Performance / 1,5 hour / Performed by Johanna Balet Lettmayer, Sofia Eliasson, Cecilia Jonsson and Clara J:son Borg.

Commissioned by Prøverommet Bergen in collaboration with Galleri Krondborg and performed as a part of a walking exhibition at the Flöjen mountain in Bergen (NO).


For the work three women got invited by the artist to have conversations surrounding physical and verbal defence, ideas about moral purity and constitution of care. The conversations alternated between physical scores, storytelling and singing.


Topics that were investigate where different physical positions of a straight arm. This in relation to that the human spices defend tenancies changed radically when it went from transporting itself with only the legs and used the arms to carry things with. In addition to this the women’s share their experience of physical self-defence.

Performed was also a score in which the arms try to think thought everyday caring gestures such as hugs, holding hands or touch and the woman continued sharing stories, but about verbal self-defence.

Through out the performance the woman took turns to sing along to Devendra Banhart’s song Taurobolium played back from headphones. The three other performers existed as a supportive choir to the singer and fill in words left out.

For another part a different song was sung written by the artist about carppy bodies and it got accompanied by the woman trying to find different ways in producing physical noise with their bodies in the relation to the environment and their physicality.


The work wants to create a space in which woman can share their experiences of physical and verbal self-defence and the work is also in relation to the position at the mountain where the work was made due to its past at a military base and a point of defence for the Norwegian military.




Performance / 20 min


Performed during the event HOT BLEND, a performance evening initiated by the artist Elias Björn and Clara J:son Borg, produced by Prøverommet Bergen and Visningsrommet USF Bergen as a part of the dance festival Oktoberdans 2016.


Performed at Open Avond(s), de Appel arts centre, Amsterdam. Curated by Emma Panza.


The letter U is a performance that interacts between physical scores, balancing acts, story telling and singing. The performance is a based on the artists research towards letting cognitive, emotional and kinetic processes interact with one another and how to stay in the create gaps created between them. The fragmented acts and stories in the performance wants to both look at historical events and investigate how that is still present in our everyday language and movements. Stories that are presented in the performance includes a joke that the artist got told when traveling in Romania, about how to recognize a Russian soldier from the USSR-time, the artist granddad’s thoughts on Romanian people, ideas about language as a soft power, how words can form a recognizable identity, the translation of the German word Umwelt and the artist niece understanding of Norway in forms of movements.


The performance aim to grasp systems, phantasies and logic of how we human subscribe value to things like nationality, identity, individuals, relationships, borders and politics.








Link to documentation:



HD Colour video / loop (6.06 min) / Sound


The work was produced as a part of the artist final project for her MA degree in Fine Art at The Piet Zwart Institute, Rotterdam(NL).


“What is the nature of moving in real time? What is the nature of moving in real time when you have a time pressure of 15 minutes?“


This are the two opening questions of the work, heard at the same time as an images of a tapestry with nature and animal motives are projected in a dark space. Images, collected from at tapestry from around the year 1650, hanging at the Rijksmuseeum Twenthe in Enschede (NL). The images in the dark space seam to float and it is impossible to understand where the space begins or ends.

The camera movements of the footage captures and plays with the projected image and its movements becomes an extended choreography; a dance without a present of a human body. The voice over accompanying the images in the work functions a guide within the dark space; a non native English voice performing stories, questions and reflection structured around the images on the tapestry and reflections from an interview with a nurse student in Enschede (NL) about immaterial labour and care. A monologue that gets interrupted by sudden screams that replaces the verbal perforamce. Screams that also is a stand in for a disappearing body, a non-visual body and a reminder of hierarches of communication.





Performance / 10 min / Performed by Kari Robertson, Katherine McBride, Viktor Timofeev, Dan Tuomey, Ahs Kilmartin, Angelica Falkeling, Anni Puolacca, Connie Butler, Tracy Hanna, Clara J:son Borg


Executed at Assemble relatives, Piet Zwart Institute Graduation Show, RAM-foundation, Rotterdam, The Netherlands. The work was produced as a part of the artist final project for her MA degree in Fine Art at The Piet Zwart Institute, Rotterdam (NL).


The term Karoshi is Japanese for death by over work. A condition that can occur when too much work is performed with out resting. Karoshi seams to appear without any previous symptoms of sickness and it takes a physical form as a heart attack, a stroke or a chock. The performance is trying to look at the phenomena from a perspective of where our physical intelligence gets lost in verbal rules (The letter K), when a behaviour forms a social choreography (Karochi) and how to encounter the demands that culture and capitalism set up as believes in how we need to perform to become successful (you lazy bastrads.).




Performance / 20 min

Collaboration with Angelica Falkeling,, Madison Bycroft, Katherine McBride.


Executed at The Politics of Performance and Play. Feminist Matters” at the Institute for Philosophy, Leiden University, Leiden (NL) and at TENT Rotterdam (NL).


In Always more then on(c)e is it the first time the artists bring their individual practices together to present them collectively. They share an affirmative ethics rooted in what Rosi Braidotti terms a matter-realist feminism that considers art making to be propositional; to be a site/mode/practice for considering and co-constituting possible relations for worlds in becoming.


In the lead up to the performance, the four artists immersed themselves in studio-based deep hanging out. The sessions facilitated a political playfulness, in which intimacy towards one another and vulnerability was essential. Through this workshopping, the artists address and perform their central questions: what constitutes a “we”, and through what processes can such constitutions take place?


