Affisch lunds konsthall
my labour and this is how I talk about things. 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 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. KE: Social movement is key concept in your work, and your first video was even called Social Movement. KE: You just said it is not about being bossy, but in quite many of your collaborations you have the role of the curator, the editor or the director. During this project I was also re-reading Evictions by Rosalyn Deutsche and re-visiting a lot of essays on photography. To me it is all quite natural. 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. I feel that these conversations really impacted how this work is going. But it is not exactly like I am the director or the choreographer and she is the performer. But it all comes from the same place.
KE: So you rather do political activity outside of the gallery space? The other element of that video is me thinking about representations of groups. Emily Roysdon är en New York- och Stockholmsbaserad konstnär och skribent. Sense and Sense also became the gap between planned use and improvisation that I was most interested in for this project. Its about the conversations precipitated by the process of working together.