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It develops the positionality of the impossible alongside a call to re-articulate the imaginary. KE: Social movement is key concept in your work, and your first video was even called Social Movement. Sometimes, I think some of these projects deal too much with representation and too little with agency. And I think they are categorically different. 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. I feel like my practice is very much about language and vocabulary. I did not even tell her so much what we were going to do before we landed in Stockholm to. 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. I just think, this is a really interesting thing for us to do together. It's a positive image for people, but coming from the outside and from a different system, it's also provocative.


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At that time I bøsse datingsider norge eskorte i norge was working in a collective and really experiencing these things as well as thinking critically about them. Im less interested in a political activity within the space of the gallery. Lttr is not very different either from my drive to write or organizing the Ecstatic Resistance project. The other element of that video is me thinking about representations gangbang i homo oslo escort arlanda of groups. ER: I can really agree with you, and I am not resolved about. But working within a interdisciplinary field, because I think that is what art is it is just an interdisciplinary field for. What interests you about that place? And I liked that connection as well. Like when thinking about this project I do for sex lillehammer homo norsk sex forum Konsthall C, I actually go back to the place of Do I want to be an artist? ER: No, its more about improvisation than control. I have the feeling you have a very broad understanding of what social movement can be, could say something about that? 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 could you say something about the relationship you have in this specific project? KE: I guess I always struggle with the question of why to work within a gallery room? Carl Palm, (utställningstekniker cecilia Nygren (utställningsassistent hans Carlsson (assistent). The images are quite often not realizable you know and Megan pushes that. In the text you wrote for the show it said: Ecstatic Resistance is a project, practice, partial philosophy and set of strategies. I remember when I did a performance at Weld, here in Stockholm, some years ago. That would be my most basic justification for what I allow myself. 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. During this project I was also re-reading Evictions by Rosalyn Deutsche and re-visiting a lot of essays on photography. 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. I think its about respect for each others practice and process, and a sense of humor and adventure. 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.


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