P 0 $ $ €  B L 0 G  T 4 K €  0 V € R  f o r  E N D  F E S T

For the next six weeks we, Lisen Pousette, Chloe Chignell and Klara Utke Acs of POSSE dance and reading group, will take over the END FEST-blog. This takes place in relation to the upcoming P0$$€ €PIS0D€ “ELEMENTS” on 17th February.

Together with Tamara Alegre, and our supportive coach Ellen Söderhult, we initiated POSSE in February 2017 (anniversary soon!) at DOCH.

POSSE is a weekly gathering in Stockholm for reading and dancing. Each time is hosted by a practitioner from the field of dance, performance and choreography that proposes materials for reading and dancing and ways of dealing with them together.

END FEST invited Tamara to bring a fest to life and she decided to do an offspring of the POSSE format: P0$$€ €PIS0D€ “ELEMENTS”. If END FEST and POSSE would have a love child, this would be it.

We like to think of the knowledge of POSSE as a network: as soon as you part-take in a POSSE you will hold a part of this knowledge web. But not one person, nor any of us, has a full understanding of all that has been shared in POSSE. “Nothing is connected to everything; everything is connected to something” as stated by Donna Haraway.

In the spirit of POSSE we will be propose texts and other materials that are close to our hearts, by artists and writers that we know in person and some that we don’t. The blog will work as an extension of the discourse that is continuously generated through POSSE. It will be done with devotion to what we do and most importantly with curiosity.

Video of P0$$E #3 on February 14th 2017.
Featuring dancing by Lisen Pousette, Chloe Chignell and Klara Utke Acs
Phrase by: Chloe Chignell
Music: Oskar Key Sung- All that I could do

THE END OF ENDS HAS BEEN POSTPONED: €L€M€NTS by Tamara Alegre February 18


END FEST is happy to announce that the second edition of the everlasting festival is to take place in februry 2018.

For ED #1 THE END AND THEN  we invited 7 artist to work 3 stages during 4 days of pure blizz mayhem in march 17, Stockholm

For ED #2 €L€M€NTS we invite one (1) artist – Tamara Alegre –  for one day to shred 2 venues.

Stay tuned on the blog, FB  and Instagram lovers!

/////////////////THE END HAS ENDED\\\\\\\\\\\\\\\\\\\\\\\

Our very most sincere thank you to all who decided to share the end with us. We must say it was spectacular, yet sincere and fragile. Like, a really really good ending. Extra special thank you’s to the artists, the audiences, partnering institutions and organizations. Without you none of this would ever be!

Also thank you all the mothers, MTV and God – and to all those who believed in END FEST.

This is kind of cliché but still every END is a new beginning you know. Stay with us on the blog that keeps striving and will keep open for everyone all the time, new texts and internet stuff will happened here. But you will be reminded 4 sure. (also, if you want to write something, or make a drawing, or submit a really good meme, email us info@endfest.se).

Don’t forget us, we will never forget you. END FEST is an ongoing work organized in the form of an eternityfestival. Please stay with the word Eternity.

Until we end again


ANNE JUREN meets E T S on fantasmical anatomies, desire and to be eaten.

Right before it all happened at the opera, we had a chance to catch up with Anne Juren, to talk more in depth – whatever that means to you. To us it means taking some time out to ask the questions that really got us interested in her practice, questions to which we both find answers in Annes art but also in this little text/interview thingy. ENJOY

E T S: OK, Anne, Maybe this questions is a really vast one, but maybe it can make out a good starting point. What, in your thinking, is the capacity of imagination?

A J: I think there is an understanding of imagination of something that is not concrete. However imagination produces a lot, and lets say, there is an action there – a potential for an action, that I am looking for. I don’t know yet what it is.
I am thinking of the situation when you are stuck somewhere: what if you don’t have your imagination in order to produce an escape? You will be stuck. This will be the condition that someone or something puts you in.
Imagination is the only place of inventing something that doesn’t exist, doesn’t need to be produced ,doesn’t need to exist, that still produces an action towards something new. Its not like a commodity, something you could sell or buy, but its there – only as a potential.

E T S: Language theorists and psychoanalysis suggests that imagination is what is later producing the reality that we meet through language. I am also trying to connect here with the title of your work “ Studies on fantasmatical anatomies“ – the idea of phantasma, the child of imagination, what imagination produces – what later is how we measure what we see when we meet the world, does this look like I imagined it?

