The Disengaged Free Jazz Orchestra

“Hide in Plain Sight Play in Hindsight”

A performance by The Disengaged Free Jazz Orchestra

The performance work will be shown outside of Köttinspektionen and in the foyer

March 22, 23, 25

Weekdays 15 -19, Weekend 12 – 16

Free entrance



The precarious social conditions of our time demand constant availability, total flexibility and endless creativity, but do not offer any security, recovery or togetherness.

Overtaken by the discomfort of anxiety, The Disengaged Free Jazz Orchestra try to stuff the holes, control whatever possible, meditate, hide in plain sight, pack their 72-hour survival bag and make plans, plans, plans to escape.



Kajsa Wadhia (1975) works as an artist and curator in the fields of performance, text and choreography and holds an MA in New Performative Practices from DOCH, Stockholm University of the Arts, 2015. Together with Maria Stiernborg she forms the performance duo ”The Disengaged Free Jazz Orchestra” developing an experimental artistic practice dealing with neoliberal capitalism, precarious working conditions and the artist as worker. Between 2007-2014, she worked with, and co-directed the performing arts collective Arena Baubo. Since 2016 she co-directs Köttinspektionen Dans with Tove Salmgren, an artist run platform for experimental dance and performance practices.

Applying techniques such as performance, textile and text, Maria Stiernborg investigates resistance to flexible and precarious working conditions. From an anti-relational position, she looks for lines of flight leading away from demands of efficiency and constant presence. In an over productive and semiocapitalist machinery her main concern is how art can be as useless as possible and how that practice can communicate with an audience. Maria Stiernborg holds a BA degree in set and costume design from Stockholm University of the Arts and an MA degree from Konstfack, Art in the Public Realm. Since a few years she is directing the art platform Förlaget in collaboration with Ludvig Uhlbors and the performance duo The Disengaged Free Jazz Orchestra together with choreographer Kajsa Wadhia.


Residency Robin Jonsson

Welcome to a residency showing of “The most human”

April 6, 2018 (TBA)

Free admission




For a couple of weeks Robin Jonsson and his team will start up the work with “The most human”, during his residence at Köttinspektionen. The performance piece will premier at MDT Stockholm in May 2018.


The most human by Robin Jonsson

Ludvig Daae is a Norwegian human dancer who grew up in Nesbyen and Maria is a humanoid robot-dancer who grew up at IDA at Linköping University. Led by choreographer Robin Jonsson and Robot developer Fredrik Löfgren, they are presented equally but according to their own unique capacities in a dancy piece that investigates human-ness, presence and authenticity.

The work reflects the radical transformation of society, especially in the service-industry, the heavy industry and healthcare, where robots have taken over people’s jobs, but where they also to a great extent collaborate with humans. In The most human, a robot replaces a human dancer and collaborates with another. The robot is humanoid, intelligent and autonomous and influences the work process and the finished result.

The work builds on Robin’s earlier project Simulations and others where virtual bodies from video games were simulated on stage by human dancers, aiming to shed light on the human.


Producer: Sara Bergsmark. Concept: Robin Jonsson. Development and robot science: Fredrik Löfgren. Dancer and co-maker: Ludvig Daae. Costume designer: Tove Berglund. Sound design: Peter Lenaerts. Light design: Johan Sunden

Produced by MDT Sthlm. Created in collaboration with the Institution for Computer Science at the University of Linköping. Co production: Life Long Burning and Turneslingan 3 Scener (MDT, Atalante in Gothenburg and Dansstationen in Malmö) Supported by Köttinspektionen in Uppsala. Funded by: Stockholms Läns Landsting, Statens Kulturråd, Stockholms stads kulturförvaltning and Konstnärsnämnden.

Robin Jonsson is a choreographer, producer and sound-artist. He has been creating and touring danceproductions since 2006, in Europe and the world. Robin Jonsson was based in Brussels from 2004 to 2015 where he studied at the well known dance school P.A.R.T.S, led by Anne Teresa de Keersmaeker, leader of the dance-company ROSAS. Currently Robin Johnsson is based in Stockholm.

Revolve Performance Art Days

Saturday the 19th of May 2018

20.30 – 21.15 Lecture Performance by and with med Stina Nyberg

21.30 – 22.30 Concert by Stina Nyberg and Maria w Horn


Foto: Märta Thisner

The third edition of Revolve Performance Art Days will take place in May  17 – 19, a collaboration between Köttinspektionen Dans, Uppsala konstmuseum, Uppsala Konsert & Kongress, Uppsala stadsteater and Gustaf Broms in collaboration with Royal College of Art, London. Read about the whole programme (also in English closer to the event) : Revolve 2018

The choreographer Stina Nyberg and the composer Maria w Horn will meet at Köttinspektionen in a two parted evening starting with a Lecture Performance by and with Stina Nyberg. The Lecture Performance arise with inherited material from The Tesla Project: a choreographic piece about science, magic and the figure of the genius. The Tesla Project depart form the engineer Nikola Tesla to investigate scientific and spiritual explanations for invisible forces, and the use of illusions. The evening continues with a concert where Maria w Horn’s sound art meets Stina Nyberg’s Tesla pole in a loud and hard tesla concert.

