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Chloe Morgane Pictures

Få tillgång till det bästa från Getty Images med vår enkla abonnemangsplan. Miljontals högkvalitativa bilder och videor samt högkvalitativ musik väntar på dig.Effektivisera ditt arbetsflöde med vårt förstklassiga digitala filhanteringssystem. Organisera, kontrollera, distribuera och mät allt ditt digitala innehåll.

Skapa innehåll som är exklusivt för ditt varumärke genom att ta del av Getty Images globala datadrivna insikter och nätverk med fler än 340 000 skapare.Esseen, Per Anders and Glimskär, Anders Ove and Ståhl, Göran and Sundquist, Sture (2009). Fältinstruktion för nationell inventering av landskapet i Sverige, NILS : år 2009. UNSPECIFIED.

Esseen, Per Anders and Glimskär, Anders Ove and Ståhl, Göran (2015). Fältinstruktion för nationell inventering av landskapet i Sverige, NILS och Ä&B : år 2015. UNSPECIFIED.Esseen, Per Anders and Glimskär, Anders Ove and Ståhl, Göran and Sundquist, Sture (2017). Fältinstruktion för nationell inventering av landskapet i Sverige, NILS : år 2017. UNSPECIFIED.

Esseen, Per Anders and Glimskär, Anders Ove and Ståhl, Göran (2010). Fältinstruktion för nationell inventering av landskapet i Sverige, NILS : år 2010. UNSPECIFIED.Esseen, Per Anders and Glimskär, Anders Ove and Ståhl, Göran (2016). Fältinstruktion för nationell inventering av landskapet i Sverige, NILS : år 2016. UNSPECIFIED. Björklund, Niklas and Hellqvist, Claes and Härlin, Carina and Johansson, Karin and Nordlander, Göran and Wallertz, Kristina (2014). Snytbaggen. Uppsala. Ignatieva, Maria and Hedblom, Marcus (2018). An alternative urban green carpet: How can we move to sustainable lawns in a time of climate change? London, UK. Lehto, Carl and Hedblom, Marcus and Öckinger, Erik and Ranius, Thomas (2022). Landscape usage by recreationists is shaped by availability: insights from a national PPGIS survey in Sweden. UNSPECIFIED. Esseen, Per Anders and Glimskär, Anders Ove and Ståhl, Göran and Sundquist, Sture (2011). Fältinstruktion för nationell inventering av landskapet i Sverige, NILS : år 2011. UNSPECIFIED.

Esseen, Per Anders and Glimskär, Anders Ove and Ståhl, Göran (2012). Fältinstruktion för nationell inventering av landskapet i Sverige, NILS, MOTH, LillNILS och Ä&B : år 2012. UNSPECIFIED.
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In my personal practice, I have mainly projected texts during performances. I have experimented with setting up pop-up nap cafes, where people could write private journals, collective poems, a la cadavre exquis (exquisite corpse).
[ krahy seez ] A Reader consists of cards with scores, recipes, text, drawings, and other resources that can be used everywhere and by anyone, whenever a messy situation occurs. It is a result of Body-philosopher Vishnu Vardhani RAJAN’s and activist/choreographer xiri tara noir’s Publisher-In-Residency. Idén med koreoochgrafi kom som ett svar på att många, läsare och skribenter, gett uttryck för den lite tvetydiga växelverkan mellan att dels få vara själv med sitt läsande men också en önskan om att kunna dela den med andra, i ett gemensamt rum där texten också kan få kropp. Just i det här numret kändes det som en självklarhet att skapa ett sammanhang där text, kropp och olika slag av koreografiskt skrivande och verkande kan samspela på olika sätt. Vi har bjudit in några koreografer och dansare att respondera, om-koreografera, bli koreograferade, skriva och läsa texter och delar av texter i journalen och hoppas att det sammantaget skall ge en upplevelse av och en förståelse för kroppen i texten och texten i kroppen, i rörelse, kanske så som Cristina Caprioli uttryckte det, en kroppsjournal. As Louis Van Den Hengel describes zoegraphy, it is a mode of writing life that is not indexed using the traditional notion of bíos – the discursive, social, and political life appropriated to human beings – but that centers on the generative vitality of zoe: an inhuman, impersonal, and inorganic force which is not specific to human lifeworlds, but cuts across humans, animals, technologies, and objects. And then it got legs is published by Varamo Press and will be launched at MDT in the framework of Reading edge library. Dance-making and dramaturgy thrive on embodied knowledge, oral transmission and a culture of commoning. This spirit guides the presentation to curator Izabella Borzecka and dance-maker Benjamin Pohlig who will respond to the book with oral annotations, followed by a conversation with Jeroen Peeters. You can purchase the book at the event. OM MAN TÄNKER SIG MONOTONI SOM MOTSTÅND SÅ FÖRBINDER JAG DET PÅ SAMMA GÅNG MED VÅLD OCH FRIHET. EFTER DINA ERFARENHETER AV DENNA PRAKTIK, VAD SKULLE DU SÄGA MONOTONI ÄR FÖR DIG?To me, this is how a conversation actually take place, and I think the question becomes: ‘How can we stay open towards one another, and be in the improvisation, that is being in this life, together?’

