In general I have read Mouffe before for her theorization of agonistic public space, and thats why I picked up this text now in Stockholm. Especially the video, it doesnt work without her. How do you deal with the concept of ecstatic resistance in your own practice? Dean Spade, an old friend, happened to be in town at the same time so I wrote him into the performance. I like those kinds of relationships. ER: I have a lot of respect for Megans practice and also a little bit of fascination because I both identify with it and at the same time feel it so beyond myself in a way. I remember when I did a performance at Weld, here in Stockholm, some years ago. I nyare projekt kopplar jag det till en bredare innebörd i begreppet koreografi koreografi som organiserad rörelse i estetisk och politisk bemärkelse. Im less interested in a political activity within the space of the gallery. The reason the video works is because every once in a while, you understand what she is trying to do, and if she is not trying as hard as she is, then it doesnt work.

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(extatiskt motstånd) som ett sätt att tala om det omöjliga och imaginära i politik. Carl Palm, (utställningstekniker cecilia Nygren (utställningsassistent hans Carlsson (assistent). It is really about approaching the concepts of language and the impossibility and the imaginary in ourselves. I feel like my practice is very much about language and vocabulary. And I think they are categorically different. Stort tack till: Sara Brolund Carvalho, lawen Mohtadi, mats Stjernstedt och Index, michele Masucci. And if she would be trained more than she is, it wouldnt work. The most important thing for me is the conceptual frame, the improvisation and the who am I doing it with. KE: Did your approach to the concept change during the time your worked with it? ...


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MPA bor i Brooklyn, Brooklyn NY och är en feminist och exhibtionist som följer en levande konstpraktik. Its not like anybody could. Each time I have to ask What is it I want to do? My process is very much based in fri vuxen personlig för south carolina kön datum 3 language, and a project can really be born in the relationship between two words. That would be my most basic justification for what I allow myself. 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. So even my writing and my curatorial work are grounded in ideas about movement and movements. Studio-SM: Martin Falck och Sara Kaaman (grafisk form). 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. But it all comes from the same place. And what tools do I need to do that? It's a positive image for people, but coming from the outside and from a different system, it's also provocative. The way an idea of 'free movement' and people demonstrating comes to be represented by an abstraction and in turn comes to represent the idea of the city. Is everything used properly and what is proper use? 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. ER: I dont use that word really, I much more prefer to use a vocabulary of movement and choreography instead of performance and event. Ecstatic Resistance is about the limits of representation and legibility the limits of the intelligible, and strategies that undermine hegemonic oppositions. Roysdon har arbetat med förhållandet mellan användning och reglering av offentliga platser. KE: How do you see the relationship between your different modes of working; you write, perform in a band, make art, curate and edit a journal, quite often in collaboration with others? It wants to talk about pleasure in the domain of resistance sexualizing modern structures in order to centralize instability and plasticity in life, living, and the self. Under 2010 har hennes verk bland annat visats på Whitneybiennalen, Greater NY på Moma PS1, Mixed Use: Manhattan på Reina Sofia i Madrid och Bukarestbiennalen. 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. I started to study international politics first, so I was coming at this through looking at the way people move. But it is not exactly like I am the director or the choreographer and she is the performer. Sense AND sense, emily Roysdon med MPA, den New York-baserade konstnären Emily Roysdon presenterar sin första soloutställning på Konsthall. It is just in my nature not.




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Sense and Sense är Emilys Roysdons första utställning i Sverige. Emily Roysdon: Through the years I have been exploring how political movements are represented, and it is because of this that I was attracted by Sergels torg as a place. So we come at it from different perspectives, and that makes a great conversation. I was saying: This is totally not a joke, this is not an art exercise. But this is what I end up doing. And he said: What am I doing? Läs mer om Emily Roysdon. I do that every time, and I think it would be a hell of a lot easier if I didnt do that. Sense and Sense also became the gap between planned use and improvisation that I was most interested in for this project. KE: Social movement is key concept in your work, and your first video was even called Social Movement.

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Stringtrosor med öppen gren video gratis What interests you about that place? Ecstatic resistance set forth a vocabulary of the impossible and the imaginary, but right now my personal practice is more involved in the relationship between struggle and improvisation. KE: When reading about your work, it is often said that you focus on choreography and political action. ER: No, its more about improvisation than control.