Circles #2 – Choreographed reading circle and Beauty and the Beast

Circle #2

Sunday the 15th of October (TBA)

The day starts with a workshop/a choreographed reading circle hosted by Frida Sandström and finishes with the performance “DEAD” by Beauty and the Beast.

Free admission.

Booking is recommended due to very limited amount of seats.

Book your ticket at

DEAD 2017 Photo: Marta Thisner

Amanda Apetrea & Halla Ólafsdóttir

DEAD by Beauty and the Beast

There is a story that tells of Beauty and the Beast’s fascination with their own shadow. They kept looking at it, scratching it, pecking at it, fisting it, burning it, licking it, until their shadow woke up, became alive and ate them. Beauty and the Beast are now “DEAD”.

For more than two decades the duo Beauty and the Beast, Amanda Apetrea and Halla Ólafsdóttir have remained a mythical force in dance and have created new lyrical expressions with their gravelly voices and poetic dances – musing over love, heartbreaks, friendship and togetherness, war, death and sex

Their new show, DEAD, is a pornographic and dystopian dance performance that merges dance, poetry, music, the beauty of darkness and the in between, seeing inner and outer realities. Exploring expressions of sexuality, body and gender flirting with the power of horniness and lust. A power that they believe can move mountains.

The show will be performed under consent in agreement with its audience, which means that anyone who enters agrees to what ever will happened during the show. It also means that anyone can leave at any time. As always it is about you and them and all the love in between.

About Beauty and the Beast

Amanda and Halla go way back and have been working together and apart in various constellations and projects for years now. It is always about friendship and they are never alone. They have collaborated with for instance Beauty and the Beast, jazz dance, danceoke, Nadja Hjorton, Emma Tolander, The Rite of Spring, spiritualism, realism, feminism, Sidney Leoni, The Swedish Dance History, Stina Nyberg, Zoë Poluch, the ÖFA-collective, Emma Kim Hagdahl, Ben Evans, THE FUTURE, Luís Miguel Felix, Mica Sigourney, I’m a very understanding woman, Mychoreography, Jessyka Watson Galbraith, Lisen Rosell, Chrisander Brun, Mårten Spångberg, Shaking the habitual, Ludvig Daae, Martin Lervik, Undertone, A Series of Event 2012, economy, crisis, Marcus Baldemar, Krööt Juurak, Maryam Nikandish, Alice Chauchat, Marcus Doverud, Emelie Garmén, Johan Thelander, Siri Hjorton Wagner, John Moström, Rebecka Stillman, Uri Turkenich, Märta Thisner, Rami Jawhari, Anna Sóley Tryggvadóttir, MDT, Carl Olof Berg, Dorte Olesen, dancing in the dark, Lovísa Ósk Gunnarsdóttir, Franz Edvard Cedrins, smoke and wind, Valgerður Rúnarsdóttir, Andros Zins-Browne, Elizabeth Ward, Reykjavík Dance Festival, Manon Santkin, Mariana Suikkanen Gomes, INPEX, Mattias Lech, Franziska Aigner, Zhala, Samlingen, Tom Engels, BUDA, Linnéa Martinsson, Andrea Csaszni Rygh, Louise Höjer, Karin Dreijer, Iceland Academy of the Arts, Ivar Furre Aam, Riksteatern, Agnes Quackels, Eliisa Erävalo, Iki Gonzalez Magnusson and Sandra Akiiki, love, lust and fear.



With and by: Amanda Apetrea and Halla Ólafsdóttir. Light and scenography: Chrisander Brun. With music from: Karin Dreijer, Linnéa Martinsson and Zhala Rifat. Text: Amanda Apetrea and Halla Ólafsdóttir. Tailor: Kajsa Lisa Larsson. Producer: Sara Bergsmark. Photo: Märta Thisner. Professional feedbackers: Nadja Hjorton and Chrisander Brun. Sound mix: Elize Arvefjord. Technician: Björn Kuajara. Administrative structure: The Artist Cooperative Interim kultur. Co-produced by MDT, Atalante, Dansstationen and BUDA Art Center, with support of The Swedish Arts Grants Committee, The City of Stockholm and Swedish Arts Council. This presentation is part of the project [DNA] Departures and Arrivals, which is co-financed by the Creative Europe program of the European Commission.

Pictures below is from DEAD 2017. Photo:: Marta Thisner

Residency Mariana Suikkanen Gomes

Foto: Mariana Suikkanen Gomes

During a couple of weeks in July, Mariana Suikkanen Gomes has a residence at Köttinspektionen, a time when she intends to develop concepts and materials for ”The Tender Protest Series”, an ongoing work that we at Köttinspektionen have had the honor to follow earlier this year when Mariana, together with the artists Frida Klingberg and The Disengaged Free Jazz Orchestra, participated in this years first program; Circle #1: a two-week artistic exchange that was shared through a full day of performances and public events.