As I see it, post-humanism can offer a mindset to think with, and spirituality can offer body and practice to the questions of healing, on both a micro and macro level.
IN YOUR PRACTICE, YOU ARE ALSO INTERESTED IN THE POST-HUMAN PHILOSOPHY TERM ‘ZOEOGRAPHY’. COULD YOU TELL US MORE ABOUT WHAT IT ENTAILS AND HOW ‘ZOEOGRAPHY’ INFORMS THE USE OF LANGUAGE IN YOUR PROJECT?We – Henrik and Ellen – have both studied in Berlin (theatre dramaturgy and interdisciplinary art in the public space respectively). In our practice, we are not just influenced by English live art and humor, but also by Germany, in our interest in inclusion and audience participation, and the desire to influence and perhaps change society.En stor del av mina performativa undersökningar går ut på att just se vad som händer med mig, akten och med publiken när något till synes vardagligt eller enkelt repeteras in absurdum. När man utför något så monotont under djupaste koncentration, förlorar då texten succesivt sin innebörd i och med upprepandets uttömmande kraft? Blir den endast en dekorativ tapet? Tappas innehållet och tyngden i orden bort? Jag har intresserat mig för hur propagandatext verkar, när budskap matas in genom ständig upprepning, vad händer i att utsättas på det sättet? Det jag upptäckte i själva skrivakten var intressant; även om jag kunde fraserna utan och innan så var jag efter varje kommatering tvungen att se tillbaka på tidigare fras för att veta var någonstans jag befann mig i flödet av texten. Jag fick således små ”black-outs” inför varje fras och innebörden av orden var ingenting jag tänkte på eller intalade mig var viktiga just då. Jag blev som en maskin vars enda uppgift var att inte skriva fel, hålla raka rader och röra mig utifrån ett specifikt rörelsemönster. Jag befann mig i ett kritvitt rum. Vi hade maxat belysningen med mycket skarpa lysrör för att
förstärka känslan av att befinna sig på en icke-plats, i ett slags vakuum. Där förlorade jag mig själv och publiken under djupaste koncentration – en mycket märklig känsla som jag aldrig upplevt i något annat sammanhang förut.

Browse and search for publications here. Click on each publication to learn more. Reading edge graciously accepts new donations of independent publications.
XIRI: In our collaboration, we have used language – which I think is where our shared interest in performance and publication comes from – as the starting point. Language as unrecognizable, as foreign, as other, as exotic, as dangerous, as angry, as misunderstood and mistranslated. Vishnu had seen a subtitle in a movie saying ‘speaking softly in a foreign language’. In our practice, we are questioning who this language is foreign to? Who are the ones who have the right to translation, and who are the ones whose language is often foreign, othered, unrecognizable, not understood, and constantly having to be explained by the ones expressing themselves ‘differently’.I am very interested in investigating how text can be seen as performance, how a text is read anew each time a person encounters it, and how it can translate again and again through both people and different mediums. The old-school and outdated idea of the genius is completely irrelevant here. Instead, collectivity, feedback, and re-performance/re-enactment is the focus.Möjligen kan det vara så att det är den tänkta mottagaren av texten som behöver “uppgraderas” för att skrivandet skall kunna träda in i ett annat språk. Om den tänkta läsaren skall vara en kulturintresserad “vem som helst” så blir ju språket, och förståelsen, av nödvändighet förenklat. Om en istället föreställer sig en redan initierad och kunnig läsare så skulle språket behöva, och kunna, förhålla sig till det konstnärliga verket på ett, för alla, mer adekvat sätt. Men möjligen handlar problemet inte om att danskonsten är ordlös, utan om att den är “rörlig”, och skrivande uppfattas som “nedtecknad”. Med andra ord så kanske vi skulle ha en annan kritisk miljö om vi hade fler respondenter som var utbildade i koreografi, som förstår den dubbla rörelsen av att dansa-skriva-dansa.

Reading edge is a library dedicated to the field of knowledge processed within choreography, dance, performance, and movement-based practices. Reading edge focuses on independent and self-published publications by small-scale organizations, micro-publishers, or individual artists. In this constantly growing collection, you can find artists’ books, magazines, zines, online publications, time-based media, and other related art books in experimental materials and formats. Reading edge aims to expand the notion of what a publication is and can do. The ambition is to gather a diverse collection, and present public programs that activate publications and publishing practices. In this way, Reading edge wants to contribute to the discourse in the fields of dance, choreography, and performance.

