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Professionell arab svälja nära gävle

professionell arab svälja nära gävle

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. What is so fascinating for me with Sergels torg is that it is a planned site for political protest. Ecstatic Resistance wants to think about all that is unthinkable and unspeakable in the Eurocentric, phallocentric world order. It develops the positionality of the impossible alongside a call to re-articulate the imaginary. KE: There have been a lot of art projects around in which artists explore important historical social movements, collectives and people coming together in groups for a certain political struggle.

Its about the conversations precipitated by the process of working together. 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. 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. 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. My process is very much based in language, and a project can really be born in the relationship between two words. So it is interesting to think of a different vocabulary. Google Translation, date of visit: December 2016, reviewed November 12, 2016 via mobile. Its more like I presented a challenge and together we figured out how to do that. ER: They all explicitly deal with organization, and sometimes even performing organization.

Hennes arbeten har bland annat visats på Whitney Museum, New York, Art in General, The Kitchen, Larissa Goldston Gallery, Higher Pictures, och 2010 Movement Research Festival, Museum of Contemporary Art (Chicago Zendai MoMA, Shanghai, Museo de Arte Contemporaneo de Oaxaca, Mexico. 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. Vi delar data med sociala medier, annons och analyspartners vilka kan kombinera datan med annan information som du delat med dom. I just think, this is a really interesting thing for us to do together. So basically I knew I would like to work with her again in a more comprehensive way. But it is not exactly like I am the director or the choreographer and she is the performer. This is my labour and this is how I talk about things. Sense AND sense, emily Roysdon med MPA, den New York-baserade konstnären Emily Roysdon presenterar sin första soloutställning på Konsthall.

Den andra delen i utställningen består av ett tapetprojekt där Emily Roysdon tapetserar ett antal platser i Stockholm, till exempel Stadsbiblioteket. But it all comes from the same place.  What is so fascinating for me with Sergels Torg is that it is a planned place for protest and social movements. To relate other peoples projects to each other to see where we are. ER: No, its more about improvisation than control. When Mouffee says 'sense and sense' she is talking about consensus and governing through avoiding conflicts.the agreement on what we can perceive and of the meaning of what we can perceive." When I first read these passages in her. 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. And is Chantal Mouffe and her ideas about a polemic public space an important inspiration for you? Shes just like: yeah, lets do it, whatever it is, lets. Again, I think it relates to the same vocabulary in terms of organizing.

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. You were publishing a journal, and had a quite immaterial practice focusing on performances and events. During this project I was also re-reading Evictions by Rosalyn Deutsche and re-visiting a lot of essays on photography. Google Translation, date of visit: October 2016, reviewed October 18, 2016. I think about the relationship between place, improvisation, use, proper use and planning. I love the physicality of her practice and intensity. How do you deal with the concept of ecstatic resistance in your own practice? Sometimes, I think some of these projects deal too much with representation and too little with agency. But working within a interdisciplinary field, because I think that is what art is it is just an interdisciplinary field for. 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.

I feel like my practice is very much about language and vocabulary. Those practices dont necessarily mean that you are in a leading position, but there is certain kind of responsibility connected to them, right? The images are quite often not realizable you know and Megan pushes that. So I have known her for a while and I have watched her. And I was worried about that with Ecstatic Resistance.

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Could you say something about that? 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. And I liked that connection as well. Genom att använda hemsidan godkänner du användningen av cookies som beskrivs i våra villkor. I am pretty meta, so getting into the details with Megan and then going through the challenges of figuring out what is possible and not possible, and improvising a solution is really fun. For me, from here, from Ecstatic Resistance to social movement, its all about the way people move in political ways, in counter-cultural ways, in formal ways and conceptual ways.

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