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I was dealing with a lot of shit last week, so I was unable to stream or draw at all. So we come at it from different perspectives, and that makes a great conversation. To me it is all quite natural. It is probably because my interest in politics and in organizing that I have that drive to be more than myself, to include other peoples thinking and projects. I did not even tell her so much what we were going to do before we landed in Stockholm to. But it is not exactly like I am the director or the choreographer and she is the performer. KE: I guess I always struggle with the question of why to work within a gallery room? 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. So its a kind of collaboration, maybe a queer collaboration. The images are quite often not realizable you know and Megan pushes that.

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ER: Yes, its funny because I think I use it very differently than other people do when talking about my work. I feel like my practice is very much about language and vocabulary. And I was worried about that with Ecstatic Resistance. 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. 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. Lets go back to 2-3 updates anonym møter folkeeventyr per week, several streams a week and bi weekly videos. 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. ER: They all explicitly deal with organization, and sometimes even performing organization.

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Twink bareback norske pornobilder So I have known her for a while and I have watched her. In recent projects I have been connecting that to a wider understanding of choreography choreography as organized movement in an aesthetic and political sense.
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KE: Social movement is key concept in your work, and your first video was even called Social Movement. I think of choreography simply as movement in space and time. It is about waiting, and the temporality of change. Alot of drama and back and forth with providers, misconfigurations and dns errors., my Twitter got hacked -Now I have much more bandwidth and better performance/security -Up and running now, only time will tell if this will be an improvement, please let me know here. So basically I knew I would like to work with her again in a more comprehensive way.

 What is so fascinating for me with Sergels Torg is that it is a planned place for protest and social movements. So even my writing and my curatorial work are grounded in ideas about movement and movements. I think about it in terms of social movements. And she can do that, and we can do that together, so it works well. Thinking about this public stage.

Kim Einarsson: In your coming project for Konsthall C, you have been using Sergels torg as a starting point for your project. It is just in my nature not. He is a trans activist and lawyer and he would rather die than wear a body suit in front of a bunch of strangers. Läs mer om Emily Roysdon. You were publishing a journal, and had a quite immaterial practice focusing on performances and events. 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 this concept to explain my own work, but. KE: Did your approach to the concept change during the time your worked with it?

And what tools do I need to do that? 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. Especially the video, it doesnt work without her. I think about the relationship between place, improvisation, use, proper use and planning. And I liked that connection as well.

I have heard from people who think that ecstatic resistance is a concept that is much more locked to my generation, a sort of post-Bush phenomenon, but I dont think that is true. 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? Sometimes, I think some of these projects deal too much with representation and too little with agency. KE: When reading about your work, it is often said that you focus on choreography and political action. There is nobody else in the world I would do this for! But each time I re-build the path to where. So it is about throwing in all the ideas, talking for days, showing up, checking out the conditions and then doing it, doing something that makes sense in that moment. Its a simple repetition, but it doubles in on itself to make 'sense' less clear, common sense questioned, and non-sense present. When we go out to Sergels Torg at 5 oclock in the morning, I have a really strong idea what I want, but I am not exactly sure it is going to happen, and I dont want to plan too much. 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 feel that these conversations really impacted how this work is going. And it is not about being able to be bossy, but it is about figuring something out and improvising together. I dont like to work with the spectacle and the boundaries of performance, or at least how people commonly refer to the term like something starting and ending. Sense and Sense är ett projekt utvecklat på plats i Stockholm. Samtidigt; när man närmar sig själva platsen och tittar ner över räcket blir Sergels torg en panoptisk plats och en abstraktion. 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.

But if you think about the power dynamics of these roles, to me, I think Im more interested in building conceptual frames and improvising inside of them. So if something goes wrong, Im the one who has to fix. Marius Dybwad-Brandrud, argenis Faria, janax snickeri, intervju MED emily roysdon AV KIM einarsson.8 2010 på en båttripp i Stockholms skärgård (ej översatt). Studio-SM: Martin Falck och Sara Kaaman (grafisk form). Dont even want to get into it too much cause id just like to get shit done now. ER: I dont use that word really, I much more prefer to use a vocabulary of movement and choreography instead of performance and event. Shopping, finance, docs, books, blogger, hangouts, keep.

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Im less interested in a political activity within the space of the gallery. There is helsekost nettbutikk england harstad always something at risk in Megans work, both conceptually and physically. Its more like I presented a challenge and together we figured out how to do that. This is my labour and this is how I talk about things. Sense and Sense är Emilys Roysdons första utställning i Sverige. For me, from here, from Ecstatic Resistance to social movement, its all about the way people move in political ways, in counter-cultural ways, in formal ways and conceptual ways. I do think we can shift the way things around us are understood.