Together with Live Art Denmark, who are publishers in residence, we invite you to an open conversation about what publishing is and can be for live art practices of today, beyond conventional documentation. What publishing methods, formats and discourses are or could be relevant for this field in particular? How could we cultivate a publishing discourse within this field together?
EN GÄNGSE FÖRSTÅELSE AV REPETITION SOM SÅDAN ÄR ATT DET ÄR UPPREPNING SOM FÖRBLIR DENSAMMA, MEN DET KAN OCKSÅ FÖRSTÅS SOM OFRÅNKOMLIGT SKAPANDE AV SKILLNAD ELLER FÖRSKJUTNING. NÄR DU I DETTA SPECIFIKA ARBETE FORTSATTE ATT SKRIVA UNDER SÅ PASS LÅNG TID, UPPSTOD EN RUBBNING OCH I SÅ FALL PÅ VILKET SÄTT? VISHNU: I came to understand that we all have work languages, just like love languages. There are ebbs and flows in the output. As xiri and I haven’t worked together before, it took me time to comprehend their ‘language of work’, which is very different from my own. I see now that this learning is valuable to me, and this is surely the case for any two people that come from different schools of thought, and adopt certain methodologies in their work. YOU HAVE BEEN INTERESTED IN DOCUMENTING LIVE ART THROUGH VARIOUS METHODS AND FORMATS FROM THE START. WHY DO YOU THINK DOCUMENTING LIVE ART IS IMPORTANT? AND WHAT STRATEGIES, METHODS AND FORMATS HAVE YOU FOUND INTERESTING OR GENERATIVE?My last two works, ‘Listening by Speaking to Oneself’ and ‘The Trouble of Walking Straight’, both use this perspective as a starting point. In ‘Listening by Speaking to Oneself’, I intended to draw attention to the in-between moment in a conversation, and to investigate if it is possible to ‘extend’ or ‘amplify’ the ‘not yet created’ moment of encounter. I did this through transcribing conversations in one specific group of womxn, a group of sex workers in this case, and then asked another group of womxn, a group of artists, to perform a re-enactment of the transcription. My purpose with this work is where my choreographic practice intersects with my activist practice; in generating spaces that can initiate a feeling of collectivity across different communities. As we often tend to give less value to people or situations that we don’t understand at first, it was truly amazing to see what was happening with both groups of womxn in this process of opening up to something unknown.


VISHNU: Yes, I am so grateful for that generosity from xiri and their partner Inés. Voilà. Thank you for giving us this residency to explore that intention.

The relationship between performed and printed text is central to my practice. I’m interested in the ambiguity between performed textuality and spoken writing, the context and means of writing as activated for and through a stage, a site, a paper, the body of the performer, the body of a voice, or the body of a page. I’ve been trying to understand what space the written material inhabits in a performance – can one talk about it as a text when it is transformed by and through the performance? These questions continue to fuel my work in a very productive way, but I’ve grown less interested in trying to pinpoint the differences. Of course they are there, but the materials I’m working with are the same – time, space, body, voice, language – what differs is, most of all, how you engage with them, both as a writer/performer, and as reader/spectator, and I think that time is the key material here, as well as the sense/presence of one’s body. The situations in which you encounter a work as a reader or spectator are radically different, and to me, that is the greatest concern when I create work for a page that is meant to be read, or work for stage that is meant to be heard. When I write for the page, I work with the relationship between the text and the silent reader, when I write for stage, I work with the relationship, not just between the performer and the audience, but between the members of the audience as well. In both cases, I often address the reader/spectator directly, wanting to write their position and presence into the work. I think I am very inclined to see the affinities rather than the differences right now.AS YOU MENTIONED, ORDBOK/LEXICON HAS ALSO BEEN PERFORMED BY YOU AND VILDA KVIST. HOW DID THE CONTENT OF THE PUBLICATION TRANSFORM WHEN TAKING THE FORM OF A PUBLIC PERFORMANCE? Jag har fått berättat för mig att flera ägare till boken verkligen har gått all in gällande att se boken som ett skulpturalt objekt och placerat den utifrån det synsättet, till och med på ett podium. Andra har tyckt att den fungerat lika bra som en blädder-bar bok och har läst den från pärm till pärm. Genom läsningen av de tre repetitiva fraserna om och om igen skapar läsaren en egen performance utförd i hemmet. IZABELLA: Speaking further about publishing practices. What is your relationship to publishing within choreography and performance? How are you working with publishing in an expanded field in your practices?

En utdöende handling. Barn kan inte skriva för hand längre. Det skrämmer mig. Och det hör ihop med den fysiska boken och dagstidningar som känns hotade. Jag vill göra vad jag kan för att försöka bevara dessa medier.

In the fall of 2020, I will be going back to Malmö Art Academy, to do a Master’s in artistic research, which will hopefully lead to a PhD in two years. My research deals with a link I see between post-humanism and spirituality, and I seek to look for this connection through participatory performance, where language, empathy, and care are key elements. In this research lies a critique of neoliberalism and the unhealthy division that modernity has instilled in modern humans.

