mirror. In front of the audience, the mirror shapes strange, bizarre visual illusions of possible bodies with only three legs or two heads and two bodies that are crawling in and almost seems to disappear in each other."
Örjan Abrahamsson, Dagens Nyheter
http://www.dn.se/arkiv/kultur/rorlig-kulturkritik-stora-fragor-pa-mjukt-och-odmjukt-satt/

"But then something happens that underlines the topic of the show unexpectedly. A sweaty and happy Juli Reinartz comes up in-between the audience seats and invites to interact. Someone who would like some water from a spray bottle? Someone who would like some make-up? One figure expresses his interest and refers to the dancer's body a little too much, a little too long. He glances, when she turns her back towards him, into the waisteband of her shorts. I turn around but only a few seem to notice what is happening. At this point, I want to get up and shout. When courageous dancers, who intend to create a free space... a place in society where it is possible to explore what it means to be physical and different.. I think of work place laws. Is that the contract that we need to make with the audience? I am sitting here mentally overwhelmed and think about the potential of dance - how it opens our eyes without words and without control over boundaries. This is, at the same time, its weak point. “
Malena Forsare, En rörelse för mycket, Sydsvenskan, 1.2.2017
https://www.sydsvenskan.se/2017-02-02/en-rorelse-for-mycket