to think about the images that I would like to make. 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? ER: At some point I thought, perhaps it is about a very specific cultural moment, but later I changed my idea and looked broader and eventually included people like Adrian Piper and Ulrike Ottinger, and thinking about related practices, but not from my generation specifically. Lttr is not very different either from my drive to write or organizing the Ecstatic Resistance project. 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. ER: I dont use that word really, I much more prefer to use a vocabulary of movement and choreography instead of performance and event. Megan is very generous with her energy. I mean writing seems for me to be a very crucial way for me to learn and to make some things more concrete. Hon är även redaktör och en av grundarna till den queerfeministiska tidskriften och konstnärskollektivet lttr och ingår i bandet MEN. The images are quite often not realizable you know and Megan pushes that. Sense and Sense also became the gap between planned use and improvisation that I was most interested in for this project. Whats your take on choreography?
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. Konceptet presenterades i grupputställningar på Grand Arts i Kansas City och X Initiative i New York, curerade av Emily Roysdon. Hennes arbeten har bland annat visats på Whitney Museum, New York, Art in General, The Kitchen, Larissa Goldston Gallery, Higher Pictures, och 2010 Movement Research Festival, Museum of Contemporary Art (Chicago Zendai MoMA, Shanghai, Museo de Arte Contemporaneo de Oaxaca, Mexico. Marius Dybwad-Brandrud, argenis Faria, janax snickeri, intervju MED emily roysdon AV KIM einarsson.8 2010 på en båttripp i Stockholms skärgård (ej översatt). Again, I think it relates to gröndal scania gröna lund the same vocabulary in terms of organizing. At the same time; when you approach the actual place and look down on it from the railing above, Sergels Torg turns into a panopticicon and an abstraction. I think that understanding is part of the impulse to describe a movement, which is not something that I was trying to is a political desire. KE: You just said it is not about being bossy, but in quite many of your collaborations you have the role of the curator, the editor or the director. ER: No, its more about improvisation than control. Of course I could do it, but that is just not interesting.
I think about the relationship between place, improvisation, use, proper use and planning. 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. KE: When reading about your work, it is often said that you focus on choreography and political action. I started to study international politics first, so I was coming at this through looking at the way people move. So I have known her for a while and I have watched her. Studio-SM: Martin Falck och Sara Kaaman (grafisk form). ER: They all explicitly deal with organization, and sometimes even performing organization. Ecstatic Resistance wants to think about all that is unthinkable and unspeakable in the Eurocentric, phallocentric world order.
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