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Edition 1; Issue 4

Thursday, August 13. 2009

The Mosquito; A Threat to Singularity

Unique species on the Galapagos Islands are under threat from mosquitoes introduced by tourist planes and boats, according to research published today. The southern house mosquito, Culex quinquefasciatus, capable of carrying West Nile fever and avian malaria, is being transported from mainland Ecuador and breeding with existing populations on the islands, prompting fears of disease outbreaks. The Galapagos giant tortoise and marine iguana, which are unique to the archipelago, may now be at risk, say scientists from the University of Leeds and the Zoological Society of London (ZSL), who carried out the research in conjunction with the Galapagos national park and Charles Darwin Foundation. Endemic birds, including the waved albatross, redfooted booby and flightless cormorant, may also be vulnerable.

Judges Respond to Paula’s Departure

As reported 11 August 2009, Paula Abdul has left after Pop Idol after 8 seasons. Here, The Inpex has the remaining judges Randy Jackson, Simon Cowell, Kara DioGuardi’s reactions. “Really sad.” “ We love her.” “I’m mourning her leaving the show. She was the heart of the show.” “ She was like my best buddy on the show. I am sad.” “ It’s a little strange today without Paula. You never want to see anyone leave something like this.”

Trading Stocks & Shares for Yoga

At Morgan Stanley, Lauren Imparato wore power suits and sold currencies to hedge funds in Europe, Asia and Latin America. Now she spends her days in form-fitting Lulu Lemon pants, teaching yoga to former Wall Street colleagues. After seven years in finance, with a stint in London and a recent promotion, Imparato quit her job in April to start a yoga-centric lifestyle brand, I.AM.YOU. Imparato, 28, is tapping into yoga’s growing appeal among the resultoriented financial brokers and dealers who want to de-stress and work out at the same time. Hedge funds, including Karsch Capital Management LP and Blue Ridge Capital LLC, offer onsite yoga classes to their employees. Pimco’s Bill Gross has said that he gets some of his best investment ideas while standing on his head.

What’s Worth Putting Out There? The Future of Wikipedia

Yet again, Wikipedia is about to break new ground. The website that has become one of the biggest open repositories of knowledge and is due – within the next week or so – to hit the mark of 3m articles in English. However, while the encyclopedia is still growing overall, the number of articles being added has reduced from an average of 2,200 a day in July 2007 to around 1,300 today. From the numbers, it looks as though Wikipedia is stagnating. Why? Recent research has found that the way the site operates has changed significantly from the early days, when it ran an open-door policy that allowed in anyone with the time and energy to dedicate to the project. Today, a stable group of high-level editors has become increasingly responsible for controlling the encyclopedia, while casual contributors and editors are falling away. Wikipedia – often touted, as the bastion of open knowledge online – has become “a more exclusive place”. In other words, a change by a casual editor is more likely than ever to be overturned, while changes by the elite are rarely questioned. “To power users it feels like Wikipedia operates in the way it always has – but for the newcomers or the occasional users, they feel like the resistance in the community has definitely changed.” It is increasingly difficult to enjoy contributing to Wikipedia unless you are part of the site’s inner core of editors Given the history of the online world – where escalating growth can continue for years – it seems unlikely that this gradual slowdown was inevitable. Instead, it could be the end result of a battle between two competing factions of Wikipedia editors. On one side stand the deletionists, whose motto is “Wikipedia is not a junkyard”; on the other, the inclusionists, who argue that “Wikipedia is not paper”. Deletionists argue for a tightly controlled and well-written encyclopedia that provides valuable information on topics of widespread interest. Why should editors waste time on articles about fly-by-night celebrities or willfully obscure topics? Inclusionists, on the other hand, believe that the more articles the site has, the better: if they are poorly referenced or badly written, they can be improved – and any article is better than nothing. After all, they say, there is no limit to the size of the site, and no limit to the information that people may want.

Bland Diversity: Obama’s Presidential Medal of Honor List

Recipients of the Medal of Freedom today reflect the US president’s unthreatening tastes. Those on the list, Barack Obama says, “represent an incredible diversity of backgrounds”. No kidding, Mr. President. The 16 people who were awarded the presidential medal of freedom yesterday, the United States’ highest civilian honor, represent the sort of rainbow alliance of races, causes and lives that gives die-hard conservatives sleepless nights. Comprising 10 men and six women, the medal winners take in those of black, Hispanic, Native American and south Asian backgrounds. There is a lesbian and a gay man, and a winner who is disabled. There are even two recipients who are dead, and – at the real risk of sounding glib – you can’t get much more disadvantaged than that.

A Bag Full of Problems

Massing in their millions, crucified and shredded on barbed wire fences, plastic bags have come to be dubbed “roadside daisies” in South Africa. Some now even mournfully refer to them as the country’s national flower. Plastic bags are one of the most recognizable symbols of our modern throwaway culture. In the decades since their introduction – the first plastic “baggies” for bread, sandwiches and fruit were introduced in the US in 1957 – their use has become ubiquitous across the planet. One million are handed out every minute, according to We Are What We Do, the not-for-profit group that was the driving force behind the Anya Hindmarch-designed “I’m Not A Plastic Bag” reusable carrier that briefly – and somewhat ironically – became a must-have accessory in 2007. It has long been the instinctive reflex of the shop assistant to place the items we buy into a plastic bag – and, equally, it has been our instinctive reflex to accept them. Very few of us ever questioned the logic or implications of such a mundane exchange. But in recent years, the unsightly and growing presence of these bags across our collective environment has led to a global movement to restrict their use – and, in some cases, calls for their outright ban. The ban encourages an increased reliance on paper bags which, according to a number of life-cycle analysis studies that have compared the environmental performance of various types of bags, require more

Table of Contents FRONT COVER: Constructed by Louise Höjer

p.6 OPINION: Mårten Spångberg: on Group Sex

MISCELLANEOUS: Kroot Juurak: Script for Small Talk

p.2 EDITOR’S WHITEBOARD: Emma Kim Hagdahl: Include Me Out

p.7 ASK IMRE: Imre: on Contact Improvisation


LETTERS TO THE EDITORS p.3 NEWS: Egle Obcarskaite: on Choosing Elizabeth Ward: on The Part Jessie Zarrit: on The Fantasy Generator p.4-5 CENTERFOLD: Central Folds

DEBATE: Josefine Larson Olin and Helena Stenkvist: on Publicity

Danger of the Natural High The British government’s drug experts today advised the home secretary to ban Spice, a herbal smoking mixture thought to be as strong as some strains of skunk cannabis. The decision, which the home secretary, Alan Johnson, is expected to endorse, marks the first official move to curb a burgeoning market in “legal highs”.