A J: Basically its also to say that everything is representation.
I mean, we can take the ground we stand on, we think that something is solid. Because we named it solid, we believe it to be that. But its of course a social construction in play here.
This is concrete, this is solid, let’s agree on that. But there is nothing true about it.
So lets take it for granted that its solid.
What I am trying to say is that imagination is not something out of the social, but it is something that has a potential to change to the social. So, basically imagination is more as a space for expansion. Its more of an attention to life – rather than an effort: You open up to feel something that is not recognisable, neither graspable, haha – its very poetic what I am saying.

E T S: Yes it is very poetic what you are saying! Its of course always a constant struggle to assign some kind of language to the nameless …

AJ: Yes language is an apparatus. Language is the oldest apparatus.

E T S: Voila

AJ: An iphone is an apparatus, a bed is an apparatus, and language is another apparatus. And there is no truth in any of these in themselves. In language there is a fiction, phantasma, and disappearance by itself. We have to create place where this – imagination – can be living by itself. Something like that. This kind of potential does something to you. And not like an action towards something else. The project and the research is about expanding this platform and to invade other fields as much as possible. Maybe the social field, maybe the public field, maybe the performance field. But its complicated, because each time I grasp to much of the project, it doesn’t function anymore.

E T S: And what does that non-function feel like? Is it sliding? Slipping? Diminishing?

AJ: Its more like its sliding and slipping. Its really more something that do. Its not vanishing. You watch “IT” slipping, therefor there is an action with a big potential here.
I am now doing this (practice) in many different different contexts. My work is to see how far I can go with it.
When does the moment comes where another person can escape from it, the situation? If you go for your phantasma: let’s say your sexual fantasy, ongoing, the pure, the huge one, perversion – what is acceptable – then you enter the political field – “this is legal, this is not okay, this is not ethical. Don’t do this to me” – then you touch the political in the sense.
So for me its quite interesting to work with my fantasy. Because I realise that it slides easily out the field of correctness, out of concreteness and also reality. So I have to pull it back – so its a game with pulling it back to see what its possible. Then you experiment, then you make art. This to me is making art. Where else could you do this except for in the arts?

E T S: But also, ehm, it also serves as a very good foundation for practice: rather than putting out ready made things. As you describe, the moment you assign language or form to it, it starts to slip, which then would mean it has be ongoing and constantly re-negotiated.

AJ: Yes it has be something going on. Lots of practice, lots of reading, lots of curiosity, you have to be fully curious, you have be fully curious about everything, whatever comes to you mind, through your life. You have to take it all in and navigate through it. Its something that I really feel now, since working on this for almost 3 years, that my acceptance for this is almost scary – therefor its an act of resistance. You offer a possibility – a possibility of clear view, to opinion, when you say, but, yeah.

E T S: In the sense that “studies on fantasmatical anatomies” is a practice, yet, its also something that is offered to an audience. And if we would give you a big black sign where you could post this offer, what would the sign say?

AJ: I will say this, its a bit reducing, but its a real place of meeting. We will meet, profoundly, somewhere we yet does not know. But, its not a place of celebration, so I might be awkward. It does not celebrate, neither the body, neither the beauty of the text, neither the theatre as the place to be, it doesn’t celebrate art. But it uses all this tools, sure, its creative. So, yeah, so its a place where someone could experience her body as something else, so in this space you are the other. So there will be an otherness in the experience, maybe it belongs to a entity that I don’t recognize that I don’t yet know. I could articulate that it could propose a future for the body – that is not yet there. But (!) its very concrete. Its placed on the real body, I mean I am a dancer so I use all my knowledge of kinaesthetics and anatomical background to expand all this knowledges. I doesn’t come from nowhere!

E T S: There is no doubt about the body being the starting point. In your idea of the body, seemingly, it doesn’t really stop at with the physical. In your idea, what do you see as possible borders of the body?

