Artists documenting 2016


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.