Spread Of The “No Touching” SexTrade Industry

The debate is growing around “Kyabakura” establishments in Japan that fall somewhere between a cabaret and a club employing thousands of women across the country. They sprang up in the mid-1980s and represent just one of several types of establishments, including “soap lands,” pubs, snack bars and “pink salons” that offer various types of services for men. As a rule, kyabakura hostesses do not engage in sex with their customers, and men are forbidden from touching the women’s breasts and other body parts, but recently, more establishments seem to allow this. While many of these women look upon hostessing as a career that pays more than many other jobs available to those without much education or specialized skills, there are college students who work part time in kyabakura to earn spending money or help pay for tuition. The attitude among such students seems to be that as long as the men aren’t going to touch their bodies, nothing is wrong in getting paid — and paid much more than working part time at a restaurant or convenience store. energy to manufacture and release more greenhouse gases when degrading following their disposal. James Lovelock, the climate scientist, has referred to the current obsession with plastic bags as “rearranging the deckchairs on the Titanic”. Patting ourselves on the back about how few plastic bags we each now use allows us to ignore far more pressing environmental issues such as, say, climate change, overpopulation, rapid species extinction and the depletion of resources such as fresh water. Today’s war on plastic bags is certainly worth fighting, but not if it is at the expense of these other concerns.

In the wake of the box-office success of Transformers and GI Joe, Warner Bros is developing a live-action/ animation movie based on the hugely popular Danish toy. Transformers sparked Hollywood’s love affair with toy-based action movies two years ago, followed by current box-office hit GI Joe. The film is being put together by Warner Bros. in association with the Danish toy manufacturer. Lego has famously been fiercely protective of its property in the face of regular Hollywood overtures, but warmed to the idea of a family-oriented flick, is embracing its key values of fun, creativity and boundless imagination.

Mona Lisa Takes the Heat for Identity Politics

On Sunday – reports are just emerging – a Russian visitor bought either a cup of English breakfast tea or a souvenir mug (articles differ) in the museum and proceeded to fling it at the painting. The Mona Lisa was completely undamaged because it is isolated in a vitrine designed to resist gunfire, let alone a ceramic cup, and as security men wrestled the attacker to the ground, Lisa smiled on. It has been reported that a possible motivation for the assailant is anger for being denied French nationality.

The Appeal of Non-Truths The embellished memoir has practically become a genre unto itself in recent years, with scandals about fiction masquerading as fact hitting the news media with the regularity of hurricanes threatening Florida during the storm season. Cusi Cram takes inspiration from this abiding form of aesthetic fraud in her unwieldy if intermittently amusing new play, “A Lifetime Burning,” which opened on Tuesday night at the 59E59 Theaters in a production from Primary Stages starring Jennifer Westfeldt as the literary poseur. “Truth is a very relative concept these days,” says the play’s main character at one point “Reality television is scripted. Memoirs sell better than fiction, but it is impossible to fact-check memory. And look at the evening news; it’s more entertainment than anything else. Truth and integrity don’t matter in the world we live in.”

Solo Showing


COLUMN: Mårten Spångberg: on Love p.8 PARTIES: SCORE: The Aristocrats


Solo showing Drawing: Will Rawls


Thursday, August 13. 2009






Isn’t it interesting that some practitioners (dancers, choreographers and others) in our field seem to insist on following tacit ‘rules’ and conventions of production and distribution, just as if there is a recipe of ‘how to’ that eventually (hopefully) equals recognition and success. Therefore when the opposite happens, when some take the back door or, rather, invents the back door, it appears as threatening action, a handshake from a party crasher. This is not a very complicated equation, being afraid of the unknown and a desire for “right” and “wrong” exists more or less everywhere and in everyone. However, being afraid of the unknown resonates badly with art making (and love making). We should rather aim for the unknown and from “a motivation of not knowing” (Christine De Smedt, The Inpex 1st issue). It’s our job to question and stretch the understanding of what we already know. We should introduce ourselves and give each other permission and support to create conditions for insisting towards the unknown. Not knowing what one is producing might be dangerous, but also super interesting in the potential it carries. Doing The Inpex is a proposal and an attempt to explore the insistence on insisting. Creating new back doors is one thing that insistence might produce. If you don’t try, you will never know. The ones who do it, do it. This connects with one of the few conditions at PAF (Performing Arts Forum) “the doer decides”, which can be read as a call for taking the initiative and actively taking responsibility for your own engagement, no one is going to do your work for you. Instead of waiting for an invitation, introduce yourself!




tion states in general have lost much of its power in the politics with global multi corporate companies. Sociologist Saskia Sassen takes the U.S as a clearly visible example of this where the constitutive part (the one who constitutes laws etcetera) of the government today has the most power. Well known is also that art funding decreases (see for example the seminar Mountains of Butter, Lakes of Wine at www.konsthallc. se). Museums, theatres and other cultural institutions all over Europe suffer today from a lack of funding. We are also well aware that, parallel to the above stated tendencies, there is an increasing pressure from the market on practitioners within arts and culture. This was something Isabelle Graw and Daniel Birnbaum stated in their conference The Pressure. But Graw and Birnbaum did not only say that there is an increasing pressure on cultural practitioners, they also proposed that the increasing pressure from the market needs to be taken into consideration in the artistic production and that autonomy is not an option. “In a situation that has been acutely described as the spectacular phase of capitalism, retreat seems hardly an option. The price for more autonomy and socalled flexibility in certain areas has been paid with an increase of instability, insecurity, and fear – new liberties are accompanied by a new set of constraints.” In the field of dance I think this will have specific implications. Dance has, because of its marginalized position compared to other fields of art,


The Inpex is a free, daily newspaper. Initiated by International Performance Exchange, INPEX, with its head quarter in Stockholm, NGO supported by the Swedish Arts Grants Committee. Vienna, August 10-14, 2009. For more information: PEOPLE Editorial team: Louise Höjer, Emma Kim Hagdahl, Egle Obcarskaite, Will Rawls and Jessyka Watson Gailbraith Editorial support: Kim Hiorthoy, Anders Jacobson, Tor Lindstrand, Mårten Spångberg and Johan Thelander Design: Kim Hiorthoy Layout: Jessyka Watson Gailbraith Print: Goldmann Druck, Vienna Circulation: 700 Thanks to all contributors.

DISTRIBUTION If you want to order copies, please contact: INPEX, Konstnärsnämnden, Stockholm +46 (0)735 465638 An online pdf version will be avaliable at:

You know you talk about it all the time But this time we have chosen to combine The most erotic and obscene Not at all school girl clean Male and female fantasy Perhaps not always ecstasy It’s cheap and it’s dirty And some of it constructed by marketing managers over thirty

Here we are.

