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sex free porn världens största vagina

of responsibility connected to them, right? Its more like I presented a challenge and together we figured out how to do that. And I was worried about that with Ecstatic Resistance. My process is very much based in language, and a project can really be born in the relationship between two words. ER: Yes, its funny because I think I use it very differently than other people do when talking about my work. It is really about approaching the concepts of language and the impossibility and the imaginary in ourselves. I think about it in terms of social movements. When we go out to Sergels Torg at 5 oclock in the morning, I have a really strong idea what I want, but I am not exactly sure it is going to happen, and I dont want to plan too much. The most important thing for me is the conceptual frame, the improvisation and the who am I doing it with.

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Galadriel Caldirola, Rubi Galky and Yasmin Valdes S01. And what tools do I need to do that? You were publishing a journal, and had a quite immaterial practice focusing on performances and events. KE: You have chosen to call your exhibition at Konsthalll C Sense and Sense, which you mentioned is a"tion from the political theorist Chantal Mouffe. And he said: What am I doing? I mean writing seems for me to be a very crucial way for me to learn and to make some things more concrete. Ecstatic escort karlshamn gratis knullfilmer resistance set forth a vocabulary of the impossible and the imaginary, but right now my personal practice is more involved in the relationship between struggle and improvisation. In recent projects I have been connecting that to a wider understanding of choreography choreography as organized movement in an aesthetic and political sense. 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. I was saying: This is totally not a joke, this is not an art exercise. Especially the video, it doesnt work without her. And most of my projects are about organizing people. To me it is all quite natural. So we come at it from different perspectives, and that makes a great conversation. So I dont have that more holistic way of thinking that everything is one thing. Emily Roysdon bjöd in performancekonstnären MPA (New York) för att samarbeta kring en serie fotografier och ett videoverk, som är en del av utställningen. And she can do that, and we can do that together, so it works well. ER: I dont use that word really, I much more prefer to use a vocabulary of movement and choreography instead of performance and event. KE: In 2001 you, Ginger Brooks Takahashi and K8 Hardy founded lttr, which is a feminist queergender collective. And it is not about being able to be bossy, but it is about figuring something out and improvising together. Ecstatic Resistance wants to think about all that is unthinkable and unspeakable in the Eurocentric, phallocentric world order. It is just in my nature not. I saw a lot of work that I care about so much, really radical work with bold ambitions that was not really thought of as political work and I wanted to sort of explode that, and say that political art can look like this too. ER: No, its more about improvisation than control. But working within a interdisciplinary field, because I think that is what art is it is just an interdisciplinary field for. So even my writing and my curatorial work are grounded in ideas about movement and movements. It is very important for me to relate what I do to people around. 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. I remember when I did a performance at Weld, here in Stockholm, some years ago. sex free porn världens största vagina

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