This workshop starts from one of the simplest things we do: sitting. Through scores, listening and duration, we explore how bodies relate to time, space and each other when movement is reduced to a minimum, and how much happens in what seems to be stillness.

The workshop draws on sitting scores that Heidi Rustgaard has developed with the Trinity Laban Dance Collective, the artist cohort at Rose Choreographic School (Sadler’s Wells) and dancers in Oslo. The work grows out of her One-Note practice, in which she uses a single movement or musical note as choreographic material.
The material is minimal: the act of sitting itself, how we enter and leave it, and how we move through the space. We work with transitions, positions, and pauses; slowness, repetition, and subtle shifts; and sitting alone, together, side by side, and facing one another. What happens when many bodies sit together, and how do small movements affect the whole?

Drawing on the minimalist dance tradition, including Lucinda Childs and Yvonne Rainer, we challenge the neutrality it is often associated with. Posture, gaze, clothing and placement become carriers of meaning that can be read, understood and misunderstood. Stillness here is not absence but a physical listening practice and a shared pause. There will also be time for conversation and reflection along the way.

The workshop is for professional dancers, dance students and other movement artists interested in scores, minimalism and performance practice. It is open to all ages and bodies, and the score can be adapted to different needs. No particular technical background is required, only curiosity and a willingness to stay with sitting and slowness.

SLOW RIFFS / FIVE STAGES OF YES is a transdisciplinary sonic choreographic work working from Heidi’s one-note concept. Positioned between concert and performative installation, it unfolds as a spatial sound environment that continuously slows down—an immersive landscape of sculptural bodies and resonant sound that the audience can navigate. The piece reimagines the electric guitar as a gendered cultural artefact, queering its use by limiting its sonic material to a single note.

By tuning every string to one note, the work subverts “guitar hero” tropes and masculine-coded notions of mastery. Sound becomes a space of intimacy, care, and refusal rather than dominance or spectacle. Through the sustained repetition of a single note, the piece distils classical dramaturgy into an extended inhabitation of a collective, destabilising state of vibration.

The choreography is minimal, sculptural, and concept-driven. Movement emerges from the body’s relationship to the guitar. Recurring gestures, such as stroking, rubbing, gliding, and strumming, produce resistance, vibration, and presence and blur the boundaries between instrumental play and embodied pleasure, exploring sound as both physical and affective material.

Concept and Choreography: Heidi Rustgaard
Performers: Moica Bothner, Ida Jacobsen, Linn Nystadnes, Karen Røise Kielland & Heidi Rustgaard
Sound design: Ross Flight
Light design: Phillip Isaksen
Costume and set design: Ulrike Steven
Dramaturg: Martin Hargreaves
Funded by: Norwegian Arts Council, Fond for Lyd og Bilde, Trinity Laban Seed Funding and Rose Choreographic School.
Co-production: Høstscena Ålesund, RAS Sandnes, Rosendal Teater, NO and Köttinspektionen Uppsala, SE

A rehearsal of coded communication

Loud noise, extended speech and communication through touch. “Volume 1” is a collection of practices that obscures and codifies language to the extent of being illegible by surveillance. Through communication forms inspired by bats, audio jamming devices, gestures and references from black and queer popular culture, the performance explores coded language as a form of resistance.

In an era where right-wing extremism and techno-fascism increasingly permeate our society, marginalized communities face unprecedented surveillance (digital, institutional, and physical). “Volume 1” emerges from this reality as a speculative performance practice: a group of four performers gather to rehearse alternative communication forms, developing strategies to hold critical conversations beyond the reach of hyper-surveilled systems.