From the 1970’s institutional critique to the 1990’s New Institutionalism with important pioneers such as Palais de Tokyo in Paris, Van Abbe Museum in Eindhoven and IASPIS in Stockholm, I think it is now urgent to move on, to establish new relationships and invent new ways of working with institutions. Important initiatives and conferences have already taken place. I am thinking of for example SUMMIT in 2007 (SUMMIT – Non-Aligned initiatives in education culture) and more important within the dance field – MODE05 in Potsdam. However these initiatives are more directed towards education and learning in relation to art production. They are non the less of huge importance for the continuation of creating possibilities to, especially for the field of dance, engage differently with institutions. I will very briefly and roughly mention some tendencies in today’s political, social and cultural climate which makes change in the relationship to institutions a necessity. In today’s (the 10th of August 2009) edition of the main newspaper in Sweden, Dagens Nyheter, the first page brought up the issue that an increasing number of Swedish politicians are leaving the parliament. Either because they find it too bureaucratic and slow, not attractive enough in terms of income etcetera or because they believe they can use their knowledge and capacity in a much more efficient way somewhere else, most truly in a company. We know at the same time that the na-

We give you sex Something you didn’t expect?

had the opportunity to develop itself from the inside and to self-organize in a much more expanded way than the visual art field could only dream of. But this, I think, has also meant that contemporary dance have stayed underground and on the side. In respect to this, it is of importance that we look at our relationships to the Royal Opera as well as to tv-shows as So You Think You Can Dance. I don’t know exactly how but it needs to be done. And by engaging with institutions, I don’t mean to open a coffee shop in the Moderna Museet in Stockholm or to get sponsored by Martini to the drinks of a performance premier. I mean to get very deep inside, so deep so that one almost becomes invisible. FROM JOSEFINE WIKSTRÖM



A young man named Penis Van Lesbian walked into the office of a Hollywood agent with his resume and portfolio in hand. “You have the very obvious good looks and excellent demeanor of an actor,” said the agent. “Tell me, have you had any roles that I might be aware of?” “No sir” said the handsome young man. “I dare say I know the reason why, with a name like yours,” said the agent. “That’s not a name that will go far in Hollywood. I’d love to represent you, but you’ll have to change your name.” “Sir,” the very handsome actor protested, “My family has carried this name for generations and I will NOT change it for Hollywood or for any other reason.” “If you won’t change your name, then I cannot represent you, young man,” said the agent. “Then I bid you a fond farewell -- my name will NOT change. “With that, Penis Van Lesbian left the agent’s office, never to return. Five years later, the agent received a letter. When he opened it, a check fell out. He looked at the check. It was for $50,000! He read the letter: Dear Sir: Several years ago, I entered your office determined to become an actor. You refused to represent me unless I changed my name. I objected, saying the Penis Van Lesbian name had

But have a look And remember to lose the feather and use the chook.

Glossary for The Inpex EMMA KIM HAGDAHL

indispensable absolutely necessary tacit understood or implied without being stated commodity a raw material or primary agricultural product that can be bought and sold, such as copper or coffee revives restore to life or consciousness scarcity insufficient for the demand discernible perceive or recognize proliferation rapid increase in numbers watchword a word or phrase expressing a person’s or group’s core aim or belief superfluous unnecessary, esp. through being more than enough deterritorialize the severance of social, political, or cultural practices from their native places and populations eluding evade or escape from (a danger, enemy, or pursuer), typically in a skillful or cunning way dubious hesitating or doubting not to be relied upon; suspect contagion the communication of disease from one person to another by close contact assemblage a collection or gathering of things or people different not the same as another or each other; unlike in nature, form, or quality

been carried for generations and I left your office. I chanced to reconsider my hastiness and after considerable reflection, I decided to heed your advice and change my name. Now, I am a famous actor with many roles and known to millions, worldwide. I owe you a debt of gratitude, so please accept this check with my humble thanks, for it was your idea which has brought me such fame and fortune. Very Sincerely Yours, Dick Van Dyke


Can You Choose?

Rather than being chosen. EGLE OBCARSKAITE

It seems like we’ve been captured by the definition of postmodern society as a society of know-how. The know-how is the capital, which generates the rules how of to be in the world. One’s knowledge of the field is a sell-out product, whether it is an expertise of technique in dance, physicality of the body, performance, creation of the spectacle, articulation through dance, or simply marketing skills. This is the ticket to access resources – the condition and impulse to create. What about if this impulse would come from another direction– what if creation did not depend on resources, but rather on the decision to do it? It is hardly possible to step away from the conditions of the situation one is being placed in – we need to have conditions in order to create. These conditions might function/serve as a way to justify one’s body of work, and a way to articulate the direction one takes. Relations construct identification, but the concern is, which side from the relation is initiated. Instead of considering given conditions as the source of relation and justification, we make our practice the motivator of those relations. This self-initiated framework enables the creator’s stance to set up rules: power relations are not to be avoided, but one could choose, from which source the power will be initiated and generated. To put it another way, the start of an artistic practice might be the realization by the artist, that he/she is actually capable to do it. This moment is not simple, and it oversteps material and objective conditions of one’s practice. One is leaving the safety zone, where only material conditions

The new conditions are created not by those who merely know how to do it, but by those, who decide what conditions have to be created. are taken into account, and step into the area of questioning the figure of the creator intself. The creator as a part of social structures, emotional networks, psychological maps, economical relations. It puts the creator in the situation of repeated exposure of self-awareness. The emphasis is on the creator: it is his/her decision to choose. In these terms, the description of society changes: capital, provided by knowledge, loses it’s dominance and is taken over by the currencies, built upon one’s ability to do. The knowledge is present there, but it is one’s decision whether and how to use it. The new conditions are created not by those who merely know how to do it, but by those, who decide what conditions have to be created. It is not only about creativity and creation as such, but rather about it being placed into the network of complex interpersonal relations. The outcome at this point is the constant process of reconsidering and justifying one’s artistic practice, as well as re-establishing a relationship with the creative conditions one constructs. This situation is a crossroad, where creator faces the need to choose. If one accepts the challenge to stay in this position, without surrendering to the tempting necessity of actually making a choice, one ends up having found the access to new possibilities. We cannot afford not to do it