During Vishnu Vardhani RAJAN’s (FIN) and xiri tara noir’s (DK) Publisher-in-Residency, we took the opportunity to ask about their (publishing) practices, and how they’re shaping their first collaboration in times of uncertainty. Vishnu and xiri arrived in Stockholm just before various measures to limit the spread of the COVID-19 virus were introduced. Therefore, their residency, as well as this conversation, addresses questions of how one establishes safe working spaces and a search for ‘simple solutions for messy scenarios’.Beyond my choreographic work, I have, in recent years, been busy with turning my research into practice through facilitating labs and workshops for diverse intersectional groups of artists and activists. I see this work as part of my expanded writing and movement research. For me, it is an ongoing, collective learning and sharing process of de-constructing and reinventing languages, movements, and thought systems… and embodying this knowledge into proposing new ways of relating and being together in this world.Live Art Denmark specializes in interdisciplinary audience engagement, and has, over the years, developed several new formats and modes of interaction in collaborations with art institutions, theatres, museums, festivals, and performance artists. During their Publisher-In-Residency in Stockholm, Izabella Borzecka sat down with Henrik Vestergaard and Ellen Friis to ask about their work at Live Art Denmark, why they first started, and how documentation can be seen as a form of publishing.ordbok/lexicon uses the form of the lexicon to discuss and perform the relationship between language, authority, and hegemony by putting it at play through ruptures, repetitions, displacements, and poetry. We asked Moa to tell us a bit more about this particular work, and the conversation revolved around how text and body intertwine, and the relationship between performed and printed text – topics that are central to her artistic practice. ON THAT TOPIC, FOR YOU AND FROM YOUR EXPERIENCE – HOW DOES PRINTED AND PUBLISHED WORK DIFFER FROM PERFORMANCE? YOU MENTION THAT YOU USE ‘WRITING’ AS A BASE, VOICE AS A TOOL, AND PERFORMANCE AS FORM’. CAN YOU TELL A BIT MORE ABOUT THE ROLES THAT THE DIFFERENT EXPRESSIONS TAKE, AND HOW THE OUTCOME PERHAPS BOTH DOFFERS AND/OR IS INTERWOVEN? Vi vill också att journalen skall ses som ett långsiktigt existerande forum – något som påverkar hur man tänker kring det egna fältet och sin egen praktik. Att det finns möjlighet att skriva och publicera innebär en avsevärd skillnad för fältet som helhet och dess utveckling.If the notion of the ‘post-human’ signals anything, it is that we have never been human, that life has always already been overwhelmingly post-human, since all living beings are symbiotically related to the biological and technological worlds that sustain them, which is also the core value of spirituality. The notion of zoegraphy can create embodied encounters in which the human becomes open to qualitative change.

VISHNU: As our space was dynamic, we also established a safeword when we needed time to disengage after work hours. It helped, especially for me, as I am only now learning how to have boundaries. xiri said multiple times to me: ‘Never take things personally’. It was good advice, not easy for me. A good takeaway.
XIRI: In our society, we put a lot of power into language, especially the written word. As Vishnu is also emphasizing, language is so much more than just words… it is everywhere, graspable as well as ungraspable. And I think this is exactly what choreography is, the creation of language. As Erin Manning expresses it: ‘The minor gesture is an ally of language in the making.’ In this sense, words are at the core of my choreographic practice. Both during creation, in my performances, and as a workshop facilitator; writing and reading in an expanded sense becomes the catalyst for movement.Also, I love making collages of words in the various languages I speak. I enjoy the performativity of writing, yet I prefer the performativity of reading even more. Seeing a person with a book in their hand in a public space continues to inspire me to take that aspect into performances, especially in the Anthropocene, and digital platforms. Poetry is what makes me able to write at all, or maybe I should say what makes it possible for me to breathe in language. I certainly think of it as a potentially subversive force. To me, it is also a crucial counterforce to the narrative, normative matrixes that we are flooded with today, in which I cannot recognize my experiences but, nonetheless, am expected to organize and express myself through. I READING EDGE FRAMKOMMER EN MÄNGD VERK SOM ÄR GRÄNSÖVERSKRIDANDE MELLAN OMRÅDENA TEXT OCH KOREOGRAFI. ATT JUST DETTA BLEV TEMAT FÖR ERT NYA NUMMER PÅVISAR OCKSÅ EN SÅDAN BENÄGENHET. DET VERKAR FINNAS ETT UPPDÄMT BEHOV AV ATT SOM RÖRELSEBASERAD KONSTNÄR OCKSÅ ARBETA MED TEXT OCH PUBLIKATION. NI NÄMNDE AKADEMISERINGEN SOM KRÄVER EN SKRIVANDEPRAKTIK, MEN I ÖVRIGT HUR SER NI PÅ DENNA TENDENS?För oss, och även för många skribenter ur fältet, har Koreografisk Journal inneburit “learning by doing”. Vi hade ingen tidigare erfarenhet av utgivning, även om vi båda har ett starkt intresse för skrivande, likväl som många inom dans- och koreografifältet inte hade särskilt mycket erfarenhet av skrivande med ändamålet att publicera något. Det var viktigt för oss att journalen ändå skulle trycka texter skrivna av verksamma från det egna fältet, att det inte skulle bli ett utifrånperspektiv (vilket redan finns) utan främst fokusera på konstnärernas egna reflektioner, teorier och konstnärliga angelägenheter.