AJ: I don’t see the borders.
We can recognize the skin as a border of the body, its defined.
But I will say this, if we don’t see this, what is it then?
Of course we perceive differences, its the way we orient ourselves. Left and right for instance. Its implemented in our system where we have the desire, the body desires an idea of symmetry. Therefor there is a limitation. I will propose this limitation to be perceived, sensed but for it to remain nameless. Then – how can we sense this limitation, when there is no left and right?
So its a bit like this Alicia Clark, organic line. Where its like its putting this so far out that actually you look into it, you fall into it, and it redefines left and right. So afterwards you stand up, and you don’t know, what is this left and right and why I would need it? Even the idea?
But also its so inscribed and so used, and thats a beauty in this. It has such a history, it has a such a strong desire this left and right.

E T S: Yes but its also a reduction of dimensions

AJ: I was trying to write the text for this showing without interpucntation, commas, without left and right, without signifiers of orientation. To never say move your left shoulder, but then, I had no language. Only negative language. That you never really express the positives, only what is around it. But it becomes such an obscure language. It just becomes really difficult. There is just no space for inefficiency. Its like the metaphor of garbage: when you take it out, you don’t think about it anymore, but somewhere it appears again. Garbage is there all the time. And somehow, we know it. It has history.
In a way its almost like expanding this body which is not here and now, but maybe its her, now there, now, then and in the future.
Its extremely metaphoric what I say.

E T S: Yep, but why not?

AJ: At this one moment I was really anti metaphors, but we are metaphors. And whatever we express is metaphors. You know.

E T S: An image that is representing what is possibly behind the image – if there is anything.

AJ: So now, for this festival (END FEST) I will propose this text which is like a skeleton of the whole research. Where it propose almost a body, but yet its a raw material, yes, you have a certain notion of orientation to start with, but it will disappear, and you won’t care. You don’t need it anymore. You don’t need left and right to lie down. And then after there will be some kind of part that will be expanded, so the opera house will fall into the body. It does not concretely say this or explain this, this metaphor, but its quite possible that it will happens.
And all this what I call the skeleton, because now I am tracking back the organs, the body parts, tracking historically speaking, different countries, so its almost functions like a survey of how the liver was perceived in jesus christ time. What was the representation of it, and what was the imagination of it then?

E T S: One thing that seemingly makes this hard to pen down – what this is about – is that we are here operating in between the imagined body and the experienced body – you speak on the liver, and in almost the same sentence you talk about the opera house falling into you.

AJ: Yes, yes. Yeah, I say the skeleton because, as if, you have something that is dead. It doesn’t yet have any agency, but it does transport a history. Here we are now, in this room, our body is not our, but it transports so much history. And so many deaths, so much living, desires, psychology, freud was here, then delueze, and before that platon. We are not innocent from all this, we transport it somehow, in a certain way, more or less in different degrees. The skeleton does trouble because it proposes to much. Your liver is not yours because its hers. Its ours basically. Because we created it. We created the image of it, the image we wanted. For yet already it troubles a bit this belonging. There is a lot of privatization Everything now is this “your”- your clothes, your body, your apartment, your door. This is not a judgement, it just create a certain attention to the space. Why you close the door? This is a question.

E T S: Is there a point for you to collectivize this ritual, in the sense that the theatre is this space that needs to be filled with something, has this really strong desire for rituals. You bring in some kind of a ritual leader, a bunch of people who is to take part in this ritual. This question is also to be understood in the context of these practices, dealing with other peoples bodies are usually conducted one to one, rather than in a group, speaking about medicine basically. How do you see this?

AJ: I mean its a nice problem. The theatre, I am sure you also share this. But it is my field you know, I started so young, I was five.

E T S: Did you do the whole ballet-thing?

AJ: No I did contemporary, I was in a company for young people.

E T S: We don’t mind leaving it out if you don’t want this to be a bio piece, just let us know.

AJ: No I don’t mind, I mean, the project swallows this, swallows all my experiences.

E T S: Of course, your history is not really your history, its our history

AJ: Yes and, in a way like, its again this kind of borders and limits. Why not to talk about medical organs, in the theatre? To me this is really a dance piece. Like really a dance piece. It does move the body in a specific way, sometimes awkward, it does propose an idea of movement, which is a potential. The dancing here is a potential. Its an idea of …

E T S: Have you ever been to the anatomical theatre in uppsala?

A J: Noooooo, what is this?

E T S: Its a really old lecture hall in Uppsala, where they used for anatomical studies. Its structured like a really steep full circle theatre and the teachers had very much of a performance practice, a bit like you would imagine Charcot at Salpetriare, but still with the difference that this was very much about the body and specific organs.

A J: Wow, that sounds, yes, lets go there!