Photo: Egle Obcarskatie


Antonija Livingstone, The Part. Complexly beautiful. ELIZABETH WARD

A contemplation of space and situation. Illusions that build and crack. Shifting states in the body, character, gender. Extremes of male and female. Sex kitten with the perfect ass, North American middle aged hockey-loving guy getting a blow job. Codes repeating and deepening: fire extinguishers, Santa Claus, Christmas, snow angels, aikido, and chants of words that shift on themselves. Santa’s ho, ho, ho, becomes hoe, hoe, hoe, becomes hug, hug, hug, hug becomes a sneezing attack. The same body that I saw as one of the sexist girls alive has now become that of a redneck dude. I am convinced of one gender as much as the other, leading to questions of the reduction of female and male. First a delight and then claustrophobia created by the bubbles. Snow fills up the stage and it becomes a snow storm. There are bubbes floating all around us, we the audience, are connected to the stage. The air, space, we share is illuminated and illustrated. And there is an effect. People begin coughing, I feel a bit panicky, and Jennifer Lacey fans the air in front of her face to not inhale the bubbles. We, the audience, create a soundtrack of coughs as An-

Thursday, August 13. 2009

the grotesque, I watch to see where it will go next. Circling the theater space with bright red fire extinguishers, that are more than accessory to her red tights and a complement to the red velvety couch, her body changes a bit, she looks so strong, so fucking badass. I believe that she will take care of us should there be an emergency. If you’ve seen her work before the fire extiquishers are a repeat. Santa Claus quietly exiting the theater reminds one of past San-


The same body that I saw as one of the sexist girls alive has now become that of a redneck dude.

The invitation we sent out to everyone we know:

tas, and the intensity with which she gives herself to the situation is familiar, but this is not a repeat, everything is always new. The elements build; the situation becomes layers with the messiness of everything that came before. She caresses the couch in a fuck me type of way, pulls out a crowbar, uses it to break the tape on the dance carpet and pulls out a board from under the floor, later she brings out a new roll of the dance carpet- this stuff is heavy as shit- drops it, kicks it out and dances down this new aisle. Much later the board and the empty role that the carpet is stored on become a balancing beam and she sings us a song of a ballerina while surfing back and forth on the board. We witness her go through so many different characters and states of these characters but we also get to see her, Antonjia. These characters are not something she hides behind, but lenses with which to see the body, to see the person, see our attachment to gender and it’s construction. She sings to us about imagination, about possibility. She pours herself a shot of vodka, raises the glass, “Santé,” downs the vodka, and smashes the glass. I am not an impartial witness. It was a pleasure to see a friend so herself, so complexly beautiful and strong inhabiting the space and generously giving us this experience.



An invitation and a response to a creative residency happening right now, in Virginia. Donna Faye Burchfield, Lindsay Clark, Diana Crum, Gina Kohler, and Jesse Zaritt

Hello Friends and Dance Colleagues,

We’re nomads. Many of us are based in NYC. Others are spread out across the world. How can we talk to one another about the dance and artwork that engages us most passionately? How can we make work that evidences our individuality and also speaks to a collective, thinking field? What are new directions - an expanded vision - for our form? We want to create a space where we can gather to generate ideas together. We think dialogue needs to happen. We want to create conversations around our creative work, our activism, and our pedagogies. We want to engage with questions that seek to advance and transform the field of dance. By practicing our art making together, we hope to extend our fantasies into reality, to begin to create for the future of our field. We will give you space and time to work/research/inquire. This open space could be used to choreograph, read, watch, discuss, teach, etc. We only ask that you engage, share, challenge, and question yourself and your colleagues We propose a two-week-long FANTASY GENERATOR at Hollins University, in Roanoke, VA. This will happen August 2-15, 2009. Participants will have access to one another’s brains, dance studios, green hills, and a college library. It is our hope and belief that when many passionate thinkers and makers gather, our wildest dance dreams can begin to manifest. We think we can accommodate up to 20 participants. We hope to welcome everyone who is interested. Participants will shape the content of the FANTASY GENERATOR. You can lead (or request that we make available) panel discussions, movement classes or showings. Tell us what you want to do and we will arrange it. At Hollins, we can make it happen. Sincerely,

The Fantasy Generator Organizers: Donna Faye Burchfield, Lindsay Clark, Diana Crum, Gina Kohler, and Jesse Zaritt We are here. The Fantasy Generator is currently taking place. There are 32 participants. Here are the words of Emily Wexler, one of the participants.

here’s a story that really happened. last night around 2 am, a group of us walked back into the woods through a gravel path. it was completely black. we kept walking until we came to an old abandoned house that is covered in vines and trees and berry bushes. the second floor is caving in. everything has been left as if the people who lived there just ran out. there is an old piano still on the porch and dishes, bedding, curtains, the like. we walked through the dark path, through the porch and into the house. it was terrifying and amazing. when we turned around, the full moon made everything brighter. we could see the intricacies of the landscape around us. it was all cool. it was all fine. no ghosts or vampires or mountain lions coming out from the bush. not even skunks. we were in reality and it was fantastic.

here’s where i am going to make the corny metaphor clear: as we started on the path, i was walking alone in the front. because in moments of great fear i always find my courage with just approaching what scares me. and in this dance life, i have felt like i have had to do that for the most part alone, with my brave face on. patching some sort of random inexplicable, uncertain structure of a life around my absolute commitment, desire, and embodied passion for dance. i turned around last night and saw a group of other people just like me walking just behind. and when we walked back down the path, it was easier. because we did it together. we are also doing this with our dancing lives, here. that is what the fantasy generator is about. by directly engaging and expanding our communities, we are trying to generate actual tools that will help us address the current realities of living as dance artists. we are starting this process by DOING IT. meaning our bodies together in collaboration with this space - discussing how change can happen in our lives as artists, in the life of our form. And even though many people may integrate these practices already, I think it is necessary that there be spaces that remind us of how important and possible models of generous activation can be. cause we are our resources. and why not.

There is something so fucking tough about Antonija on stage. tonijia sweeps away the snow. With her eyes she acknowledges us and the effect that the production of this illusion has had on our lungs. It feels that we are all really together, connected in this situation. At this point she appears genderless to me, she has yet to transform. With her oversized hoodie and jeans she could be a girl, and carrying a black plastic bag, a homeless teenager (boy) from the Pacific Northwest. There is something so fucking tough about Antonija on stage. She can be at once beautiful and alluring. She finely draws the line between this sexiness and it’s breakdown into


Illicit Choreography by Olive Bieringa Photo:



Thursday, August 13. 2009


Every week in New York Magazine there appears “The Approval Matrix”, a visual grid of images and captions depicting recent cultural moments. The images fall into one of four quadrants delineated by two axes marked: Highbrow/Lowbrow & Brilliant/Despicable i.e. “Air India fires flight attendant for being too fat” is mapped into the Highbrow & Despicable quadrant. I often disagree but cannot deny the persuasiveness of what the editor selects, places and notates. The field is collapsed, conjuring a holistic sense of relationship. The published images impersonate culture as it is and negative space is formulated as the rest of culture. Interpretation of these “givens” is both an unavoidable temptation and a risk. CENTER FOLDS arranges temptation, risk, negativity, historicity, pornography and notation as axial subjects of the body.