Choreography and sculptures: Amina Seid Tahir & Adam Seid Tahir
Co-creating performers: Agnese Noah, zola kalala, Amina Seid Tahir, Adam Seid Tahir
Co-produced by: Köttinspektionen Dans
Supported by: Dance Cooperative, Dansstationen, Uppsala Region, MEMA Dans, Uppsala Konstmuseum

Revolve Dreams and Dissent departs from performance as a site where dreaming and resistance coexist—not as opposites, but as interdependent practices. Through choreography, visual art, storytelling and embodied encounters, the performances unveil shifted realities where the absurd, the sensuous and the humorous coexist with vulnerability and sustained presence.

In works by Amanda Apetrea & Benjamin Quigley, gergő d. farkas, Roxy Farhat, Ailin Mirlashari, Netti Nüganen and Iris Smeds, different modes of world-building activate bodies as sites of transformation, allow narratives to crack open and bend time in unfamiliar directions. Dreaming is understood not as escapism, but as a political capacity—a site for renegotiation, mourning, desire, imagination, critical resistance and radical hope. The programme invites multiple modes of presence: as observer, participant or compassionate witness, making space for dreams, doubts and disagreements.

Programme
Friday 22 maj 2026

Opening of festival
18.30 Uppsala konstmuseum, 1A

gergő d. farkas – Deep Fake
Time: 19.00 – 19.45
Location: Uppsala art museum
Language: English
Tickets: 50 kr including service charges- book here

Deep Fake (2021), gergő d. farkas’ first choreographic work is a gathering of objects, humans, sounds and movements dancing on the collapsing borders between living and inorganic, material and immaterial. It´s an attempt to play with the structures that secretly (re)produce these binaries. Shifting between extremes such as the role of a host or an absent body, the performer is accompanied by composer Márton Csernovszky’s sweet yet eerie, sensitive yet expansive music and by a tender object called Grid.

Deep Fake challenges the monocracy of the solo format by gently directing the spectator’s attention to the decentralised performance of sound, light, and object, turning the space into a living and breathing entity. While dreaming about new possibilities of coexistence, the work is driven by the question: how can we persuade the human gaze to become a little bit less anthropocentric?

Choreography & performance: gergő d. farkas
Assistance and art direction: Endre Cserna
Music: Márton Csernovszky
Lights: Kata Dézsi
Advice: Imre Vass
Video: Gergely Ofner
Jewellery: Balázs Ágoston Kiss
Financial management: Sín Arts Centre
Thanks to: Sín Arts Centre, Workshop Foundation, Aerowaves Europe
Premier: art quarter budapest

Netti Nüganen – Ash, horizon, riding a house
Time: 20.30 – 21.45
Location: SoundLevel, Spikgatan 6, Uppsala
Language: English
Tickets: 50 kr including service charges – book here

In a world where land, language and folklore have become commodities, the only place you’re welcome back is outside – where greenery is no longer the primary reference. Instead, uneven floorboards, illusion mirrors and trickster steps form profitable landscapes.

Nüganen, Kisling and Sova, as a reaction, open up their ice-manufacturing enterprise. In the backdrop of nightmares and constant dripping they navigate between multiple perspectives on locality, accompanied by CDJs and a banjo. At Earth magnitude they are specks of dust, and next to geological time as-if on speed. They trace locality from places where the influence of one dominant culture has made imported goods part of folklore, while the word ‘local’ still adds value when making choices as a tourist. “Ash, horizon, riding a house” is a series of chain-reactions that invites the audience to envision a belonging – one that cannot be seen from here. It must be imagined.

Concept, choreography: Netti Nüganen
Performance: Netti Nüganen, Pire Sova, Michaela Kisling
Sound design: Michaela Kisling
Scenography, costume: Pire Sova
Light design: Klimentina Li
Text: Netti Nüganen
Dramaturgical support: Bouchra Lamsyeh
House costume: Zody Burke
Ice moulds: Madlen Hirtentreu
Production management: Partner in crime, Kaie Küünal
Photos: Ive Trojanović

Thank you to: Valentin Alfery, Gibrana Cervantes, TURBO residency Impulstanz, ERROR residency CDMX, Arvo Pärt Centre
A production by Netti Nüganen in co-production with Tanzquartier Wien and Kanuti Gildi SAAL, Tallinn.
Supported by: the Municipal Department of Cultural Affairs, Vienna, the Austrian Federal Ministry of Arts, Culture, the Civil Service and Sports, Cultural Endowment of Estonia, Valmiera Summer Theatre Festival
Premiere: 2.05.2025, Vienna

Ailin Mirlashari – The Sun Never Says to Earth, I Owe You
Time: 13.00 – 14.00
Location: The performance starts at Västgötaspången and closes at Uppsala Art Museum.