Our YouTube channel is our main channel of publication. Apart from VR and regular video, we have published a seminar (Collaborating with Kids) about children as co-creators. It consists of a series of interviews with children and artists, such as Tim Etchells, Eva Meyer-Keller, and others.
VISHNU: Journaling has always been my tool of expression, a process and a practice of daily self-care. I had the honor of being invited to be part of two works by Jeanne van Heeswijk – an artist who facilitates the creation of dynamic and diversified public spaces in order to radicalize the local. ‘Public Faculty N 13’ was about the simple questions of what you think of the future, care, commitment, and togetherness. A four-day intervention to stir up conversations, and sketch forms of collective action in public spaces. This collaboration enriched my personal practice of journaling. The second collaboration was ‘Maunula Staircase’. We occupied the staircase of Maunula House in Helsinki for a six-hour discussion on collaborative futures of the neighbourhood. The long discussion was edited into a four-page annex to the local newspaper. XIRI: OMG, this is already such a difficult question to start with, as I believe that identity is always moving, so I’m always trying to avoid too many definitions, but let’s try… I’m active as a community activist, facilitator, researcher, and choreographer. As an activist choreographer, my roots are in the radical queer feminist and sex worker community. I’m also working as a facilitator of feminist self-defence classes, and I’m exploring radical care as a form of resistance. Yeah, I would say that in general, my practice lies in finding the capacity to make any movement generate potential… and the way for me to practice choreography is to take it outside of the ‘space where it belongs’… but if you ask me tomorrow I might give a different answer to this question… VISHNU: At this point, I have a question for you, Izabella; do you have safe-space guidelines with the people you collaborate with?
How do you formulate these agreements without imposing on or overpowering your colleagues?

Reading edge art book festival brings together independent organizations and individual artists who run their own publishing practice of artists’ books, zines, magazines, discursive books, photo books, digital publications or elaborate with other experimental publishing formats. Meet them and their works, take part in presentations, conversations, performances and readings!
Both in my work with Forlaget Gestus and in my own practice I challenge – because I think that it is important – the common idea of traditional documentation, where a book is often used as a catalogue. I believe that this is rarely the best way to serve the work. Instead, we need to acknowledge that a performance or an art show of any kind has to do with an experience that took place in that exact space, and think of the accompanying book as a space as well, which necessitates a translation of the experience. This means that a linear archive is no longer valid, and that we need to include emotion, sensation, and orality into the archive, which means that the body also functions as an archive in itself as well.During this residency, we will translate and rewrite our two-hour lecture about various documentative formats, but now inspired by your concept of ‘publishing’. We will hold that lecture at the end of our stay, and we will present our VR archive over two days, when people can drop in and meet us. Finally, we will also meet and record new local artists for the VR archive.

WHEN AND WHERE DID YOU FIRST MEET? SINCE THIS IS THE FIRST TIME YOU ARE COLLABORATING ON A PROJECT, HOW ARE YOU SHAPING AND STARTING YOUR COLLABORATION?In relation to this residency at, I am collaborating with dancer Kat Staub, who is a part of the dance collective Dance for Plants, among other things. Kat was supposed to have come here with me, but due to Covid-19, she had to stay in Denmark. The work has therefore changed a bit because of that, but its core elements are still intact: how to cultivate empathy, and how to connect with both yourself and the other, whether that other be nature, animal, or human.

Welcome to an afternoon and evening with current choreographies and conversations. The simple premise is that life does not happen after, or before art. At the same time, it might be too big, and too risky, to say that the two are synonymous. What does the landscape look like between art and life? And what can we learn from meeting there?
Välkommen till en öppen verkstad i manifestskrivande. Under ledning av Anna Hallberg och Elin Grelsson Almestad, båda författare, kritiker och lärare på Skrivarakademin, utforskar vi manifestet som konstform och uttryckssätt.The design was made in collaboration with graphic designer Anna Giertz. I wanted it to have two covers, and appreciate that you have to move it to read it – turn it, flip it. Since the text isn’t very long, I knew it was going to be light – we made it small to maximize the amount of pages, wanting it to be more of a small book then a leaflet. We both wanted it to be small enough to fit in a pocket. Anna proposed the rounded corners as a reference to the format of the passport, another official, authoritative and violent ‘book’. The pink was proposed by Anna, and I immediately fell for it – it is a color that is negatively connoted when it comes to authority, since it is connected with femininity and girliness.Quoting Mohsen Namjoo – ‘being modern is to understand roots’ – as a starting point, and leaving digital platforms behind, I explored engravings on stone, palm-leaf manuscripts, recycled paper. As a progression, from writing to reading to making, I arrived at quilting when I was researching traditional book-binding practices. Quilt-making subverts the hierarchy of archiving, the handwriting in a stitch, the piece of cloth a person wore, colors, everything gestures towards privilege in the grand publication arena. Quilting to me is a process of changing publication imagery. With care, it de-canonizes the historical colonization of land, languages, and minds, undoing the hegemony of language. Sensibilization of recycling, and the source of paper… Gesturing towards eco-feminism. I am still researching the un-archival tendencies of a quilt, the uniqueness of the stories a quilt contains augments my practice as a Body-Philosopher. Quilts for me are a way to bring a collective together in connection/ritual, and to enable people, fantastically, to go beyond language. An image is worth a thousand words, a quilt a thousand stories, making space for the story to be re-told in any language.Reading edge’s mobile library takes part in the two day exchange and coming together Delta – The Page as a Stage, with the intention to discuss, reflect and share how choreography is practiced and manifested in printed matter, how text and publications can be understood as formats for choreographic inquiries, and how they can be seen as works in themselves.