E T S: Hey Anne, We know also that you have work to do (this is a few hours before the first show), and also, if er are going to have any chance of typing this up, transcribing it, maybe we should try to end here somewhere. However, there is one more thing we would like to ask you

AJ: Sure

E T S: And this might feel a bit taken out the blue yeah? But ok, here goes:
What does it feel to be eaten?

AJ: I mean like, hmm, I don’t know yet. I was never eaten. First, It (the practice) doesn’t eat the whole body, it eats a part of it. So its yet not the full disappearance of the body. There will be another place where the body will be eaten to the end. So I think it does this.
So I will say this. It quite scary. It does create a sensation of gore, but I think its a strong desire, a desire of possibility. But also of non existence as a potential, again, of life. Haha, its huge!

Also, being eaten is observed differently in totally different places. In western countries we abolished it and its seen as a transgression of our common values, yes, but in other tribal cultures to be eaten is an honour.
I think its an act of love. In a way we are already eaten. Its already a part of us. So I think being eaten is not so dramatic, because you know you will come out.

E T S: These are the two best quotes ever, we are going to put them together. What does it feel like to be eaten: first “Its quite scary” and then “But its not so dramatic”. Thats a conclusion, like seriously that’s a wrap. This are stated facts and can not be discussed.

And from here we start a discussion on castration, but thats another text and a part of a future research.

ANNE JUREN – Thank you and bisou

Dear Immunsystemet/ Tove Salmgren

Dear Immunsystemet,

Thank you for the experience yesterday. What happened here is that I used the computer and the writer machine, spontaneous creativity and a scissor, a representation of something much more complex in your show, fine motoric finger motions including touch, press and fast movements (in combination with some color pencils) – and took a photo of the result of it. I needed to email the photo to myself and then to import it in a program and later to export it. But this was before I actually used the writher machine. But never mind the unchronological order in this story. Or do, but please don’t hesitate letting it go when you need to, or find it appropriate. Then I wrote Dear Immunsystemet and started to make or unmake spaces between the letters, to produce new combinations in the sequence, a bit like in the picture below but with the use of the words Dear Immunsystemet. It felt embarrassing watching the result of it, and I cut it out. I waited a moment and thought about what to do. Then I wrote this. It has also been edited.

Love and devotion,
Tove Salmgren

Mothers of Dales svarar på mejlfrågor:

-Så bra att ni startat upp nått i Stockholm, det är ju verkligen dött på många vis! Hur kom ni på idén?

– Den växte fram ur en sorg för att det är så otroligt många bra verk som visas runt om i världen men inte här i Stockholm. Vi är ju småbarnsmorsor och då e det ju lite mer komplicerat att resa runt och kolla på grejer hela tiden. Och va tusan varför kommer så få bra saker hit till Stockholm egentligen. Särskilt gästspel som är mer åt teaterhållet. Det finns verkligen en lucka att fylla, så vi ba tänkte okej rå – vi fyller i lite här då.

-Ja alltså det är ju som vår terapi kan vi säga. En gemensam gruppterapi.

-En viktig sak för oss är också att det fria kulturlivet och institutionerna ska samarbeta mer. Inte bara att publikerna ska blandas utan för att vi har som långsiktigt mål att End Fest ska byggas i samarbete med både fria livet och institutionerna.


-Varför heter det End Fest? Det låter så himla deppigt…

– Jo det är lite deppigt kanske. Vi lockades iallafall av tanken på att det finns ett tydligt slut och att det därmed inte går att skjuta saker på framtiden, utan att de bara måste hända nu.

-Medan vi har arbetat med End Fest har vi också insett att slutet har så mycket med nuet att göra. Alltså om vi står vid ruinens brant är vi mer närvarande i nuet än någonsin. Så tänker vi oss att detta är slutet borde vi kunna definiera nuet och det som är viktigt mer precist.

-Det blev också som en bra modell/sinnesstämmning när vi pratade med de olika institutionerna vi jobbar med. Att om slutet är här är det lika bra att riska allt och bara köra, varför hålla på och safea och köra på trygga vanliga kort när det kanske inte finns nån framtid om en vecka. End Fest blir liksom en chans att realisera drömprojekt.

-Exakt, vem bryr sig om biljettintäkter eller tex om folk inte gillar om världen ändå går under dagen efter?


