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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. That is why Sergels Torg is so fascinating. So I have known her for a while and I have watched her. So its a kind of collaboration, maybe a queer collaboration. You were publishing a journal, and had a quite immaterial practice focusing on performances and events. Thinking about this public stage. 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. Marius Dybwad-Brandrud, argenis Faria, janax snickeri, intervju MED emily roysdon AV KIM einarsson.8 2010 på en båttripp i Stockholms skärgård (ej översatt). That would be my most basic justification for what I allow myself. KE: For this project you have worked with performance artist Megan Palaima aka MPA.

Of course I could do it, but that is just not interesting. Min fascination för Sergels torg handlar om hur platsen är planerad för politiska protester. I started to study international politics first, so I was coming at this through looking at the way people move. Kim Einarsson: In your coming project for Konsthall C, you have been using Sergels torg as a starting point for your project. She really thinks about the deepest practicalities of what it takes for a body to do something and that is a really fun way for me to think about the images that I would like to make. Ecstatic Resistance is about the limits of representation and legibility the limits of the intelligible, and strategies that undermine hegemonic oppositions. There is always something at risk in Megans work, both conceptually and physically. 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. I think its about respect for each others practice and process, and a sense of humor and adventure.

KE: So you rather do political activity outside of the gallery space? And what tools do I need to do that? So even my writing and my curatorial work are grounded in ideas about movement and movements. ER: Well, I think I provided the structure and framing for the project, as well as the form via the photos, videos and stuff, and Megan and I collaborated on the process and movement.  What is so fascinating for me with Sergels Torg is that it is a planned place for protest and social movements. Lttr is not very different either from my drive to write or organizing the Ecstatic Resistance project.

So we come at it from different perspectives, and that makes a great conversation. And is Chantal Mouffe and her ideas about a polemic public space an important inspiration for you? It is very important for me to relate what I do to people around. The images are quite often not realizable you know and Megan pushes that. When I invited Megan to Stockholm and told her what I wanted to do, she said: This is great, I like to get an assignment, and I like a Roysdon challenge. MPA bor i Brooklyn, Brooklyn NY och är en feminist och exhibtionist som följer en levande konstpraktik.

I love the physicality of her practice and intensity. So I dont feel like people are not instrumentalized, because there is so much conversation. ER: They all explicitly deal with organization, and sometimes even performing organization. But working within a interdisciplinary field, because I think that is what art is it is just an interdisciplinary field for. KE: When you say organizing and movement, does that have anything to do with control from your part? Sense AND sense, emily Roysdon med MPA, den New York-baserade konstnären Emily Roysdon presenterar sin första soloutställning på Konsthall.

Especially the video, it doesnt work without her. 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. It is about waiting, and the temporality of change. Being interested in all kinds of political and social movements, in counter cultures, and the way that one image or one person comes to represent this whole body. Roysdon har arbetat med förhållandet mellan användning och reglering av offentliga platser. ER: I can really agree with you, and I am not resolved about. 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. And it is not about being able to be bossy, but it is about figuring something out and improvising together. Sometimes, I think some of these projects deal too much with representation and too little with agency. Jag drogs till Sergels torg som plats för att jag genom åren har undersökt hur politiska rörelser representeras.

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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. To me it is all quite natural. So basically I knew I would like to work with her again in a more comprehensive way. A lot of the images I would like to create have bodies in them. I do that every time, and I think it would be a hell of a lot easier if I didnt do that. 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? 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. Hon är även redaktör och en av grundarna till den queerfeministiska tidskriften och konstnärskollektivet lttr och ingår i bandet MEN.

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KE: There have been a lot of tysk porn kvinnor söker yngre män art projects around in which artists explore important historical social movements, collectives and people coming together in groups for a certain political struggle. Emily Roysdon är en New York- och Stockholmsbaserad konstnär och skribent. I feel like my practice is very much about language and vocabulary. ER: No, its more about improvisation than control. I think of choreography simply as movement in space and time. ER: Yes, I was going to say that, that I worry about futility. 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?

Tysk Porn Kvinnor Söker Yngre Män

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