respect for Megans practice and also a little bit of fascination because I both identify with it and at the same time feel it so beyond myself in värnhemstorget malmö karta a way. But I do consider projects like lttr and Ecstatic RestianceI value that kind of thinking and process as political work. 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? I nyare projekt kopplar jag det till en bredare innebörd i begreppet koreografi koreografi som organiserad rörelse i estetisk och politisk bemärkelse. In general I have read Mouffe before for her theorization of agonistic public space, and thats why I picked up this text now in Stockholm.
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. 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. Studio-SM: Martin Falck och Sara Kaaman (grafisk form). So basically I knew I would like to work with her again in a more comprehensive way. The other element of that video is me thinking about representations of groups. Carl Palm, (utställningstekniker cecilia Nygren (utställningsassistent hans Carlsson (assistent).
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And it is an inspiration, the vocabulary, the artists whom I relate the concept to and who I relate. ER: Im not fully an activist a lot of my friends are - and at certain points that has troubled. 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. Hon är även redaktör och en av grundarna till den queerfeministiska tidskriften och konstnärskollektivet lttr och ingår i bandet MEN. Sometimes, I think some of these projects deal too much with representation and too little with agency. KE: Did your approach to the concept change during the time your worked with it? 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. To relate other peoples projects to each other to see where we are. 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. To think about movement, what it means to plan a place for protest to happen and what does that do to the rest of the city and how are things activated and used. ER: I can really agree with you, and I am not resolved about.
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