I do that every time, and I think it would be a hell of a lot easier if I didnt do that.
KE: How do you relate the term performance?
ER: Yes, its funny because I think I use it very differently than other people do when talking about my work.
Again, I think it relates to the same vocabulary in terms of organizing.KE: When reading about your work, it is often said that you focus on choreography and political action.Med stöd av ABF Stockholm.It is really about approaching the concepts of language and the impossibility and the imaginary in ourselves.It is very important for me to relate what I do to people around.But each time I re-build the path to where.It is just in my nature not.There is always something at risk in Megans work, both conceptually and physically.I think of choreography simply as movement in space and time.And I was worried about that with Ecstatic Resistance.I mean writing seems for me to be a very crucial way for me to learn and to make some things more concrete.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 bög phonesex chatt rum text it reflected my thinking around.My process is very much based in language, and a project can really be born in the relationship between two words.And it is also because we have shared politics, investments and visions so we can talk about things in a way where I dont have to explain certain things and she trusts.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.Kim Einarsson: In your coming project for Konsthall C, you have been using Sergels torg as a starting point for your project.The most important thing for me is the conceptual frame, the improvisation and the who am I doing it with.I feel that these conversations really impacted how this work is going.
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.

Its a simple repetition, but it doubles in on itself to make 'sense' less clear, common sense questioned, and non-sense present.