Apropos Appropriation: Why stealing images today feels different

LINK #2 >>>
by Jan Verwoert

Some thoughts on a new kind of appropriation within art. ???? This one has featured in P0$$€ twice… cphgn & sthlm… its good…

”All of these thoughts revolve around an experience of death, the certain death of modernity and the sense of history it implied, an experience of death that is framed and fixed by the object of appropriation through the accumulation of the dead matter of hollowed out signs in the form of allegory, the ruin of language.”

TEXT HERE <—– Click it.

as always… read it. love it. share it.

<3 PO$$€

~ ”The Wikipedia Dancer” – profiles ~ archive from P0$$€ feat. Gry Tingskog

In addition to text and scores from ”Cheating Discipline and Other Artistic Affairs” by Gry Tingskog, that was posted yesterday, we would like to share some archive material from the POSSE Gry hosted in September 2017. The text bits are from the first score ”Pt. 1 The Wikipedia Dancer” during the session. These are imagined, felt and written by Shiraz Amar, Gry Tingskog, Lisen Pousette and Klara Utke Acs – how far we managed in the session, that is. We hope the playfulness of this session shines through. Apart from being presented as a remain of work, we also hope it can work as an inspo to explore the dancers inside yall. If you don’t know how to put yourself into waterproof wear and get to the swimmingpool for the €L€M€NT$-episode on Feb 17th, you could write yourself a dancer and show up as this person instead.


Title: The dancer, Anna Lidström

Introduction: Anna Lidström is a 22 year old woman from Örebro, who moved to Stockholm when she was 18 to dance jazz and streetstyles at Balletakademien. Her favorite dance style is hip-hop/feminine vibe but she can master styles such as ballet and contemporary as well, and improvising is one of the skills she often impress others with. Lidström dresses in experimental streetsmart, a somewhat sexy and funky style, and has colored her hair bright red with black tip dye. Apart from getting accepted to the professional programme at Balettakademien, performing behind Sam White in melodifestivalen 2017 was the biggest moment in her dancing career – the intensity of performing live together with colleagues and friends in front of the massive audience in Friends arena.

Character description: Lidström is hard working but also allows herself to be lazy. She is social, talkative and also loves to sing. Still, she does not have any interest in becoming a musical artist since she considers the profession not artistic enough (i.e too cheerful and dorky). Rather, her artistic taste tends to embrace darker, more twisted or quirky elements. She is a big fan of Nicki Minaj and Rihanna and has created several choreographies to songs of them. Her choreographic style, similar to her improvisations, often include smooth and sensual qualities, with short and sudden interruptions (or pops) and move in between standing and floorwork. 

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Title: The dancer, Yaniv Mizrahi

Introduction: Yaniv Mizrahi, born 1981 (age 36), is an Israeli dancer and performance artist. She is well known for her subtle performance style that makes it hard very hard for perceivers to tell if she is being highly occupied dealing with abstractions or if she is actually high (hashis, opiades). She especially gained public recognition from her interpretations and studies of dances written by choreographer, Noa Eshkol.

Character description: Mizrahi does not have very talkative nature. She spends most of her time zoning out or performing – or both. She is 167 cm tall and has a robust complexion. She often deals with pains in her lower back.

Training history: Yaniv Mizrahi is trained in the Eshkol-Wachman Movement notation system and also did her fair share of Gaga classes (People and Dance) but never managed to complete her teaching course in the technique/trademark.

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Title: The dancer, Elisabeth Point C’est Tout

Description: Elisabeth Point C’est Tout, 25 years old. 1.80 cm tall and skinny, blond hair perfect and 180 degrees turn out. The ideal Ballerina.

Early life and education: Studied in the conservatory of Paris since she was diagnosed in early embryological stage by the best doctors to become the new Sylvie Guillem of the 2000’s (until age 27 when she’ll tragically injure both of her knees, lower back, hip joint and Skelton due to over use).

Work and projects: graduated with excellence in the conservatory and started to star as “L’Etoile” in the Royal Ballet of Paris. Starred in a variety of ballet including the original reproductions of “Les Sylphides”, “La belle au bois dormment”, “Aladine” (starring as Yasmin) and more..

Body text: Elisabeth Point C’est Tout is a very skilled dancer but unfortunately is an apathetic performer who forgot why she even still doing this shit. Surprisingly she is a hard-working Ballerina, still trying to break the records of the most Pirouettes ever made. There is no logical explanation to this contradictory behavior but believing to the Fans Conspiracies which tells she is suffering from bipolar disorder from a young age.

