simply as movement in space and time. 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? It's a positive image for people, but coming from the outside and from a different system, it's also provocative. ER: I have a lot of 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 a way. Whats your take on choreography? 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. Its about the conversations precipitated by the process of working together. ER: I think I never really did differentiate them. But working within a interdisciplinary field, because I think that is what art is it is just an interdisciplinary field for. Med stöd av ABF Stockholm.
Emily Roysdon: Through the years I have been exploring how political movements are represented, and it is because of this that I was attracted by Sergels torg as a place. MPA bor i Brooklyn, Brooklyn NY och är en feminist och exhibtionist som följer en levande konstpraktik. I mean writing seems for me to be a very crucial way for me to learn and to make some things more concrete. It is about waiting, and the temporality of change. A lot of the images I would like to create have bodies in them. ER: Yes, I was going to say that, that I worry about futility. I do that every time, and I think it would be a hell of a lot easier if I didnt do that. Like when thinking about this project I do for Konsthall C, I actually go back to the place of Do I want to be an artist?
Of course I could do it, but that is just not interesting. 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. ER: I dont use that word really, I much more prefer to use a vocabulary of movement and choreography instead malmö museer kalas of performance and event. And even if I say I am going to write a straight essay based on philosophical ideas, I cannot write them in a really straightforward way. But it is not exactly like I am the director or the choreographer and she is the performer. 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. Sense and Sense är Emilys Roysdons första utställning i Sverige. And most of my projects are about organizing people. She likes a challenge, and she will do difficult things. During this project I was also re-reading Evictions by Rosalyn Deutsche and re-visiting a lot of essays on photography. I love the physicality of her practice and intensity. So even my writing and my curatorial work are grounded in ideas about movement and movements.
Shes just like: yeah, lets do it, whatever it is, lets. Its a simple repetition, but it doubles in on itself to make 'sense' less clear, common sense questioned, and non-sense present. KE: I guess I always struggle with the question of why to work within a gallery room?
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