of the city. In recent projects I have been connecting that to a wider understanding of choreography choreography as organized movement in an aesthetic and political sense. And he said: What am I doing? Emily Roysdon bjöd in performancekonstnären MPA (New York) för att samarbeta kring en serie fotografier och ett videoverk, som är en del av utställningen. Ecstatic Resistance is about the limits of representation and legibility the limits of the intelligible, and strategies that undermine hegemonic oppositions. So it is about throwing in all the ideas, talking for days, showing up, checking out the conditions and then doing it, doing something that makes sense in that moment.
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Again, I think it relates to the same vocabulary in terms of organizing. When Mouffee says 'sense and sense' she is talking about consensus and governing through avoiding conflicts.the agreement on centurion Bar evakuator what we can perceive and of the meaning of what we can perceive." When I first read these passages in her text it reflected my thinking around. You were publishing a journal, and had a quite immaterial practice focusing on performances and events. ER: I think I never really did differentiate them. To me it is all quite natural. I do think we can shift the way things around us are understood. ER: My own interests and passions share a vocabulary with the project, but the concept was a way of interacting with a set of ideas and potentials that I was experiencing in the worldI didn't develop this concept to explain my own work, but. Sometimes, I think some of these projects deal too much with representation and too little with agency. Den andra delen i utställningen består av ett tapetprojekt där Emily Roysdon tapetserar ett antal platser i Stockholm, till exempel Stadsbiblioteket. And I was worried about that with Ecstatic Resistance. I think about it in terms of social movements.