-Har ni klimatångest?


-Om vi ser på världen från det perspektivet så har vi ju gått in i fasen för slutet, så klimatångesten har varit en av många inspirationskällor, kanske vi kan säga?


-Är det här en festival eller?

-Ja, alltså… typ. Vi kallar det för en evighetsfestival vilket är en motsägelse förstås. Festivaler precis som projekt är ju per definition något som har en början och ett slut. Festivaler brukar också behöva inordna sig under regeln att återkomma vid samma tidpunkt varje år, och dessutom likna den förra upplagan i tex storlek och format.

-Fast i början ville vi göra en festival, mer konventionellt liksom. Sen förstod vi mer och mer vad det var vi ville åt och då blev en vanlig festival inte tillräckligt. Vi vill ha mer kontinuitet, större frihet och flexibilitet. Festivaler är ju ofta en gång per år så då skulle vi ju behöva vänta så länge till nästa gång. Nu kör vi mer på lust och när det funkar med de vi jobbar med.

– Mer zen och mer frihet.


-So if I understand you right.. It’s the end of the world and you, like: “Let’s go to a performance”.  Come on, is that what you think people would do?

-No, I think you have misunderstood something.

– Yes it might be better to run than go and see a show…. Depending on what kind of endings of course. In some endings it could for sure be better with shows. But thats not the point.

-Kan inte ni förklara det här “konst för konstens egen skull” Jag fattar inte poängen.

-Ja, eller vänd på det, som om att konst skulle vara för någon annans skull, är det ens konst då? För mig handlar det om att anledningen till att konst ska få finnas inte hänger på om den är nyttig. Sen kan ju konst råka vara samhällsnyttig eller whatever liksom, sälja hotellnätter och fungera som medicin. Men det får inte vara syftet.

– Det är ju jobbigt när konstnärer tror att de måste göra verk som ska prata om något nyttigt, vara helt rätt och gott för att anpassa sig till hur man får pengar samt att konsten är ett verktyg för något annat (att göra samhället bättre?).

-Sen lever vi ju i en marknadsekonomi och det medför en massa negativt för konsten, faran är när konstnärer börjar anpassa sig efter marknadsekonomins villkor, medvetet eller omedvetet.


-Ni är ju producenter, tycker ni att just ni ska göra en festival?

-Öh tja alltså vi tänkte ju det.

-Alltså vänd på frågan, varför skulle vi inte kunna göra en festival?

– Vi har lärt oss att vara producenter själva också, inte gått nån praktisk utbildning – vi har båda läst teori bara, på kulturvetarprogrammet på Stockholms universitet och där lär man sig ju inte hur man ska producera olika saker. Så vi kanske har hybris men tänkte att vi kan göra festival också.

-Nä haha DIY. Nu kanske de tänker “Va, är ni inte ens riktiga producenter?” Haha.

-Det känns också ganska befriande att göra en festival där inte nåns kuratoriella praktik är överordnad konsten som presenteras. Vi vill ju snarare skapa synergieffekter för konsten i Stockholm. Göra sånt som vi gjort i många år som producenter, men att nu mer kunna styra och göra fler val själva. Att det ska bli fler bra saker som konstnärer och publik kan få ta del av.

-Ja, alltså vi menar ju inte att slutet är ett tema för hela programmet, utan är snarare vår ingång i formatet och att faktiskt göra något. End Fest är ju bara ett namn.

-Fejkar ni er norrländska för att verka coolare?

-Ja, det är bara image. Sorry.

-Nejdå det där var ett skämt. Vi är båda uppvuxna i norrland.

– Fast du är mer hardcorenorrlänning Stina.

-Varför har ni programlagt två olika gubbar som heter Mårten? Blir inte det lite ofeministiskt?

– Hmmm, knepig fråga. Det i sig är väl inte en feministisk handling, att programlägga två stycken dudes som heter samma sak. Vi gillar ju kvinnor bäst, jobbar helst med andra kvinnor och väljer att stötta en kvinna framför en man nästan alla gånger.

-Vi valde ju att presentera dem för att de säger något om klimatet idag, dels vilka de är förstås men också hur de ser på dans och teater som begrepp. De har båda en så kallad expanderad syn. Och är väldigt bra konstnärer som är viktiga för fältet.