“Well, you can lick it, you can clip it, you can taste it. I’m talkin’ every drip drop, don’tcha waste it. Honey slurp it up, it’s enough to fill your cup. It’s finger lickin’ good and i’m wishin’ that you would go down kinda slow or even fast. I’ll be sprung, once I feel your tongue in the crack of my ass. Yes I need a nigga goin’ out like that. Boy, you’re packin’ such a tasty treat and you can eat me out.” “Put It InYour Mouth”, Akinyele

“Kinky is using a feather.

“Sex is like snow; you never know how many inches you are going to get.” Anonymous

“If we could perpetually do blowjobs to every guy on earth, we would own the world. And at the same time have our hands free.” Samantha, Sex and the City “Definition of an orgasm: gland finale” Anonymous

Thursday, August 13. 2009

“Sex between a man and a woman can be absolutely wonderful - prov i d e d you get between the right man and the right woman.” Wo o d y Allen

Perverted is using the whole chicken” Author Unknown watch?v=lOO0l2r3uJ4

“What’s the difference between a fag and a refridgerator? The fridge doesn’t fart when you take your meat out of it.”Anonymous

“If God hadn’t meant the pussy to be eaten, he wouldn’t have made it look like a taco.”

“My dick is so big; it can only be measured in theory.” Anonymous





Thursday, August 13. 2009

Better Group Sex Better Life

Two in the bed, forget about it! Did you think you were radical that time you fucked on the floor, did it behind the flower arrangements in the lounge, or took him from behind in the dressing room in Arsenal. Wrong! It’s all part of the neo-liberal complot, radical today is somewhere else. The time for group sex has arrived, at least if we are to believe the Nostradamus of dance and performance practices Mårten Spångberg, who wants to give up his freedom in favor of a transformative fuck circle. MÅRTEN SPÅNGBERG

I wish I had the hang of group sex. I don’t! Of course a neglectable episode in the late teens, but the session stretched only so far as two couples fornicating in the same room. A tiny space but still public enough not to challenge the Order of sexual conduct, and thus not contesting notions of success. It was still one on one and triumph was measured in coming or not coming, making her come or not, making her come twice or not, the action slavishly following an Aristotelian climactic dramaturgy. I didn’t visit the therapist afterward, but the experience must have been traumatic because ever since I have without exception practiced with one partner at the time. Experimenting a little. Cultivating a need to at least feel experimental (No no, I promise nothing like that.), making my effort for further liberation of sexuality: mine, hers and the worlds in general. Night after night, day after day I have pronounced myself guilty for not being free enough, competing with the world for successful action using orgasm as a grand narrative to save myself from disappearing in multiculturalism when identity politics turned into a commercial for “I Want To Be A Millionaire”. The point with group sex is not the fantasy of the abundance of pussy, cock, mouths and assholes. One in every hole, two in every mouth, three, four, five. On the contrary, in today’s society group sex becomes counter productive to capitalism exactly because of the availability of flesh, limbs, members, landing strips and balls. What late capitalism offers is always already free and unrestricted access to licking, sucking and fucking in whatever way you want; but such access deploys direction and allocates time. It coordinates freedom of choice and feeds on asymmetrical dependencies. The currency of neo liberal capitalism is not $€¥, it’s freedom. But seriously, I’m not interested anymore, and don’t even think of it offering me something else. Stop it, there are no catchy phrases left, not even for the neo-liberal perversion par excellence: masochism. I don’t need more freedom! Don’t want to become evermore liberated. In fact freedom is the one thing that I have too much of, so much that decision has been made indifferent, so completely redundant that ideology has faded into a few hundred views on YouTube. If there is no ideology what am I supposed to do with my freedom? If the premise of the world is maximum smoothness, the possession of freedom is dead weight, or a support for the proliferation of its previous opposite. The abundance of freedom and consequently endless opportunities of navigation and choice, opens for the proliferation of a politics functional through affect, i.e. based on irritations on the body rather than discernible and distinct arguments. If “sub specie aeternitatis”, taken with Spinoza’s addition “there is nor good or bad”, once had relevance, it has today transformed into a watchword for neo-liberal governance. There is nothing good or bad, only irritations on the body, only a suspended decision generated by our utmost fear; the loss of freedom. What could be a more obvious defense than to search for and produce autonomy, even though it is an equally superfluous project, and in

any case is reproducing borders precisely in order to not change the concept of freedom but rather contain the subject anew. If autonomy is, i.e. comprises a form of authorship; it must exist in relation to something established and hence always consolidate coordination. Instead we must search behind us. No, don’t turn around; let’s search backwards towards an inautonomous life. If autonomy is, i.e. comprise some authorship - taking off alone; its desire must be organized as lack, fulfilling psychoanalytical protocols. Instead let’s turn around and bring a friend. No, don’t decide – you don’t need to, everybody can come. Inautonomous desire is configured through opportunity, through abundance. Let’s stop being things, and engage in our selves as machines. Group sex as experimental practice is concerned with forms of organization, modes of distribution of power, strategies and criteria for quality assessment. It is not an expression of experimental sex: activities that aim to deterritorialize the body and its thresholds, frequently accompanied by ideological subtexts that regularly tend towards consolidation of sexual identities rather than the estimated, and marketed, production of new or alternative subjectivities. Group sex is not a matter of each individual being responsible for his or her satisfaction, but a matter of giving up ones own immediate satisfaction, which always has a happy ending and is a tragedy, in favor of a pleasure that is bypassing identity and hence proposes a different (in kind) practice of ownership. The transformative intensity of sexual activity is not first of all that boys spend the night together, that girls forget to fall asleep because they are so busy through the night, or indeed that we make out in zigzag. No, the threat carried through and in sexuality is how, to what extent, under what circumstances etc. it produces, possibly alternative, forms of life. You and your partner can use

Group sex, the shape shifter your imagination all the way until the sunset, using any kind of tools, out-fits and so forth that you want – it doesn’t matter. You can fuck each other down to the basement, and it will mean nothing compared to a waterproof conventional group sex session. Group sex is a way of conducting life through a different ethics than the prevailing neo-liberal paradigm, which is characterized by “public opinion” and the organization and modulation of a permanent state of exception. Value, and with that appreciation in all its forms, exists in and as a constant flow or flux, but underneath there is a system, a grid of values that constitute the world and its actions, that act as an alibi for all other flows and fluxes and produce a necessary stability for modes of navigation. Those fundamental values that must be contested, but cannot be questioned or critiqued in a conventional sense, precisely because these values constitute the very existence of such modes of operation. In this case there is no face-to-face, neither back stabbing or taking from behind, nor any possibility for the elaboration of alternative approaches.

