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She likes a challenge, and she will do difficult things. Den andra delen i utställningen består av ett tapetprojekt där Emily Roysdon tapetserar ett antal platser i Stockholm, till exempel Stadsbiblioteket. Carl Palm, (utställningstekniker cecilia Nygren (utställningsassistent hans Carlsson (assistent). Samtidigt; när man närmar sig själva platsen och tittar ner över räcket blir Sergels torg en panoptisk plats och en abstraktion. Is everything used properly and what is proper use? I love the physicality of her practice and intensity. Kim Einarsson: In your coming project for Konsthall C, you have been using Sergels torg as a starting point for your project.

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Its about the conversations precipitated by the process of working together. And he said: What am I doing? But I do consider projects like lttr and Ecstatic RestianceI value that kind of thinking and process as political work. Emily Roysdon bjöd in performancekonstnären MPA (New York) för att samarbeta kring en serie fotografier och ett videoverk, som är en del av utställningen. There is nobody else in the world I would do this for! I feel that these conversations really impacted how this work is going. 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? 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. Its more like I presented a challenge and together we figured out how to do that.

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where. The most important thing for me is the conceptual frame, the improvisation and the who am I doing it with.  Each time I have to ask What is it I want to do? The reason the video works is because every once in a while, you understand what she is trying to do, and if she is not trying as hard as she is, then it doesnt work.



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And could you say something about the relationship you have in this specific project? 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. ER: No, its more about improvisation than control. At the same time; when you approach the actual place and look down on it from the railing above, Sergels Torg turns into a panopticicon and an abstraction. 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. Stort tack till: Sara Brolund Carvalho, lawen Mohtadi, mats Stjernstedt och Index, michele Masucci. And she can do that, and we can do that together, so it works well.

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That would be my most basic justification for what I allow myself. She really thinks about the deepest practicalities of what it takes for a body to do something and that is a really fun way for me to think about the images that I would like to make. ER: That is interesting, because I recently recognized that every single time I start a project I start from zero. Sense and Sense är ett projekt utvecklat på plats i Stockholm. Konceptet presenterades i grupputställningar på Grand Arts i Kansas City och X Initiative i New York, curerade av Emily Roysdon. KE: How do you relate the term performance?