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But each time I re-build the path to where.
But working within a interdisciplinary field, because I think that is what art is it is just an interdisciplinary field for.
I nyare projekt kopplar jag det till en bredare innebörd i begreppet koreografi koreografi som organiserad rörelse i estetisk och politisk bemärkelse.
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.How do you deal with the concept of ecstatic resistance in your own practice?So I dont have that more holistic way of thinking that everything is one thing.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 even my writing and my curatorial work are grounded in ideas about movement and movements.I do think we can shift the way things around us are understood.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: No, its more about improvisation than control.2008 var hon stipendiat på Iaspis, då hon också presenterade sitt performance Work, Why, Why not på Weld, Stockholm. What is so ung tonåring gay chat fascinating for me with Sergels Torg is that it is a planned place for protest and social movements.It wants to talk about pleasure in the domain of resistance sexualizing modern structures in order to centralize naken dansa camgirl instability and plasticity in life, living, and the self.I do that every time, and I think it would be a hell of a lot easier if I didnt do that.I think about the relationship between place, improvisation, use, proper use and planning.I remember when I did a performance at Weld, here in Stockholm, some years ago.
This is my labour and this is how I talk about things.

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.It develops the positionality of the impossible alongside a call to re-articulate the imaginary.My process is very much based in language, and a project can really be born in the relationship between two words.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.And I was worried about that with Ecstatic Resistance.I think its about respect for each others practice and process, and a sense of humor and adventure.I love the physicality of her practice and intensity.Im less interested in a political activity within the space of the gallery.

Konceptet presenterades i grupputställningar på Grand Arts i Kansas City och X Initiative i New York, curerade av Emily Roysdon.
ER: In that video there were explicitly two things, one that was looking at the dance that came out of Judson Church when they were incorporating vernacular movements, like the works of Yvonne Rainer, Trisha Brown, etc.
So it is interesting to think of a different vocabulary.