If sexuality wants to be something more than sympathetic ornamentations on capitalism or shopping mall Quality-time it can only take place through jeopardizing its own positions, through strategies that consist of super imposed incompatibilities whose outcome can not be calculated. We have no choice but to admit it: We are fucked! but we can decide if we want to be just fucked or insist on fucking as a group. Throughout modernity experimentation and alternative sexual practices has been understood as a context where actual transformation could be produced and embedded in society - something that today appear as naïve attempts to escape the ubiquitous intensities of global market economy. Those practices can however be regarded as fields where protocols for possible transformation can be developed tested and researched. Such protocols are not first of all statemental but aim at producing agency, thus functioning as a kind shape-shifters that although embedded in established fields of knowledge and economy can escape localization and recognition. These shape-shifters need to keep floating evasively through the meshes of markets, social structures

Group sex implies that the participant has to give him/her self up. This production is not just concerned with the self but with oneself as human. and demographic layers. Making the effort to elude identity and location is sometimes precisely to engage in it, since to deviate from already accepted values might be to create another, perhaps even keener desire. Paradoxically, the shape-shifter must both fight established values to understand them and at the same time come to resemble these values in order to keep them at bay, not to fall into the trap of producing “the new” or sink into the abyss of “progress”. Group sex is such a shape-shifter. Considering the vast transformations at stake in the world today, with an economical system collapsing, the neo-liberal regime on its way out and alternative episteme (modes of knowledge and life) growing stronger it appears impossible to engage in sexuality in the sense of solidifying or directional practices. Group sex, the shape-shifter, intensifies opportunities of eluding formations of measurable and finite entities, narratives and scenario, and will instead engage in the sexual practices understood as open-ended, nondirectional, discontinuous, smooth and immeasurable. Sexuality as we know it in western society is organized around climax and hence necessarily finite, whereas the group sex with all its layers carries a promise, a promise of the every-day, the fleeting and lived. In other words, sex is always already guilty, whereas group sex and its activational textures is a suspect, a suspect in the sense of suspending the accuracy or permanence of the law or language.

An example of group sex. Photo: Anonymous

The heterosexual one to one sexual encounter produce the norm for all other sexual practices. Any other practice is an alternative, an instead of or hybrid. Whether we want it or not, as long as we are two, we must be haunted by the heterosexual norm. Group sex is not questioning those norms and conventions (as long as sexual experimentation takes place in the domestic sphere they are not dubious, obscene or perverse) but is rather not occupied with them. Group sex don’t need to subvert those norms but are indifferent to them, its aims are simply not compatible with such critique. Group sex is about resolving notions of success, the measurability of sexual ability, criteria for “was it good for you…” and indeed to change the world. How is group sex successful: not because I come, not because we all come, not even at the same time, group sex issues another modality of success that requires other means of assessment: what is the name of those criteria? What matters is not the individual but the success, or well being of the assemblage, both as a plane of consistency and as a series of interdependent individuals, whose only concern is the plane. This implies that the individual can estimate different positions, different modes of activation, possibly changing during a single session, in order to stimulate the plane, which in itself is a shifting and fluctuating entity. Conventional one to one sexual activity is measurable in respect of signs, group sex in contrast can only be evaluated in respect of productive intensity, some sort of volume whose composition conditions and attributes, continuously shift and therefore forces the engaged to produce autonomous capacities for identification, coordination, classification. Group sex implies that the participant has to give him/her self up. This production is not just concerned with the self but with one self as human. Group sex invites the participant to become non-human, a process which offers, or rather forces, the participant to invent a new kind of sexuality detached from heterosexual protocols, or from anthropomorphic sexuality in its entirety – an abstract sex independent of Oedipal pleasure, functioning instead through joy and affective contagion. Group sex plays the role of that which defies and can as a result only be named negatively by power, communally in favor of neutralizing group sex as a weapon of subjection. It contests what is known through established institutions and their forms of representation, and invent and impose new rights, encouraging new relationships to time, wealth, democracy. It can be brought back

into the institutional conflict, which has already been standardized, or do we seize the opportunity to develop struggles for identities, modes of life and coordination still in the making. As an alternative, action of coordination, it may extend to experimentation with political procedures, and in their play of production of expertise invent new ones which however also take thorough care to encourage the meeting of singularities, the arrangement of different communities, lives and epistemologies. It is not a vertical and hierarchical organization, nor is it a network, based on models of patchwork that allows individuals and groups to operate in a more flexible and responsible way. Rather it is yet a different organization which is modular or amorphous on the level of form and structural consistency, i.e. it is not operating due structure, discipline and is not long term, but is instead organized through flows and fluxes. It is a coagulation of decisions rather than a skeleton that simplifies decision-making. On the other hand, group sex, is not an organism (it is not hierarchical) and it is not a swarm – that would be too sad. It is not atomic and it is not a multitude. It is rather not a metaphor, but it is a landscape – however the metaphor does not continue. It is a landscape on the level of formation, but on the level of the individual it is strongly stabilized. On the level of expression the individual and the group must proceed very carefully, and there are even certain formal responsibilities to consider. Group sex transposes difference, from different in degree, but not in kind, to different in kind, but not in degree. On the level of expression group sex is long term, striated and nondynamic. Group sex in respect of organization is changing direction – in this situation, it is not the organization that works for the individual, but the individual working for the organization. Group sex is not an organization but a coagulation without a centre or skeleton. It is an abstract machine in relation to a particular set of behaviors forming an ethics through concrete rules. Group sex in this respect is not counter productive to given and established politics. It does not oppose given systematics, but formulate a no to given modes of engagement. Group sex is not something else but an incompatible addition. Group sex does not arrest it’s position to be either pacified or to be given a position as outside both of which would consolidate the given. Instead group sex function as an irritation on the body of organization, it is a postidentitarian practice that carries the potentiality of a different life.

Thursday, August 13. 2009


For The Love Of It



In the Supermarket of Relationships

Halfway through the festival summer there are a few tendencies that seem to occupy makers and doers. I’m not talking about pieces, style, scandals or dying choreographers, but am looking for tendencies in the context. What’s on peoples’ minds?