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Title: The dancer, Saga

Description: Saga is a five year old dancer. She has very little hair, parts of her head bold. She is most famous for her outstanding performance in The return of the darkness, a dystopian musical piece which premiered in 2013. As she can’t sing, she lost her love for the spot light and has since been very interested in word puzzles and drinking coffee.

Saga used to be the youngest in her collaborations, and was thereby the one who brought the coffee. This coffee was usually sipped and then forgotten. In the intermission, Saga usually took a nap, finding comfort in the noise of a chatting theatre.

Saga grew up in a theatre. Her parents were performers, and usually performed expressive, passionate roles with impressive costumes. This made Saga unable to recognize them. Therefore, Saga considered the entire crew of the theatre her parents, giving the job to whichever character she found most suited at the moment.

Living at the theatre, Saga participated in a variety of training. She has usually participated in the corner of the studio, not wanting her learning process to get too much attention. Having watched a lot of performances she never liked or felt like doing herself, the different expressions are somewhat etched into her memory and now she is unable to dance without them appearing.

~  ~  ~

Cheating Discipline G R Y T I N G S K O G


Cheating Discipline and Other Artistic Affairs is a project aiming to be adulterous to discipline through having artistic affairs. It challenges the historical heritage of discipline, through exercise and corrective training shaping the body into an obedient, docile, efficient and optimized anatomy. In this project, discipline is exercised as means to cheat on it.

If the dancer is considered as a body of work – a body constructed through labour and as a collection of art works – the dancer has multiple bodies collected from different practices, techniques and dancing. These bodies are in this project separated and distinguished trough using the dancer as a title; to title the different bodies as different dancers.

I have a closet full of dancers that I can put on, do, bring out the closet. I – performed – have different affairs with different dancers. My identities cheat and sleep with each other. Together, as a collection, they interact with each other in a polygamous way, cross-polluting, feeding, informing and contrasting each other. The play of understanding “myself” as different identities that I do, perform, indicates an identity affair, adulterous to the idea of essence, self-expressiveness and consistency. This notion of subjectivity, based on performativity and multiplicity, supposes a collectivity where the singular becomes multiple. This project unfolds and decentralises the singular, autonomous subject into open source choreography, moving it between bodies and materials. It is a notion of collectivity moving in-between subject and object, doing and being, a material and a body.

Cheating, in this project, connotes both a cheating on disciplines as well as on sexual partners. It plays with disciplinary labour as something the dancer could enter and do, rather than embody and be. The premises for the cheating will be constructed as affairs – an adulterous contract, a consented way of spending time together that exists next to discipline. These affairs are proposed and documented within the format of a score. Through scoring this choreography, and further, alter and change this score, this piece plays with performing fictive dancers as means to activate a specific kind of dancing.

Score About The Dancer and The Dance

This score plays with the idea of the dancer as a construct, a score, which one does rather than is. Trained through a workshop format, the dancer is constituted through diverse practices and techniques – and through the bodies proposed by these different practices and techniques. Thereby, the dancer becomes multiple, constituted by many different dancers though the practices the dancer embodies. My body becomes my bodies, as the body shifts with the work I do. A choreographer, institution, dance nor myself own my bodies; rather, I am a shape shifter. No, I am a principle shifter. I shift with the different principles, or different information, that I access and enter. Hence, the dancer is an identity I do, a score for accessing different dancing through entering a specific body and dispersing authorship. The dancer is not singular, not authentic, nor essential. The following series of scores called Score about the dancer and the dance is a game for emphasizing the fiction that the dancer could be considered. One can thereby pick a dancer to activate, in order to access a specific kind of dancing.

Both you and the dancer referred to in the score are performative identities, not true, essential or hierarchical. You are not more central or essential than the dancer. Rather, the score plays with a multitude of identities – professional, domestic et cetera – that work together in collaboration to construct a fictive sense of self. These identities are through this score deconstructed, fictionalised, as a method for separating them and exhibit a specific play with the dancer.


Pt. 1 The Wikipedia Dancer

Make a Wikipedia page about the dancer:

Title: The dancer

Introduction: Start giving a short intriguing and selling introduction to the dancer: name, age, appearance, important works, turns in life. (Note that these are not facts about you, but fictions about the dancer)

Character description: is the dancer lazy, disciplinary, a hard worker, a good girl, sucking up, talkative, muted, etc.?

