Rainer, Trisha Brown, etc. To me it is all quite natural. I feel that these conversations really impacted how this work is going. It is really about approaching the concepts of language and the impossibility and the imaginary in ourselves. 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? Especially the video, it doesnt work without her. I do think we can shift the way things around us are understood. Carl Palm, (utställningstekniker cecilia Nygren (utställningsassistent hans Carlsson (assistent). Emily Roysdon bjöd in performancekonstnären MPA (New York) för att samarbeta kring en serie fotografier och ett videoverk, som är en del av utställningen. Lttr is not very different either from my drive körskola kvällstid stockholm to write or organizing the Ecstatic Resistance project. A lot of the images I would like to create have bodies in them.
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. ER: I dont use that word really, I much more prefer to use a vocabulary of movement and choreography instead of performance and event.
So basically I knew I would like to work with her again in a more comprehensive way. Shes just like: yeah, lets do it, whatever it is, lets. Of course I could do it, but that is just not interesting. 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. 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.
Is everything used properly and what is proper use? It develops the positionality of the impossible alongside a call to re-articulate the imaginary.
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