Name: ЯƎSPAWN – Ruby Nilsson
Start: 2026-02-27T19:00:00+01:00
End: 2026-02-28T19:45:00+01:00
Location: Bergsgatan 29, 214 22 Malmö, Sweden

$\u042f\u018eSPAWN \u2013 Ruby Nilsson$ What happens once someone is condemned as a monstrous, corpse-like invader? What demands for justice, punishment, or erasure follow in its wake? ЯƎSPAWN pushes these questions to their absolute limit, dissecting one of TERFism’s most enduring figures—the “necrophilic invader.”
27-28/2 ● Doors 18:30 ● On stage 19:00 ● 45 Min● ENG
Today the “Frankenstein phenomenon” is omnipresent not only in religious myth, but in its offspring, phallocratic technology. The insane desire for power, the madness of boundary violation, is the mark of necrophiliacs who sense the lack of soul/spirit/life-loving principle with themselves and therefore try to invade and K*ll off all spirit, substituting conglomerates of corpses. This necrophilic invasion/elimination takes a variety of forms. Transsexualism is an example of male surgical siring which invades the female world with substitutes.
– Mary Daly (TERF pioneer) in Gyn/Ecology (1978).
The work is a blasphemy against the worldview shaped by bioessentialist and trans-exclusionary radical feminist (TERF) theory, which frames sex, gender, and identity as dark sites where contamination, invasion, and demonic influence are imagined to perpetually lurk.
Against the backdrop of an ongoing systematic persecution campaign propagated by conservative, feminist forces who firmly believe in “gender terrorism” (like “radical gender ideology”) and “Elite Gender Inversion” (EGI), the performance embodies a central historical figure in the historical emergence of these theories. This figure is the “necrophilic invader.”
ЯƎSPAWN attempts to follow the necrophilic invader to its fatal breaking point. If the TERF is right; if these “surgically sired” monsters invade men’s and women’s “pure” bodies; if they are a diabolic “respawn” of Hermeticism––an “esoteric” school of thought often interpreted as closely tied to the phenomena of alchemy, necromancy, androgyny and hermaphroditism––, then ЯƎSPAWN insists on carrying logics such as Mary Daly’s to their ultimate conclusion.
*The Latin apologia can be traced back to the Greek verb apologeîsthai, meaning "to speak in defense; defend oneself." Plato’s Apology of Socrates stands as one of the earliest extant examples of this rhetorical mode of oration.
BIO
Ruby Nilsson (SWE/DK, b. 1993) is an artist and writer whose work investigates the sexual dimensions of subjectivation. Through performance, installation, curation, and writing, she explores the theories and conspiracies that shape our understanding of sex as natural phenomena and mechanism through which the social and the self are invented.
She is the founder of the expansive performance project ‘Center of Unseen Trans Survival’ (C.U.T.S.) and her performances and curatorial projects have been presented at venues such as GIBCA, Warehouse9, Norbergfestival, Index – The Contemporary Swedish Art Foundation, Konsthall C, My Wild Flag, Skånes Konstförening, Bikubenfonden, Fylkingen and more.
Alongside her artistic practice, she teaches the summer course ‘Text as an Artistic Medium’ at The Royal Institute of Art in Stockholm, and contributes writing to publications such as Bastard and Paletten Art Journal.
Ruby is educated at The Royal Danish Academy of Fine Arts (2019-2025).
CREDS
Directed and written by Ruby Nilsson
Performer: Liza Tegel
Video and animation: Jacob Habinc
Costume design: Fredda Berg
Make-up/Special effects: Emma Eastop
Light design: Will Zawistowski
String score: Aase Nielsen
Sound design: Hannes Ferm