Stina Nyberg lives in Sweden where she makes and performs choreography. Her practice is related to the possibility to through conviction and illusion create new systems of logic in order to construct the world differently, and to act accordingly. Her departure point is always a feminist approach to the body; its social and political construction and ability to move. Often working in collaboration with others – moving in between independent productions, collectives, state institutions, art and the music scene – she creates a method specific to every situation, including how we work into what we work with. She recently premiered her new solo Thunderstruck, a performance tracing the life of Nikola Tesla, dancing with a tesla coil and investigating invisible powers. Following the path of Tesla’s legacy continues into 2018 and beyond.

Maria w Horn is interested in manipulation of time and space through sonic extremes, and overload/loss of perceptual stimuli. Her musical output oscillates between extended drone textures and high-density gestural music with intense strobe lights and visual material. After completing her studies in electroacoustic composition at the Royal College of Music in Stockholm and Universität der Kunst in Berlin she is currently based in Stockholm. She is an integral part of New Music in Sweden through her involvement in Fylkingen, label XKatedral as well as Sthlm Drone Society, an association working to promote slow and gradually evolving timbral music.

Caroline Byström + Lab Presentation + Release for Artistic Documentations #2

Sunday the 3rd of June 2018 – a day in three parts:

Caroline Byström with guests / Reading circle-lab presentation / Release for Artistic Documentations #2”

Free admission, no booking is required


More information about this event will be published here soon.

CAROLINE BYSTRÖM was born in Daegu, South Korea. She grew up in Örnsköldsvik and lives and works in Stockholm as a choreographer and dancer since she graduated from the masterprogramme in choreography at Stockholm University of the Arts 2014. Herchoreographic work explores a new method in each project, which takes its expression in various forms. She often investigates that which already exists, perhaps as a background, in search for parallel narratives. And her work moves between sound, text and body. Caroline is educated in dance and choreography in Copenhagen, Salzburg, Gießen and Stockholm.

Since 2014, Caroline has been part of Weld company and there performed in works by Julian Weber, Litó Walkey, Georgia Vardarau, Matthias Sperling, Alice Chauchat, Margaretha Åsberg and Rebecka Stillman.

Köttinspektionen Dance


The programme at Köttinspektionen Dans 2017 is led by a wish to facilitate processes and relations that contribute to artistic development and spontaneity. There is a lack of platforms and support for artistic research and processes without a finished/fixated product as an outcome. We want Köttinspektionen, as a space, to allow artistic practices to meet, develop and get challenged and therefore mainly invite artists with a process based practice, and works that can develop on site.

The programme this year consists of the series “Circles”, the Performance Art festival “Revolve”, and residencies with public presentations. The series “Circles” occurs on four occasions, one in spring and three during the autumn, and like last year, includes the workshop series “Choreographed Reading Circles” as well as performances.


WORKSHOP SERIES: Choreographed Reading Circles

We propose that reading together can be to dance together, and how we dance is structured as a workshop by a different choreographer/artist on each occasion. Together with the artists we investigate how their artistic methods can meet the familiar format of a reading circle. In asking what kind of choreography reading could be, we focus on reading as a doing. Our aim is to make possible a playful meeting right in between theory and practice; between what is said and done.



Our guest performances offer the audience of Uppsala contemporary dance that playfully and courageously treats its audience as an irreplaceable part of the performance and an equal partner in discussion, and that challenges its own medium in order to formulate existential and political questions rather than presenting answers. The artists are invited to present their artistic practice in a format that feels relevant to them. We do not “book” a finished production, but rather invite the artist. In this way we want to enable the untested or crashed, but also that which needs to reappear or be repeated.


Köttinspektionen Dans is a performance venue and place for experimental dance and choreography in Uppsala, led by choreographers Tove Salmgren and Kajsa Wadhia. Köttinspektionen is an artist-run cultural centre located near the centre of Uppsala, and co-directed with the art collective HAKA and Teater C. The whole program see

Kajsa Wadhia works in the fields of performance, text and choreography and holds an MA in New Performative Practices from DOCH, Stockholm. She places her artistic practice in the context of an over productive and accelerating society, and responds by turning exhaustion into resistance and anti-climax into fulfillment. Together with Maria Stiernborg, she forms the performance duo The Disengaged Free Jazz Orchestra, investigating anti-relational aesthetics, slowness, disorganisation and laziness as artistic tools and political resistance. Previously she co-directed and worked with performing arts collective Arena Baubo. She is co-directing Köttinspektionen Dans in Uppsala with Tove Salmgren.

Tove Salmgren works with performance, dance and choreography, as an initiator and collaborator in various artistic contexts and formats. She is active as a dancer, choreographer, curator and educator and has an MA in New Performative Practices from DOCH, Stockholm. Her artistic practice is about activating a critical discourse on subjectivity and power, which often happen through a laboratory mode of adressing hegemonic structures. She is involved in various artistic collaborations such as with The Blob (Anna Efraimsson), where play/institution/critique are being coupled, in the curatorial collaboration We happen things with the artists Manon Santkin and Moa Franzén and together with the artist Kajsa Wadhia she is runnning Köttinspektionen Dans, a platform and venue for experimental dance and choreography in Uppsala, Sweden.