IZABELLA: Thanks for inviting me to join the conversation! As a micro-organization, we have some safe-space and work ethics guidelines (which could also be developed further), but I think that practical and attentive work is the main thing that enables safe spaces to exist. People need different things to feel safe, and that need can also change over time, which makes it more complex. Therefore, I have a set of methods and tools that I turn to in different situations (also in constant development). For me, care is a central word in my practice and work ethics. Listening, not taking things for granted, and being ready to act according to one’s principles are important caring tools for me. I also try to be as transparent as possible, and ‘work as a team’. During these times, when the coronavirus is spreading and kind of interrupting your residency, it becomes even more apparent to me how important it is to enable the existence of safe spaces, how that notion changes, is different for different people, and how one can’t plan for what will be needed in advance.
Since 2004, we have organized 15 festivals, presenting international performance art, critique and documentation in Denmark, and worked with many more events and formats in Denmark and abroad. We collaborate with larger art institutions and museums in Denmark, and constantly invent new formats. Since 2014, we have wanted to include all ages in our projects. In our own recent productions and curating, we have been investigating fields like games, rules/recipes and roleplaying.XIRI: Uuhhmm, thank you for sharing these powerful memories and insights, Vishnu! What I think is also interesting about this new format for collaboration is that it is opening up alternative ways of understanding and working with accessibility. Both in our practice as artists, and in our presentation format, which is something we might not have taken into consideration if this situation had not occurred. It is interesting, and also a bit scary, to see how much this situation (the coronavirus confinement) literally highlights how the lack of accessibility is really the main cause of inequality, rather than capitalism. In this sense, I’m also very grateful for having support that enables me to continue this work at a distance, and I really hope for us, as a global community, that this can be a way of including accessibility into our ways of working, rather than it being an exception. I guess this is part of being a privileged person; that you don’t understand the importance of certain situations until they become relevant to you, so yeah, this is definitely an eye-opener on how we are often stuck in our ways, and how things can easily be adapted and done differently… which, in a way, takes us back to our starting point… othering, distancing, or not giving value to things or situations that seem foreign to us at first sight!

Efter ett antal utgivna nummer skapar den aktuella tematiken också ett slags självreflekterande ut-/inifrån; en koreografisk journal kring/över/i text och koreografi.
Bransch_brunch is an informal meeting place for the interdisciplinary and performing arts community at large who are interested in interchanging dialogues, share driving forces, articulate thoughts on specific working processes, or other urgent issues. Altogether intertwined in a shared space of a social (brunch) choreography.

Jag gjorde ett live performance på Göteborgs Konsthall år 2015 under min separatutställning där. Jag stod i rummet längst in i Konsthallen med ryggen vänd mot betraktarna och skrev på väggen direkt med tuschpenna, 2 timmar om dagen utan uppehåll, 3 dagar i veckan under en månads tid. Eftersom väggen var 10 meter lång, 6 meter hög och bokstäverna ca 5 cm, så tog det sin tid. De första dagarna arbetade jag från en byggnadsställning och klättrade upp och ned från denna, flyttade ställningen en meter, förankrade den, gick upp, skrev och gick ned igen. Det var som ett koreografiskt mönster, en form. Jag ville undersöka vad som hände i repetitionen av samma tre fraser (“monotony is a virtue, repetition is a strength, practice makes progress”). Publiken var aktiv; vissa satt i timmar på sina utfällbara stolar och väntade på att något skulle hända, vissa gav mig direktiv om hur texten böljade fram och hur jag skulle göra för att räta ut den. Vissa kom fram och knackade mig på axe
ln under tiden jag arbetade, vissa försökte prata med mig. Hela idén gick ut på att undersöka vad det konstnärliga arbetet går ut på, och vad ett arbete innebär. Vad som är värt någonting. Efter utställningens tre månader var slut, målades väggen vit igen och verket försvann. Eller inte… eftersom det finns kvar där under som ett färgskikt dolt inuti Göteborgs Konsthalls vägg, möjligt att skrapa fram om hundra år.
Under verkstaden arbetar du individuellt eller gemensamt i egenvald grupp med att formulera ett manifest. Det behövs inga förkunskaper och inga krav ställs på en färdig slutprodukt. På plats finns inspirationsmaterial att ta del av. Läs, reflektera, pröva och hitta ditt manifestuttryck. Verkstaden är en del av höstens manifest-tema inom Reading edge library.