Contact Improvisation

imre hofmann

Do you believe that... ... somewhere out there exists your one and only other half, who fits you perfectly and who fulfils all your needs? ... true love with someone necessarily excludes intimacy with others? ... one only can have romantic feelings or deep emotional commitment toward one person? ... being faithful means not to have sexual or romantic relationships with someone else but your beloved? ... you can own your beloved? ... jealousy is an immutable natural fact? ... Mickey Mouse lives in Disney Land? In affectionate relationships we closely relate to others. To others who are like us and still different. And as individuals differ, so do our emotional relations towards them. Yet, in order to keep life simple, we generally make use of a repertoire of socially standardized (and therefore considered normal) behavioral and descriptive patterns, basic figures of interpersonal relations. And there are not too many, actually. When it comes to something as essential as intimate interpersonal relationships most people content themselves with the conceptual store of family, friendship and love relationship... I admit that simplification often makes things easier. But not always. One such exception is reality. Do you dare to have sex with a good friend of yours? Do you dare to fall in love with someone while being in a love relationship, or even married...with a family? Then, you are doomed... Cause if something doesn’t fit into the normal patterns, things get nasty. So stick to the rule! Have you ever considered that things might only get nasty, just because we expect them to? To me, this relational frugality reminds me of my parents’ anecdotes about supermarkets in good old communism. And I guess, if there’s one good thing why we should not yet abandon liberalism and its voracious little brother capitalism, it’s because of their claim that we have a right to choose what suits us as individuals. Tango has its undeniable attraction, and still, it’s not the only joyful way to dance. So why not try something else for once? At least, until you know what suits you... Ideals are great and indispensable, particularly romantic ones. But, as you might know, they can also quickly turn out to be merciless totalitarian dictators putting you under pressure and making you feel bad when you don’t conform to them. Yet, couldn’t it be similar to absolute sovereigns that some of our most common brilliant ideals might actually lack justification? And that even though these ideals pretend to be the one and onlys, they may not come to us from holy Mother Nature (nor from the old guy with the white beard) but rather may just have been made up by someone at a certain time for a certain reason and you might do the same? So, how about using your brain and judging for yourself? How about leaving the beaten paths? Become a discoverer of unknown, captivating blooms in the realm of “how could we live our lives and relationships?”. I can’t hinder you from misunderstanding me. But. It’s not about being selfish. It’s not about taking the smoothest way by avoiding interpersonal commitment. Nor is it about just having a lot of nonbinding sex. It can be, as it can be the opposite. Because it’s much more than that, because it’s about shaping your own abundant variety of intimate rela-

tionships. Relationships that make you happy because they match your individual personality, and not relationships that make you feel like a monster because you realize that you will never comply with them. It’s still about commitment, responsibility, trust and honesty. It’s still about emotional involvement and therefore about being vulnerable. And it’s even more about trying and probing and learning from hurtful experiences. And of course, it necessitates such prosaic efforts as arrangements, management and setting priorities. It’s about love. Be open. Become flexible. Be careful and be generous. Allow yourself to stumble and allow your partners to do the same. Practice and learn from your mistakes. The recipe is simple; it’s its implementation that’s intricate. I wouldn’t promise you anything. I just ask you whether you prefer to use ready-made and often worn out patterns or to define your own individual forms, forms that are adequate to your personal life and that allow you to weave your own cocoon of interpersonal intimacy. The good news is that no one can force you to have such ambitions as leading a selfdetermined life or growing and developing personally. But, it might be that so far you had considered yourself as someone with these kinds of ambitions...


Pina Reaches, Merce is Erect Josefine Larsson Olin and Helena


Marten spåNGBERG

The first thing to realize, and a tragic one, is that there isn’t so much at all. Which is slightly provocative especially since dance and choreography is slam packed with highly intelligent practitioners. It simply appears that critical thinking is not high up on the markets priority list for the moment. There seems to exist no critique anymore, but only a kind of equalized well-meaning consensus. What has happened to all those critical ambitions that dance nourished over the last ten years? Was it so uncool? Or, can one possibly detect other reasons for why there is no possibility for critical production today? In contrast to visual art, dance lacks any discussions on curatorial practices. Curators, presenters, programmers in dance never announce their critical, ideological or anything else for that matter perspective, except in the pushy marketing text in the beginning of the festival program which in any case only aims at justifying the lack of profile. This is something that over the last 20 years has become mandatory in visual art. An exhibition follows with a statement and a catalogue text, something that evidently functions as a marketing tool but also for the possibility of critique, attack and contesting positions. The lack of curatorial statements in dance must result in artists that become experts in avoiding articulation, positioning, critique and especially any kind of ideological outline. This is of course good for certain participants in dance. It is a rather comfortable reality that programmers live in, as it is void of every form of friction, except that of friction with local politicians. Why change when it worked out fine last year? Since no one will become a millionaire or even get a raise in salary, the only concern we have is to survive one year more. Here we can again detect a difference from visual art, which has at least two wallets to dig into: subsidy money and commercial economies, or museums and galleries, or museum directors and collectors. However capitalist this might seem, it offers a healthy situation in respect of competition and the possibility that change might make you rich. No, dance as a market is a system based on survival of the fattest. Don’t engage in risk cuz you can only lose. The lack of curatorial discourse furthermore homogenizes the scene and makes it increasingly trend sensitive, which sooner rather than later, will drain dance from its generative energy. This therefore not a demand on programmers, and

No, dance as a market is a system based on survival of the fattest. Don’t engage in risk cuz you can only lose. the like, to sharpen up and restore dance’s critical potentiality, but rather, this is a responsibility we all share. We must insist on curatorial discourse and simultaneously on the necessity for the artist to articulate his or her own ideological and ethical practices. Only through this insistence, can dance transform, in sync, with today’s society. Considering that Rosas has been on the program of ImPulsTanz for the last 17 seasons, it is quite easy to detect a curatorial profile: this is business. Which, of course, is fine. Yet, it is rather curious to think about a contemporary art museum that, on a yearly basis, has an exhibition featuring one and the same artist. “The Tate Modern presents Louise Bourgeois”, for the 18th time.

It is a rather comfortable reality that programmers live in, as it is void of every form of friction, except that of friction with local politicians.


Whilst consuming a lovely pancake wrapped in cauliflower from the Arsenal “tent with food” we came to wonder, “What’s up with the memorial posters of the late dance superstars Pina Bausch and Merce Cunningham?” The only thing upright is Merce. He is standing with a strong focus, penetrating the spectator with his gaze. Pina, on the other hand, looks as if she is already dead before her time. She is leaning back as if in

He is standing with a strong focus, penetrating the spectator with his gaze. pain, or perhaps pleasure. Her body is displayed horizontally with her arms aimlessly stretched up, as we Swedes would say “lealös”, meaning a bit floppy or loose limbed. The result is in any case not so powerful. So here is our analysis through our green Dolce & Gabana, gendered glasses. Is it not so that Merce, the male, is portrayed as a strong erect figure whilst Pina, the woman, is laid down, not on a bed of roses, but horizontally, reaching the oft-imposed objecthood? In addition, Pina doesn’t even look at us? We can gaze at her, undisturbed by her presence. She is off on some emotional trip. Merce on the other hand stands straight and rational, sharing his wisdom through the camera, wearing his very respectable tracksuit bottoms. Maybe it was mushrooms in the cauliflower or perhaps this festival has lost its green Dolce & Gabbana gendered glasses? Check the Lost & Found at the ImPulsTanz workshop office. Perhaps you could find the missing memorial posters of MJ there too.