Always More Than On(c)e presents as an opportunity for play, risk, wildness and encounters with the differences and commonalities found in each others’ practices and in the audience. What does it mean to carry? To hold and fall? To encapsulate and transport another? To expel or explode an interior? How can different subjectivities flow in, around and through each others’ bodies? How can one voice carry that of another? How can one facilitate breath and enable an inhale? How to enable a gap in between while losing control and then use this space as an invitation for an embrace? How does one enact a hospitality?

Through doing, using their bodies and their voices, the performance works through how the singular might resonate within the plural and how the plural might be constantly reconfigured by changing singulars in an intra-active

congealing of agency.




Performance / 30 min / Performed by Dan Fogarty, Raluca Croitoru, Anni Puolacca, Katherine McBride, Clara J:son Borg.


Executed at the Goethe institute in Rotterdam during the Museumnacht 010 2016.


Together we wait for us moves through notions of physical movements, gestures, vocal sounds and text and are investigating what our understanding of what we can be. The performance starts of from a position where the performers are trying to connect with the audience through breading and moves over to fragmented acts; a reading about intense short-term-relationship, call and respond of vocal sounds, an improvised duo where the performers try to find a physical support structure while having a conversation about the afterlife of death, a reading of speculations around what a community is theorised as, a monologue on how fear got colour codes in the USA after 9/11 accompanied by an energetic dance. This ending in an invitation from the performers to the audience to shake with them; to let everyone in the room exist as an vibration.




Performance / 15 min

A collaboration with Emma LaMoret och Amol Paktil.

Produced and executed during the XXI CSAV-Laboratory; Materials for performance, directed by Yvonne Rainer and Andrea Klein and hosted by Fondazione Ratti, Como Italy.


During the residency workshops the participants got engaged in an intense discussion around the possibilities of how to, through a body, create a notion of empathy and communicate this to an audience. During the conversation we started to read the book Theatre of the oppressed by the Brazilian theatre director Agusto Boal and the performances choreography is constructed around his ideas and exercises about how to create a physical awareness in a community to increase the social engagement. The performance was also inspired by pedagogical thoughts concerning rhythmics and how that can increase our human notion of empathy.




HD colour video / 9.36 min / Sound


The two men in the video are instructed by a female voice how to interact with each other. The role of the most dominant character is shifting between the men and at some points they also performing on their own. This narrative is interlaces with a black frame containing a transcribed monolog from a healing session in a church. The monolog is talking about faith, healing and addressing an audience about possible seen miracle.

A third sequence accrues later in to the video where the men transform the former spoken instructions in to a wrestling chorography.






HD colour video / Loop / No sound


The videos imagery consists of fragments of a re-staging of a youtube dance course in which a ball room swing is thought.

The re-enactment is performed by two older women, which are acting out a routine of movements based on still images from the video. The re-transformation of the still images in to motion again becomes a way to scrutinize the cerography of the dance and the movements executed between the two bodies creates a gap in which a non- verbal dialog takes place. This is intensified by the slow motion pace of the footage and its silence.






HD colour video / Loop / Sound


The work views five people playing a game on wood logs in which the object is not to touch the ground. The logs are placed in a circle with enough space in between to crate a difficulty for the people to move around on them. They performers need to negotiate and collaborate with each other to find a way to move around on them in a clockwise turn. As the game goes on, an exploration of the structure of the movements accrues and also the verbal communication and language is started to play with.


The video follows their attempts in trying out different structures invented, as they are moving, of the game. In this interaction different ways of finding affinities between the performers is happening both on a verbal and on a physical level. How a shoe size or poem can change the conditions for the game. The work also talks about the individuals agency within a group. How much of the own subject that needs to be negotiated in advantage of the collaboration?


8E (2015)


SD video / 8. 18 min / Sound


Six out of 26 students accepted the artists invitation to get together after 12 years and try to re-enact a gym class and a dance routine that was thought to them in secondary school. The video is a documentation of this attempt and this site specific performance, at their old gym hall, wanted raise questions concerning muscular memory, the individual memory and its transformation in to the collective memory. The group moves, discuss and try out different routines in the search for the right combination of movement that the dance consisted of.

At a point the former gym teacher turns up and the dynamics in the group starts to shift. Conversation about memory, names, grades, performance takes place and as the teacher then takes on the role as the teacher again and correct the group’s choreography time gets in to a very palpable position.




An audio walk / An installation / A happening

Collaboration with Karin Granstrand Performed and exhibited at Galleri S:t Gertrud, Konstfrämjandet Skåne, Malmö


“Framåt, förbi och tillbaka igen” was an interactive exhibition that begun witha walk and concluded as an installation. With assistance from an audio guide, the participants went out for walk in the neighbourhood around the gallery. The 22 minutes audio guide have three main parts where one is instructions for the participant where to go and what to do. The other part is stories read out about Karin and I’s ambivalent relationship to material things. The third part is a sound scape created to direct the participants vision and movement in the public space.


One of the most important instruction in the guide was to bring an object back from the walk, and leave it somewhere in the gallery space. By doing this an installation was build in the space and a range of conversation took place about what objects people had chosen, what have drawn their attention and what value they saw in them.