In The Sun Never Says to Earth, I Owe You two healers endeavour to communicate with Sufi poets of a past millennia with the aid of a parabola, aiming to find answers to burning questions of our own time. The piece moves between ritual, absurdity, speculation and collective longing, and was first performed at Liljevalchs Gallery in Stockholm. During Revolve, the artist Ailin Mirlashari continues her research on how milieu and voices from the past can be activated in the present.

Roxy Farhat – Talk and workshop
Time: 14.30 – 16.00
Location: Uppsala Art Museum, Floor 1
Language: English
Tickets: 20 kr including service charges – book here

What role do art and culture play in a time marked by climate collapse and the dismantling of democracy? Fiction is full of stories of popular uprisings, while reality shines in various shades of apathy. What is a reasonable response to the sixth mass extinction, to a live-streamed genocide, to the rise of fascism?

Welcome to a lecture, followed by a brief workshop with the artist and activist Roxy Farhat. Together we will listen, think, write and discuss difficult questions of our time with the aim of finding a more courageous and radical position. The program is part of a longer artistic and practical investigation of how a radical art practice can take shape, and how we can all become more involved in creating a different reality.

Amanda Apetrea och Benjamin Quigley –DANCERAMICS
Time: 15.30 – 19.00
Location: Uppsala Art Museum, Floor 1
Recommended for audiences: 18+

DANCERAMICS takes its point of departure from the idea of the future as something malleable—like clay. In this work, Apetrea and Quigley have repeatedly asked themselves why we humans continue to shape the same unbalanced form over and over. Which norms and power structures do we reshape with our bodies? And how demanding and uncomfortable is it to break with these internalized patterns?

DANCERAMICS is grounded in the insight that heterosexual desire is difficult to separate from heteronormative structures, and that the heterosexual duet carries a long history of romanticized coupledom, violence, and oppression. The artists’ own bodies function both as sculptural material and as a projection surface, allowing the viewer to reflect on their own position within the complex web of power we call culture. Can desire, bodies, and power be renegotiated, or are we doomed to remain stuck in a loop?

DANCERAMICS is a durational performance lasting 3.5 hours—drop in whenever you like, come and go as you please, or stay and endure with us!

By and with: Amanda Apetrea and Benjamin Quigley
Mask and costume design: Daniel Åkerström-Steen
Technician: Erik Valentin Berg
Graphic design: Anna Hedström
Producer: Sara Bergsmark (Johnson & Bergsmark)
Administration: Interim Kultur
Supported by: The Swedish Arts Council, The Swedish Arts Grants Committee
Thanks to: Katya Lukoshkova, Carl-Michael Edenborg, Gustav Löwenhielm, Studio 703, Nyxxx, Martin
Vogel, Maud Karlsson Lima de Faria, Martin Lima de Faria, A Quinta das Artes, Butiken i Hörken, and MDT

Iris Smeds – Dead Hand’s Stew – a play about breeding
Time: 17.30 – 18.00
Location: Uppsala art museum
Language: English
Tickets: 50 kr including service charges – book here

Iris Smed’s text-driven and surrealistic works are characterised by a dark, absurd humour. Dead Hand’s Stew – a play about breeding takes its starting point in the new film The Little House in the Food Court, in which a theatre group rehearses an adaptation of Little House on the Prairie. The performance work revolves around repetition and reproduction, rabbits and hands. In a linguistic inbreeding, physicalities become entangled and shifts in meaning arise. Dead Hand’s Stew was originally created for the Institute’s performance festival in Vitsaniemi in 2025.