– Sen vill vi ju inte vara ett slags litet kulturråd, så att vi gör en festival där varje liten enhet är representerad osv varje gång vi gör något. Vi vill såklart ta ansvar men tycker inte att det behöver göras allt på en gång, finns risk att det blir mest mellanmjölk eller inget alls då. Ängsligt och tråkigt.

-Jag är typ kär i er. Är ni singlar?

– Nej vi e sniglar. Föder jättemånga barn hela tiden också.


-Ni har så snygga kläder hela tiden. Var handlar ni?

-Tack! Vi handlar i Stockholm.

– Mest på internet pga tidsbrist –  så enkelt att beställa hemma när ungarna sover.


Tack för alla fina frågor! Ni vet var vi finns!


Jon Refsdal Moe – On cigaretts and other stuff

It’s 7 pm on March 7th, 2017. I have poured myself a little glass of Swedish vodka to get my buzz going enough to get inspired. Also, I am listening to Swedish music, the Drottningholm Baroque Orchestra plays Johann Helmich Roman’s Musique satt til en festin hos Ryska Ministern Gref Golovin on Spotify. The simple fact that Sweden has Baroque composers fills me with some awe, as I guess it speaks volumes of the differences between our cultures. We do not have a Baroque Orchestra at the Royal Castle. We do have the King’s Guard’s Marching Band, but it would probably not provide the necessary backdrop for a text on the current state, future or possible end of contemporary performance, as I imagine it to be my assignment to produce. I will write one thousand words around this topic.

As you can see I have also decided to write this in International Art English, although most of you would understand it if I wrote in my own language. I guess you Swedes do not have the same romantic ideas about language as Norwegians, probably because you have Baroque composers and the confidence that comes with it.  So consider this as a gesture ofcomme il faut. But enough fraternization, you have invited me to write whatever I would like and all I offer you are scandi-jokes. Its probably the vodka that I had to keep me focused, chilled with pink plastic elephants that someone brought home sometime in the 80s probably, but which instead made my mind wander off in all directions. During the 90 minutes I have spent writing I have marketed an event I host with Zachary Oberzan in Oslo, made myself a grilled cheese sandwich, posted three rap songs to www.jubel.fm and watched a live stream with British internet celebrity Rob Pursey, whom I met on Saturday in a very small and sweaty basement club called Paul’s Boutique in Oslo. I usually don’t go to basement clubs like that, as the expectation that I dance gives me social claustrophobia, the atmosphere in there was fantastic and I felt like the old douche in the corner that I probably was, never being able to join the party because I absolutely didn’t want to join the party, or even if I did, which I did of course – who am I trying to fool here – I would not be able to as my body would freeze up, as I would become so self conscious that I if I absolutely had no chance of escape, would close my eyes hard and make some combination of extremely introvert and overstatedly explicit moves that would probably make me look like a freak although my intention would be to show you that I get the joke, that I am aware of the fact that it simply is not possible for me to dance although I dance, so I’d rather lean up in the corner and feel the damp walls with the palms of my hands or go outside to smoke a cigarette which would make me have to stand in line for one hour to get in again, as kids these days don’t even smoke to overcome their social anxieties, I have been smoking so many cigarettes for precisely that reason that cancer, if it ever does me in, would probably have been cured by my overcoming social fears and inhibitions. But my fears and inhibitions are what constitute me as a person, and I cannot easily let go of them without also letting go of what has made me who I am today, which may not amount to much, but which at least got me invted to write this piece, meaning that my presence here and now, in this text and in this end fest, is legitimized by my social inhibitions, by the fact that I cannot participate in any type of activity that involves ritualization of bodily movement, that I cannot take part in any ritualized collective behavior at all, if I feel that such behavior in any way threatens my individuality, which I usually do feel, which means that going to the theater is a complex but also an immensely rewarding experience, as it offers me the option of non-participation.

