And could you say something about the relationship you have in this specific 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. And if she would be trained more than she is, it wouldnt work. 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. Ecstatic Resistance wants to think about all that is unthinkable and unspeakable in the Eurocentric, phallocentric world order. I love the physicality of her practice and intensity. I think its about respect for each others practice and process, and a sense of humor and adventure.
Of course I could do it, but that is just not interesting. I like those kinds of relationships. KE: When you say organizing and movement, does that have anything to do with control from your part? And I liked that connection as well. At that time I was working in a collective and really experiencing these things as well as thinking critically about them.
It is just in my nature not. That would be my most basic justification for what I allow myself. KE: Social movement is key concept in your work, and your first video was even called Social Movement. Hon är även redaktör och en av grundarna till den queerfeministiska tidskriften och konstnärskollektivet lttr och ingår i bandet MEN. She likes a challenge, and she will do difficult things. And most of my projects are about organizing people. 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.
Again, I think it relates to the same vocabulary in terms of organizing. He is a trans activist and lawyer and he would rather die than wear a body suit in front of a bunch of strangers. How do you see the relationship between your engagement in lttr and the individual and maybe more object-oriented works you have exhibited this year in exhibitions like The Greater NY at Moma PS1 or at The Whitney Biennial? KE: How do you relate the term performance? Its a simple repetition, but it doubles in on itself to make 'sense' less clear, common sense questioned, and non-sense present. And I was worried about that with Ecstatic Resistance. It is very important for me to relate what I do to people around.
How do you deal with the concept of ecstatic resistance in your own practice? I feel like my practice is very much about language and vocabulary. So it is interesting to think of a different vocabulary. Ecstatic Resistance is about the limits of representation and legibility the limits of the intelligible, and strategies that undermine hegemonic oppositions. So we come at it from different perspectives, and that makes a great conversation. Hennes solo- och samarbeten fokuserar på performance i kombination med fotografi, film, text och skulptur. Sense AND sense, emily Roysdon med MPA, den New York-baserade konstnären Emily Roysdon presenterar sin första soloutställning på Konsthall. Whats your take on choreography? Konceptet presenterades i grupputställningar på Grand Arts i Kansas City och X Initiative i New York, curerade av Emily Roysdon.
KE: There have been a lot of art projects around in which artists explore important historical social movements, collectives and people coming together in groups for a certain political struggle. 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. And it is also because we have shared politics, investments and visions so we can talk about things in a way where I dont have to explain certain things and she trusts. And what tools do I need to do that? But it is also much more practical about activating a certain vocabulary around work. 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. 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. 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....
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