MARIANA SUIKKANEN GOMES is an artist and performance-maker dedicated to practices and rituals that locate themselves in the intersection between personal encounters, collective activities and performative presentations. In her current work she explores the realms of memory, intimacy, tenderness and vulnerability interlacing research on liveness, the emancipated actor and audience as witness/participant with artistic activism in the fields of radical softness and body positivity.

Mariana holds a BA (Hons) in LIVE ARTS from Kingston University and an MA, The Autonomous Actor, from Stockholm Academy of Dramatic Arts. She is involved in various loving collaborations, most intensively as one third of the collective GLQ/GomesLechQuigley and runs the production platform Lonely Arts Club/Workplace Sthlm as well as her own organisation BAFFLED BUT PERSISTENT.

Köttinspektionen Dans

"Rudy" av Ellen Söderhult, Köttinspektionen 2016. Foto: Tove Salmgren

More information soon about the 2017 programme!


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 within the field of dance and choreography itself. 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.

Artists documenting


In 2016 Köttinspektionen Dans invited the five artists Frida Sandström, Zoë Poluch, Moa Franzén, Maria Stiernborg and Barkman Bark to document/ respond artistically to the choreographed reading circles that were part of the programme series Sunday Circles, at Köttinspektionen in Uppsala. The choreographed reading circles were experimental sessions proposed and led by five different choreographers. What kind of choreography is reading? Can the recognisable format of a reading circle enable a playful meeting between people with and without prior knowledge within the dance discourse, a meeting in between theory and practice; between what is said and done?

Each reading circle a new artist were invited to answer thought something with their eyes, their ears, their hands or thought to the reading circle, with a material that can be printed on paper. The invited artist were asked to participate on the same conditions as other participants; as spectator/listener/witness or as reader/dancer.

The five artistic documentations that were created in relation to the choreographed reading circles, will be released in a printed publication later this year. Graphic design by Jonas Williamsson.

Invited artists in chronological order 2016 #1 Frida Sandström #2 Zoë Poluch #3 Barkman Bark #4 Moa Franzén #5 Maria Stiernborg


Frida Sandström

“A remote communication”


Zoë Poluch

“Get going and call it dancing”


Barkman Bark

“Minnet, det förflutnas teater”


Moa Franzén

“En läsande mun är alltid naken”



Frida Sandström is an artist, writer and critic based in Stockholm. With a BA in Journalism from the University of Gothenbur, she is currently enrolled in the Master’s program in New Performative Practices at Stockholm University of the arts. She is the producer of art collective MYCKET and part of the editorial board of Paletten Art Journal. She writes currently for Feministiskt perspektiv and for Kunstkritikk and she is currently guest editor for an issue of the magazine Kritiker, focusing on movement, togehter with Moa Franzén and Caroline Taracci Nilsson. Frida works within the collaboration Neshast, togehter with writer Samira Motazedi, and she is involved in the unruly conversation Kapoff – likecommentshare together with artist Angelica Falkeling.


These days, Zoë Poluch wonders how and what a local practice can be, compelling her to decipher what ‘local’ and ‘practice’ really want. The practice at stake is choreography, the field in which she completed a master’s degree at DOCH, Stockholm in 2012. Zoë has not developed one distinct choreographic interest or signature, but instead experiments with the different shapes of writing, dancing, organizing symposia, performing, collaborating and choreographing. This work is currently attracted to challenging various modes of co-existence – more specifically in the shape of a site-specific project located in a 9-story building in a Stockholm suburb, which is being done in the context of the post-Masters course “Critical Habitats” at the Royal Institute of Art in Stockholm.


During childhood in a paper-mill town, Barkman suffered, growing up as tongueless as his surroundings as trees were chopped down to make pulp. Sheets of paper were taken elsewhere to be filled with sentences. Long after leaving his hometown, Barkman obtained a master’s degree in Literature and Archival Science from Znjevdijerr University, and a bachelor’s in art history and text encryption. Tasked with various forms of text sorting. In recent years, engaged in dubious burial and excavation of various types of literature. At night, with meticulous regularity, at a place in the forest nobody has yet been able to specify the exact coordinates of. The ritual bears strong streaks of equal parts planting and burial.


Moa Franzén (b. 1985) is an artist and writer based in Stockholm. Her practice encircles writing and performance and places itself in and between visual arts, choreography and literature. Franzéns work evolves around contradictory and complex acts and practices as sites and expressions for agency and resistance, by directing attention to and displacing hegemonic narratives and acts. Franzén often works within curatorial collaborations where the organization of temporary spaces for exhange and conversations are central. Franzén holds an MA in New Performative Practices from DOCH. She has shown work nationally and internationally, curated exhibitions, seminars and performances, and has been published in a number of publications and magazines.


Maria Stiernborg is a performance artist educated at Dramatiska Institutet, and at the Master Programme Art in the Public Realm at Konstfack, Stockholm. Through her artistic practice she is predominantly interested in the relation and the distribution of power between the artist and the audience and the outcome of breaking the ritual contracts.