I say the theater but I do not mean theater exclusively as an art form, I mean any venue in which any type of performing art is presented for an audience, and which lets me take part in that audience, and in doing so offers me the opportunity to take a step back from my existence, to cancel out all my sociopolitical or biopolitical or sexopolitical or conceptupolitical or metaphysicopolitcal commitments if only for a short period of time and as such lets me exist as an individual – as the indivisusor the undivided that I am not. It is a fragile contract, and it should not be breached although the possibilty of breaching it is what consitutes it, and is what constitutes this art that we share. Any contract would be meaningless if it weren’t just as easy to breach it as to uphold it. The theater would be meaningless if it weren’t just as possible for me to walk onto the stage and wave my dick around as it would be to keep quiet in my seat and leave that waving to some other dude. And I guess it is this fragility I’m after, whether I’m in a damp and jam packed basement club, which is a pretty rare experience for me, or in an arts space where some type of performance is going on (which happens fairly often). I am looking for a fragile space in which it would be just as logical to throw my body into the fight or into the eye of the hurricane or to take part in the sacred dance or wave my dick around or simply join the party, but on the other hand leaves me alone when I prefer not to.

Dear Reader / Tove Salmgren

This will be posted on a word press blog, a blog that is part of the festival END FEST, happening i Stockholm march 2017. I was asked if I were interested in writing, drawing or making something for the blog in relation to the festival, to some of the performances or more general about the festival. In return I were to get free tickets for all of the shows. We (the curators and I) discussed a bit the possibilities a forum like this brings – what kind of discourse material that it propose in itself. One thing that was brought up was how woman in the field of dance and choreography usually make such effort in all the writings they do, and that perhaps this forum allows for a bit more loose writings, maybe even spontaneous writings. We spoke of the possibility to write with an alias, if what comes out feels too blunt, unfinished or stupid. The curators said the blog is for everything, not just perfectly formulated ideas and correct language.
I saw Boner by Iggy Malmborg yesterday and this experience made me think in terms of how one could think that this blog, the commission from the curators, and myself are hereby presented as a unit, a unit that has melted into a personthing, or a thingperson? Anyway a computer. It does not use an alias though. Since transparency, and radical honesty, is the key to a future worth knowing.


According to,
Tove Salmgren

Ellen Söderhult On Studies of Fantasmatical Anatomies

It started off with the relief of realizing that I wouldn’t have to use my eyes for some time and that I was invited to lie down on a fluffy white mattress! Bliss on a Friday afternoon! But this was only the beginning. Entering a beautiful space with a floor mostly covered with the soft and fluffy white mattresses, with black balloons hovering a bit above the floor I lied down on my back and closed my eyes. 

For the following, approximately 60 min, my eyes were resting and no social interaction was asked of me. During this time I indulged in sensation and created my own graphics for what can maybe be described as an analogue, mental video game with you as the graphic designer, aided by magnificent sound effects performed live by Anne Jurén, multiple objects and Gry Tingskog. The inner graphic design was also, although more indirectly, aided by anatomy images, posters and bodily sensation and memory. I dove into an experimental, anatomical experience, challenging my imagination, guided by the voice of the narrator. The piece resembled a memory from the time after lunch in the kindergarden I was in as a child: I remember being read to while resting on a mattress, in a room with many, also resting and silent, friends. There was something very comforting about resting on my back in a room full of people also being read to, both in the performance and in the childhood memory. The sharing of an experience took place without engaging in something as a group, with the social interaction that comes with that. This was more like being alone, but together. There was also something comforting with that what was being read to us was not a story or a fairytale in the common sense of the word, but something like a verbally guided journey inside my own body, aided by the splendid sound effects and Jurén’s calm voice. This videogame was a mostly inside body story. It was a submission to sensation, and perception, a guiding of attention focusing in on bodily sensation without submitting to the imperative to enjoy or work hard with turning that experience or sensation into a positive, strengthening, empowering or useful thing. At times it felt close to dancing, as perception and imagination became the material building blocks of experience, and of the piece. The sound effects merged and transformed the images of my insides as pictured through anatomy books, made it 3-dimensional, turned it into a multi-sensorial experience where texture became more tangible then shape or form. This focusing in on the textural aspects of hearing and feeling in a way made sense in a house where Grand, full and spectacular expressions often fill the big spaces. What happened and what I heard was both uncanny, overwhelming and sometimes pleasurable. Letting sound and described images, movements and sensations form experiences and images in your body felt specifically exciting in a place of regular visual overflow: the opera house. 

Jurén’s piece was an interesting negotiation of my own bodily perception, through exploring the format of performance, facilitating for myself to be the graphic designer of my inner, imaginary but also perceptual journey through the piece and my material body and its many textures. I had a wonderful and experimental time inside this piece. 


