The Disengaged Free Jazz Orchestra

“Hide in Plain Sight Play in Hindsight”

An ongoing performance by The Disengaged Free Jazz Orchestra

The performance 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. Hide in Plain Sight Play in Hindsight is a new performance by the artist duo The Disengaged Free Jazz Orchestra scrutinising anxiety as a public secret.

The Institute for Precarious Consciousness describes the current era as an age of anxiety, caused by neoliberal capitalism.Furthermore, they argue that this affect has become a public secret, a sanctioned ignorance, something that everyone knows, but nobody admits, or talks about. Instead of acknowledging the discomfort of anxiety as a structural and political problem, it is dealt with on an individual level with yoga, mindfulness and positive thinking.

Overtaken by the discomfort of anxiety, The Disengaged Free Jazz Orchestra tries 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.

Inside a tent-like parasitic hideout that is attached to Köttinspektionen, the artists perform texts, sounds, rituals and actions relating to the precarious social conditions of late capitalism. Inside the foyer of Köttinspektionen, the performance can be watched on video from four surveillance cameras surveilling the artists and the surroundings.


The Performance duo The Disengaged Free Jazz Orchestra (Maria Stiernborg and Kajsa Wadhia) has investigated precarious working conditions, neoliberal capitalism and the artist as worker through various experiments and research areas. With their backgrounds in choreography and scenography and visual arts, the duo has developed a unique expression, combining strong visual elements and playful experimentations with language, voice and text. Their performances are characterised by an examination of the relation visible-invisible. Their first work investigated how indifference can be used as an artistic strategy and laziness as political resistance. In the commissioned work ”The Blob”, they used parasiting as a method, quoting and improvising with other people’s texts. ”Jackrabbit Parole” focussed on paranoia as a reaction to increased surveillance of the individual, and scrutinised the neoliberal paradox of western society, consisting of the promotion of free movement at the same time as a revival in wall building.


Supported by The Swedish Arts Grants Committee and The Nordic Culture Point

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”

Friday the 6th of April 2018, 19.00

No booking, 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 19th of May 2018

20.30 – 21.15  The woman who lit the world, by and with Stina Nyberg

21.45 – 22.30 Alternating Currents, by and with Maria W Horn, Stina Nyberg and a frequency-controllable Tesla coil.

No admission, but booking is recommended. Email us your name and the number of tickets you want to reserve:


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 woman who lit the world

For a long time, Stina Nyberg have been walking in the footsteps of the electric engineer Nikola Tesla; gathering stories, technologies and myths about the vibrant history of the wireless. Step by step, she realizeses how the story of the genius turns into a story about herself. This is her choreographed story about the life as a genius.


Alternating Currents

Alternating Currents is an intermedial electricity concert choreographed and performed by Maria W Horn, Stina Nyberg and a frequency-controllable Tesla coil. The concert is one part of a long-term obsession with Nikola Tesla and the early 1900’s phenomena of touring electricity shows. There is a lack of public fascination with electricity, but XXX are here to cure that.


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.


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


Köttinspektionen Dans 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 consists of guest performances, the Performance Art festival “Revolve”, and residencies with public presentations.

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 offers hearing loop, contact us before your visit. The premises are largely accessible for wheelchair and permobile use, as they are located on the ground floor. Unfortunately the space is lacking accessible toilets. We are working on getting permission to build one.

All of the programme is free of charge. Welcome!


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

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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 in the field of the performing arts as an educator, dancer, choreographer and curator and has an MA from New Performing Practices at DOCH, Stockholm. Her artistic collaborations often takes on a curatorial body, for example in the collaboration with The Blob/Anna Efraimsson, We happen things/Manon Santkin and Moa Franzén and together with Kajsa Wadhia, she leads Köttinspektionen Dans, a platform for experimental dance and choreography in Uppsala. Her own performances can be described as a feminist and philosophical laboratory, a desire to systematically highlight and challenge the relationships we have at hand when doing, or witnessing art.