I am a young theater director from Belgrade, Serbia. There I had run a small alternative group called Threepenny. I just moved to Budapest and gave birth to my first child. Currently, I am set to find a way of continuing my work with performing arts in this new life circumstances, mostly by using digital tools. But I believe in theater. I believe in the power of presence, now more then ever.
For me diversity is the foundation of all imagination. And society needs imagination, because it is necessary not just for arts, but also any kind of social change. Change starts by imagining something different, diverse. Encountering the Other, recognizing its difference from myself, being able to respect that difference without trying to assimilate or normalize it in any way is - or in my opinion should be - the basis of society. Over the past two years our communication was mostly bound to be online. Through excessive use of digital tools as media for purposes of both work, socialization, and entertainment I have notices that these tools, as useful as they are, have a normative tendency of flattening, making everybody and everything be/look/seem similar and everybody act/look in a similar fashion. It is the algorithmic inscription on our everyday lives and selves. Digital tools can be useful, but only when handled with caution, which is mostly absent in the way we handle them today.
I have done an excessive theoretical and artistic research on the subject of the Self in the digital as a part of my PhD and in contact with the Institute for Network Cultures, Amsterdam. I would like to offer a broad artistic community an idea of how to engage with digital technology in a meaningful way. Artists have mostly either embraced digital technology with an overwhelming enthusiasm or dismissed it altogether. My idea is to tell and show on my own example that digital criticism can and should be constructive. The question I would like to ask and give some answers to is: How to use existing digital communication tools to enhance diversity in arts? I would like to develop a performative lecture, both on- and offline, using only existing digital communication media. While engaging with audience in new and innovative ways, I would share my theoretical and practical expertise on the matter. A pilot has already been done as a part of my PhD, and an image enclosed was taken as a part of this performance.
Tine Van Aerschot probeert al 35 jaar te communiceren met verschillende publieken. Ze maakt voorstellingen, affiches, boekjes. Ze kent haar weg op het internet en ze heeft een groot netwerk ontwikkeld in België en daarbuiten. Als docent deelt ze haar ervaring en kennis met jonge kunstenaars. Vandaag wil ze ruchtbaarheid helpen geven aan gedachten en meningen van diegenen die daar nood aan hebben.
HaRaKa Platform is an artistic collective investigating decolonial, feminist and ecological issues through creating performances, installations, publications, as well as curating festivals and conferences. HaRaKa was established in Egypt in 2006, and is directed by a group of European and Egyptian artists and practitioners: Adham Hafez, Lamia Gouda, Mona Gamil, Adam Kucharski.