double solo mirror residency maj 2020

Kajsa Wadhia och Tove Salmgren

Köttinspektionen dans

List of starting points/ ideas for mirroring (contaminating, surprising, supporting and reflecting)


•    Perform your solos simultaneously to each other (using the solo performance as a way of being an audience)
•    Choose one part of the others solo you really like, nourish it and develop it and give it back as a gift.
•    Create a subjective documentation of the other persons solo.
•    Make a “cover” of the other persons solo (or part of it). Interpret the work and apply your own artistic expression.
•    Dialogue. Watch the other persons solo, as if it is asking you a question. Answer with a performance.
•    Interpret (misinterpret) the other solo into a score, and give it back to them.
•    Make a score out of your own solo and give it to the other person to perform. The other persons task is only to interpret and perform the score, not to represent the original work.
•    Speculate into each other’s practices by making ”shadow dances”- the way the practice could have been shaped, in an alternative existence.
•    Give away material for the other person to inherit.
•    Steal from each other and incorporate the material into your own solo.
•    Merge the two practices into a new practice, give it a name, or a persona.
•    Make a surprise soundscape for the other artist’s work.
•    Make a surprise light design for the other artist’s work.
•    Make a surprise stage design for the other artist’s work. (decide what space, what props etc).
•    Make a surprise guest appearance in the other persons work.
•    Make a surprise programme text about the other persons work.
•    Pillow talk. The artist lays on a bean bag and speculates around their hopes and dreams for their art or artistic practice. The others affirm everything being said.
•    Fake healing (from André Soares). Write on a piece of paper one concern or worry about your artistic work. The other person reads the note and then performs a fake healing.
•    Tell the truth and lie about your work. While performing the solo, tell the truth about the work, present us with concrete facts about the work. The change into lying about the work. Make up whatever facts and stories about the work. (from Manon Santkin)
•    Talking and retelling. One person talks about specific questions and concerns about their work right now. Allow yourself to be spontaneous and vague. The others take notes and then retells what has been said.





Is there a possible meeting point between the two?


Could something ridiculous be amplified into something powerful?

Cover on Kajsa's sound




some thing
no thing


There has always been something.
Before there was something, there was only nothing.
Which do you think is more likely?

Amplifying sounds  acoustically, DIY!

Watering jug as instrument/amplifier

Kajsa's cover of Tove's performance "This is not a performance"

Something as expression

Nothing as expression

Nothing as experience

Something as experience

Something as a trigger

Nothing as a trigger


Nothing as non theory
Something as non theory

Something as nothing
Nothing as something


Nothing as that which has no obvious space if not art
Something as that which has no obvious space if not art

Something as a generator of nothing (which we don’t know what it is)

Nothing as a generator of something (which we don’t know what it is)

  • Löjligt är viktigt
  • för att möjliggöra plats för det som inte är (helt) löjligt (också)


simultana motsatta berättelser

Working with inheritance and contamination. Tove gave me her empty "Objects and speech" score sheet.

I filled it with a poem contrasting the very mundane objects with grandiose, emotional language.