It is equally interesting to observe that not a single dance festival articulates artistic profiles or themes (except in size and activity e.g. an extended workshop program). How is it possible that so many dance festivals accept the idea of being completely identical - this the logical conclusion since no one demands anything different. What dance needs today is some healthy infidelity and a decent amount of controversy. But for that to happen we can’t just hope for the best. In Late Capitalism, “Hope for the best,” equals “remain the same.” But we mustn’t, of course, “prepare for the worst.” This is the time when we have to insist on the worst kind of preparation. A second tendency, which is not exactly new, is the absolute lack of sexuality in contemporary dance. Soon I will start longing for jazz dance, where there’s at least some booty. To see Xavier Le Roy pull of his pants in Self-Unfinished is pure magic but there is certainly no sex (Eszter Salamon makes him suffer). I want more sex in dance, and I also believe that this would be very good both for audience numbers, views on YouTube and for some nice controversy. Check out Ciara’s “Sex and Love and Magic” music video, where booty shaking has gone so formal that it’s starts to look like freakin’ ballet. Please, let’s bring back that sexy feeling that we shared in the ImPulsTanz lounge at four in morning. It’s so much fun and so much more exiting than any dance performance I have seen the last few years. For the love of dance: more controversy and more SEX.

Impulstanz posters in memory of Merce Cunningham and Pina Bausch Photo: Egle Obcarskaite


Thursday, August 13. 2009



The Inpex Release Party

From Wikipedia

“The Aristocrats”


This joke almost always has these elements—alternative versions may change this form, but such versions tend to assume that the audience is already familiar with the joke: The setup: The joke always begins with a family act going in to see a talent agent. Those who meet the agent can include the whole family, or just one family member (usually the father). The agent asks (sometimes after saying that he is not interested, and a plea from the father) what they do. If the whole family is present, the act may be performed for the agent, rather than described There is also the possibility of a neutral observer telling the tale of seeing the performance to the talent agent. The act: It is described in as much detail as the teller prefers. While most tellings follow one of a few basic forms, the description of the act is meant to be an ad lib. Traditionally, the description is crude, tasteless, and ribald. The goal is to cross social boundaries, and acts such as violence, incest, rape, pedophilia, coprophilia, bestiality, and murder are common themes. The punch line: The shocked (or intrigued) agent asks what the act is called, and the proud answer (sometimes delivered with a flourish) is “The Aristocrats!” The punchline may be modified in some variants, but generally such variants are told only in a context in which the original joke is known.

Because the sense of what an aristocrat is has faded in many countries, the final line may simply be seen as the end of a rather bawdy joke rather than a punchline.


The Two of Wands card suggests that my power today lies in attraction. I have a vested interest or am committed to sharing my vision, ideals, or game plan in order to make a connection. I am willing to step up because it takes two and I can’t win if I don’t play. Anything is possible. I am empowered by the passion of my own potential and I ransform through self-discipline.


In some regions the name of the act is “The Sophisticates” or “The Debonaires”. The humor of the punch line is in the contrast between the abject horror of the scene described with the unexpectedly noble title “The Aristocrats.” Some versions of the punchline contain the set-up line “What the heck do you call an act like that?” followed by the punchline “I call it ‘The Aristocrats’.” The added set-up value of this version of the joke, in which the pitchman misunderstands the meaning of the phrase “What the heck do you call [that]?” as a request for information, when it is in fact meant to be an expression of incredulity or bewilderment, is lost in other tellings of the joke, with the simpler and less sensible question asked by the agent, “What do you call your act?”

Photo of this week’s front cover of Falter

“Is blow job one word?”

“This is a fucking tight ass issue.”

‘I love editing, it’s like having sex.” “I’m never having sex with you.”

AT THE INPEX Editorial office

(for performative reading out loud; 3 people) KrÖÖT JUURAK

a: hej b: hello c: khhm(cough) great! b: so.. (pause) a: well... c: yeah-(thinking) a: sssshhh (pause) b: dmn, whats’ the point? a: what point? b: why are we reading this? c: sounds like some perverted language course to me. a: haha, or how’s that called? where you step in to different roles... ROLE THERAPY? a: but i must say i like it. probably it’s because it’s performative. like it gives you the feeling you are more part of the thing than say just reading an interview of some other people. b: yes, i agree. i guess we always want to be part of something. and we like to have roles. yes, but- we also want to say something. right? and then here is a script, but what if i actually want to say something else? c: hmmm-(to b) are you saying you want to say something that’s not in the script? and you can’t? b: not tha’ts not my point here. of course i can say what i want WHEN I WANT. and it’s also not that i don’t like reading it with you guys. but the content... i wish it had some .. it’s so ... also a bit --hmm..emptyor self-obsessed maybe. a: boring. not sexy. a: obviously- the author had not a thing to say c: and here we are saying it...!! c: freakin nerdy b: well, maybe we should be writing our own scripts. actually i have a bunch of things i’d love to discuss with you .. a: o yes? for example? b: c’mon.. exciting things. I want to talk about sex - intimacy, jealousy, love, true love, true blood, whatever, just anything---

c: GROUPSEX!!! a: oh, ye, the transformative fuck circle sounds intriguing! Or even mickey mouse for fuck’s sake! but -- none of that is here. c: exactly, it’s a pity... it’s almost like we are trapped. there is no way out because the “trying to get out” is already part of the script. hmm. b: haha. aha but it does make us WANT to talk about those things, don’t it? c: indeed, and maybe not just TALK.... aha a: omg, here it is- the end of the script a, b, c: LET’S GO! Any resemblance to persons living or dead is purely coincidental.

Predictions Drawing: Madam Wilhelm Rawltz

“The Inpex publication is irresponsible and badly researched.” AT THE TANZQUARTIER


AT THE INPEX Editorial office

AT THE INPEX Editorial office

“The sexy thing about journalism is that it’s a one night stand over and over again.” AT SCHNAPSLOCH

CALENDAR 13.08.09 The Swedish Dance History Book Release Party Vienna - Schnapsloch


“Don’t knock masturbation, it’s sex with someone I love. WOODY ALLEN

The Inpex - Edition 1 - Issue 3  
The Inpex - Edition 1 - Issue 3  

A free daily newspaper The Inpex is being produced, published and distributed in Vienna. The Inpex is a means to produce and distribute news...