Together with Vishnu Vardhani and Xiri Tara Noir, who are current Publishers in residence – we invite you to an open conversation about how one can approach publishing as a choreographic practice, such as bookbinding as a choreographic gesture, or writing as an embodied practice. What publishing methods, formats, and discourses are or could be relevant for this field in particular? How can we cultivate a publishing discourse within this field together?
Reading edge takes its form as a permanent reference library in MDT’s foyer, a mobile library, and a digital platform. As an audience, you are invited to move with the library, in its multiple formations, to read, reflect, discuss, or rest. On this digital platform, you can browse through or search for specific artists, publications or topics in the Online Catalogue. You can contribute with your publication to the library or reach out about publications you think should be included. On the Table functions as a publishing site, a curated shelf, as much as a space for dissemination and activation of publications from the library. Here, you can find texts, interviews, sound, video, selected publications and other gestures of care and attention to publishing practices. If you have suggestions, please reach out. In News & Events, you find information about upcoming and past events. Ibland gör jag live performance, men mestadels video performance. Det viktigaste för mig är det personliga mötet med verket. Genom att undersöka båda dessa former (live och video), har jag funnit att det är videoprojektionens möte med åskådaren som ger den direkta effekt som jag önskar få fram, trots att det är en skärm emellan åskådare och verk. Jag upplever att det blir ett mer intimt tilltal än med en stor grupp som ofta är fallet med ett live performance. För mig är det alltså inte viktigt när själva verket blir till. Att däremot göra en fysisk bok är den totala motsatsen, det är något jag aldrig har gjort tidigare. Det är så att säga en statisk produkt och därför var det viktigt för mig att låta ägaren åtminstone vara delaktig i hur man vill placera boken och hur man vill utföra läsningen av den. Konstnärligt skapande som bedriver en fortgående, undersökande och krävande verksamhet i ett ständigt öppnande av nya flikar/sidor/dörrar närmar sig kanske ofta andra discipliner för att arbetet i sig kräver det. Koreografi utökas och vidgas inifrån, blir flerlagrat och mångskiktat, det kanske kan förstås som olika metoder för att undersöka t.ex. en viss frågeställning eller intresse, från flera olika angreppspunkter. Vi kan hoppas att framtiden är oändlig nog att kunna härbärgera både relationer som kommer att inbegripa närmanden av flera olika slag, andra genomskärningar och nya och gamla förblandningar, samtidigt som vissa inte vill blandas alls. Text och scenkonst kanske kan ses som helt olika uttryck, men det intressanta är ju det som händer mellan dem, där det eventuellt väsensskilda kan existera på samma gång som det upphör att dra åt snarorna runt sig själva.

Read, listen to, or look closer at publications from the library here. On the Table functions as a publishing site, a curated shelf, as much as a space for dissemination and activation of publishing practices.En aspekt kan kanske vara att det utökade koreografiska fältet både öppnat upp för att förstå skrivande som en “ny” koreografisk praktik, och samtidigt, eller kanske från andra förståelsehorisonter, en återgång till koreografins själva grundprinciper, att skriva dansen. Arbetet med dans och koreografi utövas ju till stor del i språket, dels det vedertagna, men också i specifika terminologier relaterade till individuella konstnärer. Skrivande blir också ett sätt att få syn på, och arbeta med, det egna språket, och där-i-genom den konstnärliga verksamheten. Egentligen är det väl anmärkningsvärt att det inte gjorts mer tidigare, kanske har det bottnat i någon snedvriden idé om koreografer som koreografer och inte som konstnärer (i den konventionella idén om konstnären så har ju artists’ books funnits väldigt länge), men i och med att vi börjat benämna oss själva annorlunda så ökar ju också vårt verksamhetsfält och våra möjligheter att arbeta med koreografi i olika medier, material och format.

JAG HAR FÖRSTÅTT ATT BOKEN VAR EN DEL AV ETT STÖRRE PROJEKT DU GJORDE SOM HETTE “TEXT WALLS”. VILL DU BERÄTTA LITE OM PROJEKTET SOM HELHET OCH BOKENS ROLL I DETTA?This interview (in Swedish) brings up the many dimensions of the book ’monotony repetition practice’ – how one can interact with it as a sculptural object, or create a personal performance while reading it. It´s also a conversation about monotony and repetition as such, Sederowsky´s experience of different performance formats, and the supposed opposing relationship between performing arts and books as static objects.

En skrivandepraktik har blivit allt vanligare, för att inte säga oundviklig, inom de flesta konstområden, bland annat som ett resultat av akademiseringen som fått stort genomslag på dans- och koreografiområdet. Något som märks också i relation till journalen, tendensen är att fler skriver och färre räds att göra det offentligt.HOW DO YOU WORK WITH TRANSLATION AND NON-LINEAR ARCHIVING NOW DURING YOUR RESIDENCY? DO YOU WISH FOR THOSE TRANSLATIONS TO RESULT IN A SPECIFIC OUTCOME?

Of the many different formats of documentation we have explored, Virtual Reality simulates the original experience most closely, especially perhaps by including the (exchange with the) audience itself as an important part of a live experience.

Dans- och koreografifältet i Sverige kan tyckas relativt litet men är samtidigt väldigt mångfacetterat, vilket även avspeglas i Koreografisk Journal genom skribenternas olika perspektiv. Som kontext skapar journalen en unik inblick i och sammanhang för en fördjupad diskurs, skapar en rörelse och dialog mellan de olika texterna och sätter fältets olika röster i relation till varandra.
VISHNU: My practice revolves around the ongoing investigation of sensory experiences. I am a Body-Philosopher. I am drawn to the politics of sleep, ethics of conflict and restorations, invested in the cultural architecture of institutions. I am inspired by nutrition and inquire about food habits and the accessibility of seeds. As a pessimist, I thrive on rest as an act of resistance. My acts of activism manifest in taking naps in public spaces, twerking, and reclaiming fermentation processes.Kontexten som en tidskrift genererar är svår att helt översätta i det digitala. Objektet som en tryckt tidskrift innebär, är inte bara viktig för historieskrivningen, att det som tänks och skrivs ska finnas kvar, utan ger innehållet mer dignitet, och har även mer bäring i relation till andra (konst)områden. Det handlar också om den taktila upplevelsen, att en journal i/om koreografi även ska ta läsarens kropp i anspråk kändes helt självklart när vi startade journalen, läsupplevelsen blir en annan.