Ellen Söderhult

Anna Koch – in any case still lucky

We live in dark times. One needs to keep the head up in order to continue. There is too much going on in the world and it is easy to let the dystopian rule. So even more now through art we need to come together and infuse strength. We have to have self-reliance to act. We are in any case still lucky.

In the art scene at the moment there is something in the air, a few proposals, signs, that propose a difference on how, where and whom we affiliate ourselves with. It suggests acting more local, to open up to our neighbours, to maybe stitch a path from one suburb to another, from an institution to a small-scale hub, from a storefront to a sausage stand, from one human to another, to expand territories.  We really need to, in order to save us from numbness. We need to be out there, finding ways of making the art we are doing visible. Let it land somewhere unexpected. Letting that experience bringing us fourth.

In the time of digitalization, the transmission of a live meeting, the live body and experience of time that one cannot scroll through should be defended. Embodied cognition raises the ability for the beholder to project oneself as an agent of action, art as an empowering tool.

As for the artists, still in precarious work and living situations, the entrepreneurship of art making, mirrors the economy led structures we all are a part of. Can we organize ourselves softly to further our own conditions? Can we imagine?  What discursive or practical context would we like to engage with?  If there were no limits, what would we do? With limits what do we do? How do we relate to the socially burning topics, but also of environmental matters, will artists stop touring?

For artists to develop we need a space to feel connected to, a room to work in, and we need trust. We need to feel it is okay to try something out without knowing the result, to dare to fail, or to change expressions and practices not to format us into machines.  We need to be able to rest with one idea or research for a long time without having to fit into standard formats. Wild at heart but not spectacular, that which drives, and intensifies our interest into new concepts of realisation. We also need our colleagues. The local scene in Stockholm has grown into something beautiful and valuable and it should be taken care of.

We are taking for granted that art and its profession can exist, that it is included in our culture. We are still lucky we have not yet gotten broken and down prioritized; there is still support. One day it might be different. One day, we are perhaps asked to fully support ourselves. But today we have our support to introduce, develop, create, nurture and embrace the act of making and sharing art.

When I got the question. ”Is there anything your organisation (Weld) cannot do, that limits you?” The answer is; there are really no limits in what a small-scale artist run organisation can do (a steady financed one that is) especially if it considers itself as an art-project, always in process, wide eyes and ears open. Welds content and universe are the artists and their wishes and needs, together with our own initiatives.

The limits we do have are specific structures and developed formats within the field itself, often related to co-productions, networks and schedules and how to handle the amount of productions and researches in need of space.  To be able to set aside time for post reflection, to contemplate the type of knowledge produced, how things are connected and the traces things leave behind are important and necessary to follow up on, in order to continue.

A small-scale organisation can act fast, from one day to the other, redistribute power and economy, help artists to get a legal status, help them establish in a professional context, name someone important to make them important, (micro-politics) we can also pay fees and give respect, not only say, we give you resources, our name, our context, coolness, but no actual money. We can do queer instead of using it as a representative term. We can empower ourselves and we can empower each other, we can bring ideas further and be compasses or extensions to universities and institutions, we can even create schools. If there is money we do it, if there is less money, we do it anyway.

In order for the smaller organisation to reach an audience other than expected one needs to find strategies. Many are doing it well. We invent collaborations and we knock on institutional doors. They gladly host us in order to get something fresh. For artist though, sometimes it is not so easy to move into other cultural contexts.  Why do we so often have to be recognised by each other, to feel safe? Why is art in one cultural layer considered strange and whose responsibility is it to “unstrangefy”?

To remember; art is not only for the privileged. Art could happen everywhere.  It can surprise an untrained eye; it can challenge an unfamiliar setting. It can point out a topographical relation, a coordination to be explored. It can unite. Art is for everyone that is curious. To be curious you need to be mentored. Not all are born curious. One or the other might need some help to activate curiosity.  This is the art that I and my colleagues and audiences relate to. This is not the art that the National Democrats relate to. They do not relate to Art. They do not relate at all.

As to repeat, we need to be out there, we need to share values. The subtle, sensitive notion of art has to infiltrate, question, heal and bring us closer. In End Fest, we can be walking in-between the different venues, trying to meet someone we do not know, on the way, to bring along, someone not already initiated. Can we open up for this?

The future is not dark, the future is bright. The universe will put everything in order. Can we at least pretend in order to continue?

Anna Koch March 2017