Netti Nüganen – Ash, horizon, riding a house
Time: 20.00 – 21.30
Location: SoundLevel, Spikgatan 6, Uppsala
Language: English
Tickets: 50 kr including service charges – book here

In a world where land, language and folklore have become commodities, the only place you’re welcome back is outside – where greenery is no longer the primary reference. Instead, uneven floorboards, illusion mirrors and trickster steps form profitable landscapes.

Nüganen, Kisling and Sova, as a reaction, open up their ice-manufacturing enterprise. In the backdrop of nightmares and constant dripping they navigate between multiple perspectives on locality, accompanied by CDJs and a banjo. At Earth magnitude they are specks of dust, and next to geological time as-if on speed. They trace locality from places where the influence of one dominant culture has made imported goods part of folklore, while the word ‘local’ still adds value when making choices as a tourist. “Ash, horizon, riding a house” is a series of chain-reactions that invites the audience to envision a belonging – one that cannot be seen from here. It must be imagined.

After party with DJ at Köttinspektionen
Time: 22.00-24.00
Location: Säbygatan 15
In collaboration with RUSMUS and Haka

Revolve Dreams and Dissent is a collaboration between Köttinspektionen Dans and Uppsala Art Museum and part of a long-term engagement with performance as a living space for experimentation, collective dreaming and artistic risk-taking.

Curators: Rebecka Wigh Abrahamsson, Uppsala Art Museum, Karina Sarkissova and Kajsa Wadhia, Köttinspektionen Dans

In collaboration with Dansutveckling, Uppsala Region and Uppsala Municipality X Kulturlyftet.
Supported by the Swedish Arts Council.

A performance that moves in the borderland between dance, performance, and visual art, the work explores the body as a living archive—a language that folds in on itself and carries traces of both the legible and the illegible.

ZERO is that which precedes everything, or what remains when everything has ceased. An origin and a final threshold at the same time. The exit from the mother’s body, and the entrance into this world. The mouth, a threshold where words attempt to be born. The throat and stomach resonate with their ghosts. Breath that burns like fire, prior to language.

ZERO is an attempt to capture the intangible, to outline the human desire to make a world through matter. A gesture that stumbles at the very edge of meaning, showing the impossibility of grasping that which, like liquid, slips through the fingers.

Conceived as a performance-installation, the piece is a poetic exploration where the body is a living, mutable language, a surface that folds over itself, overflowing its meanings. The performer inhabits the space as a fragmentary archive: a body full of gaps, tensions, and desires in the process of reconfiguration. This body coexists with a constellation of speculative objects as vestiges of non-linear time. Memories inscribed with an extinct language, or one still to come.

While our venue Köttinspektionen undergoes renovation during 2026, we’re presenting this year’s complete programme at Uppsala Art Museum. We’re excited to explore what happens when choreography and performance inhabit the gallery space—and we invite you to join us in this exploration.

The artists we’ve invited share our curiosity about how dance can activate the museum environment. Together, we explore how choreography can activate and question the museum space—its architecture, its histories, and the ways bodies, both performers’ and visitors’, move through it. This collaboration creates space for works to be reimagined in dialogue with their surroundings, opening new encounters between performance and visual art.

This temporary home allows us to continue our commitment to choreography as an expanded field and as critical practice, while bringing dance into new public spaces in Uppsala. We look forward to welcoming you to the museum throughout the year.

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.

ACCESSIBILITY AT KÖTTINSPEKTIONEN

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.

Our public programme has free admission. Welcome!

Köttinspektionen Dans is a performance venue and place for experimental dance and choreography in Uppsala, led by choreographers Karina Sarkissova, 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 the theatre group Uppsalas fria teater.

The whole program see kottinspektionen.org

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