Karin Hald’s (DK) artistic research deals with post-humanism and spirituality, which she seeks to connect through participatory performances. Language, empathy, and care are key elements. In this interview, Karin talks about her interest in post-humanism, zoegraphy, and non-linear archiving in relation to her Publisher-In-Residency in Stockholm.
“Text Walls” är ett projekt baserat på det handskrivna ordet som går ut på att jag undersöker ”long durational performative writing” och använder mig av repetition som metod. monotony repetition practice är dels en regelrätt läsbar och blädder-bar bok, dels en skulptural form – det vill säga ett objekt som går att forma på olika sätt. Man kan också läsa den som poesi. Jag ser boken som en del av mitt utforskande och den fungerar som att man får en bit av en väggtext/textvägg med sig hem.‘The Trouble of Walking Straight’ is, in a way, a continuation of this same idea, but instead of it being a conversation or a meeting between two groups, it is a collective re-enactment of individual written stories from different walks of life, read and performed by the audience. With this work, I wanted to question the choreographic and political power of walking, through the sharing of personal writings on diverse perspectives on walking.

Welcome to an open discussion and collective brainstorm barricade on MANIFESTO writing in conjunction to the Reading edge opening and its upcoming manifesto themed autumn!

Vilda and I worked out the structure of the reading in a very intuitive way, where rhythm was the focus, and we wanted to play with the intertwinement of our voices as well as a blurring of the distinction between word and explanation. We ended up mixing the Swedish and the English versions, turning and flipping both the book and the language. During the performance, we chose to stand quite close, facing each other, to establish a sense of intimacy, and worked with the structure of a kind of call and response, an interrogation as well as a duet.
Neither interactive documentation nor live documentation seem quite fitting terms. We really appreciate your use of the word ‘publication’ rather than ‘documentation’, because it doesn’t mean recording for an archive, but for a new audience. It represents the idea that a person´s experience of a piece of documentation is, or generates, a new life and performative situation.

I wish and hope that the translations and non-linear archiving will result in both a performance, that will move the audience/witnesses, and also become a site-specific book, that is able to, once again, somehow, be a translation of the lived experience that includes a movement within it, so the book isn’t a completely stable experience.

The manifesto has a long history of being a way for artist’s to proclaim and visualize about art, society and what art an be, as well as an art form in itself. We return to the manifesto as an art form to re-discover, investigate and mobilize a place where manifestations of today’s cross-disciplinary art practices can be articulated and printed. Join us in an open discussion about how we can work with manifestos!
The potential of VR documentation for performance art can hardly be overestimated. Performance art has always been limited by its special conditions. It’s difficult to experience the art form live, to document it, to compare and analyze works.With Live Art DK’s VR Archive, they are building a platform where researchers, artists, students and others can experience performance artworks as if they were present. It is their hope, this will constitute a starting point for the development of a literature and research in the field that will also affect the artists’ activities within the art form. Young performance artists need no longer to start from scratch or to miss out on works happening in other countries.Miss Read is Europe’s Art Book Festival, dedicated to community-building and creating a public meeting place for discourse around artists’ books, conceptual publications and publishing as practice. In this year’s Scandinavian Focus, a selection of publications by Swedish choreographers and artists from the Reading edge library will be presented.

XIRI: Yes, that was such a beautiful and magical space to meet in. In Jamiil’s workshop, we were exploring performative emergence in the form of resistance, survival and pleasure. Practices which both Vishnu and I are involved in. This was also when Toni Morrison died…
XIRI: Yes, I’m still practising this, never taking things personally, but it’s not always easy. We often want things and situations to be about ourselves, and it can be difficult to separate. Maybe it’s also important to say, for the context, that just as we arrived at, the coronavirus had also arrived, and for obvious reasons, our conversations revolved around the urgency of art-making in times of crisis. We also talked a lot about misinformation, misinterpretation, and misunderstandings… and most of all, about how to deal with crises in a pleasurable way. To propose simple and joyful recipes for messy situations, which is not something that is new to us.Koreografiska konstitutet (Marie Fahlin och Rebeccan Chentinell) ger sedan 2013 ut Koreografisk Journal. Det femte numret undersöker relationen mellan text och koreografi som interrelaterade uttryck i en koreografisk praktik. Temat ser specifikt närmare på den konstnärliga texten i relation till och som integrerad del av koreografi, samt lyfter fram konstnärer som arbetar med både en skrivande – och rörelsebaserad praktik. Journalen innerhåller reflekterande texter kring det egna eller andras arbete på detta område, men även textbaserade koreografiska verk där texten – när den läses – manifesteras som rörelse i läsarens kropp.