Background: the dancer’s upbringing, birth, early conditions and circumstances

Training history: what techniques and training shaped and formed the dancer? What skills does the dancer have? What dance teachers, collaborators and practices constitute the dancer?

Preferences and tendencies: what preferences does the dancer have in terms of ways of working? Collaboratively, choreographing or not, alone? In what parts of the studio does the dancer feel the most comfortable? What role does the dancer tend to take when working together with others?

Current: what is the dancer busy with, and interested in, now? What kind of training, practices, projects, works does the dancer do?

Slogan/quote: Does the dancer have a frequently referenced quote? Make a slogan for the dancer



Pt. 2: Enter the dancer

Lie on the floor

Rest into the dancer:

Sense your body on the floor, let your attention and presence travel and spread through your body

Enter a dancer identity, maybe the identity that you are working together with in your practice

Visualize the dancer moving in front of you

Visualize the dancer’s distribution of weight, bodily structure, alignment and way of moving

Embody the dancer’s training that is immanent to her body:

What is specifically apparent about the dancer?

What movement principles, practices or techniques are activated or     frequently used?

What movements and acts/activity stylized and shaped the dancer?

What reality is the dancer moving in and inhabiting?

Feel the dancer in your body; let the dancer imprint and enter your body.

Feel where the dancer is present in your body, what she does to your alignment, structure, weight distribution, attention, sensation, awareness, presence

Stand up and walk the dancer in space


Pt. 3: Doing the Dancer

Enter the stage

Enter the dancer

Walk the dancer centre stage

Let the dancer be seen, don’t hide in the doing of the dancer

Trust that the dancer is being accompanied by the practices inherent to her bodily structure, the practices constituting the dancer

Perform a momentarily executable task that does not require any preparation outside the preparation immanent to the dancer: if this is a task such as jumping, try to jump the dancer, rather than to jump as the dancer

Acknowledge how the performance of skill is also preaching a body for the dancer, signifying that any set of skills is connected to the body performing them

Trust the dancer’s intuition in composing the dance

Recognize when the dancer is shifting or drifting, maybe referencing another dancer: if this happens however, let the different identities accompany each other in a quick dance, before the second dancer is being incorporated into the memory of the dancer you were initially doing

Fill the silence of the score with the dancer’s interpretation of your imagination

Exit the dancer, then exit the stage


Pt. 4: The Domestic Dancer

Enter the dancer: spend some time together with the dancer you are working together with in your practice outside work, like an after work beer

Walk the dancer off-stage: take the dancer out of the disciplinary spaces such as the studio or the stage

Take the dancer for a walk; note your perception of the dancer’s body, weight and movement

Take the dancer home; note, as you’re doing domestic labour with the dancer, how your tasks are performed in relation to (together with) your dance practice

Give credit to the labour surrounding, informing and affecting your professional work

Consider everything you’re doing together a dance; name, in a speech act way, everything you’re doing a dance. Pay attention to composition, time, space and choreography, as well as how the performing of the tasks as the dancer affects the doing of the task

Spoil the dancer: plan a date for the dancer (flowers, dinner etc.)

Perform the date

Try to get the dancer to walk you home (with consent even to spend the night)

Entertain the dancer and your relationship; what practices entertains and sustains the dancer? Maybe give the dancer a massage?

Exit the dancer

Pt. 5: The Open Source Dancer

Exchange Wikipedia dancer with someone else, or make several

Wikipedia pages about either fictive dancers or a dance teacher you never got along with

Enter this dancer

Perform score Pt 2: Enter the dancer and Pt 3: Doing the dancer together with this colleague

Exit this dancer and repeat with different dancer


In the P0$$€blog take over we will be sharing texts and links, things we like to be surrounded by and think with… and we think you might like them too.

First up… the only…

<< GERTRUDE STEIN>>  Composition as explanation.

”Composition is not there, it is going to be there and we are here. This is some time ago for us naturally. The only thing that is different from one time to another is what is seen and what is seen depends upon how everybody is doing everything. This makes the thing we are looking at very different and this makes what those who describe it make of it, it makes a composition, it confuses, it shows, it is, it looks, it likes it as it is, and this makes what is seen as it is seen.”

 TEXT HERE <—-click it

as always… read it. love it. share it.


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!