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I do think we can shift the way things around us are understood. Med stöd av ABF Stockholm. In the text you wrote for the show it said: Ecstatic Resistance is a project, practice, partial philosophy and set of strategies. This is my labour and this is how I talk about things. So even my writing and my curatorial work are grounded in swingers köpenhamn bilder nakna tjejer ideas about movement and movements. Under den kommande hösten deltar hon även i Manifesta 8 och har sin första soloutställning i USA, på Matrix, Berkerley Art Museum. I think now that Im continuing in everything equally it is something I negotiate because of disciplinary boundaries that other people use to categorize and understand. KE: But would you say that both of you are the authors of this work? MPA bor i Brooklyn, Brooklyn NY och är en feminist och exhibtionist som följer en levande konstpraktik. ER: I read these three words next to each other while working on this project and they struck me as a simple way to point to differences and possibilities. And I liked that connection as well. Marius Dybwad-Brandrud, argenis Faria, janax snickeri, intervju MED emily roysdon AV KIM einarsson.8 2010 på en båttripp i Stockholms skärgård (ej översatt). Roysdon har arbetat med förhållandet mellan användning och reglering av offentliga platser. So I dont feel like people are not instrumentalized, because there is so much conversation. So it is interesting to think of a different vocabulary. At that time I was working in a collective and really experiencing these things as well as thinking critically about them. Jag drogs till Sergels torg som plats för att jag genom åren har undersökt hur politiska rörelser representeras. The other element of that video is me thinking about representations of groups. And if she would be trained more than she is, it wouldnt work. It is just in my nature not. And how can I bring in certain political issues into the space without disarming the political agency of it, and instrumentalizing the artists and their works. ER: My own interests and passions share a vocabulary with the project, but the concept was a way of interacting with a set of ideas and potentials that I was experiencing in the worldI didn't develop. My process is very much based in language, and a project can really be born in the relationship between two words. A lot of the images I would like to create have bodies in them. That is why Sergels Torg is so fascinating. It is something I struggle with in a way though, because I dont want to have invented something to explain my own practice. In particular I think Sense and Sense made sense for how I was thinking about Sergels torg as a utopian space, a practical site, an ideological location, and a representation of the city.
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So we come at it from different perspectives, and that makes a great conversation. Sometimes, I think some of these projects deal too much with representation and too little with agency. But it all comes from the same place. I like those kinds of relationships. Like when thinking about this project I do for Konsthall C, I actually go back to the place of Do I want to be an artist? Whats your take on choreography? So I have known her for a while and I have watched her. So its a kind of collaboration, maybe a queer collaboration. KE: As you mentioned earlier, you have curated a group exhibition where you developed the concept ecstatic resistance, which was also the title of the project. 2008 var hon stipendiat på Iaspis, då hon också presenterade sitt performance Work, Why, Why not på Weld, Stockholm. That would be my most basic justification for what I allow myself. And he said: What am I doing? Sense and Sense är ett projekt utvecklat på plats i Stockholm. KE: How do you relate the term performance?