Oproep 2: Duurzaam internationaal werken
How to open up an organiser to other ways of working? And can a strategy of 'cutting back' reveal new possibilities for showing work?
Benjamin Verdonck is increasingly making smaller works that go beyond the general conditions and expectations of touring. His work thus goes against the neoliberal assumption that every demand must be met at any time, in any way. That playing abroad is an all too easy transaction for the accumulation of more (symbolic) capital. World touring in Antwerp is (among other things) about exploring what touring is, or can be. What can be learned from an exercise in becoming smaller, not having to be everywhere, even if it (again) can be done? All objections along the way are part of the project. There is no one way ('the future is a lot of small things') and the exploration of praxis does not end in 'this is how it should be' but rather wants to explore, in dialogue with others and other practices. It it starts from the making itself with the question of what instruments allow for flexibility and for autonomous practices of sustainable touring? The invitation in Bunker (Ljubljana) represents a concrete case: Benjamin travels with his family to show work, give workshops and enter into local collaborations for at least a week. This endeavor is the starting point for a dialogue with international festivals on new ways oof working internationally.
The question of more sustainable production and 'moving' internationally has been present for years in the work of Verdonck. The work 'World Tour' in Antwerp (2020-21), is a new exercise in 'getting smaller'. For a whole year, Verdonck will be taking his work on the road in Antwerp in order to show it wherever and whenever he meets people in his city. 'World tour' is a radical choice to explore other ways of touring and showing small, local and autonomous. It was impossible to predict that the theme of 'agility' would be so topical, when imagined and explored in practice. Even for established practices, the issue of distribution remains a challenge and the question remains what new ways of touring can be used that break through the economic logic and still remain in dialogue with this increasingly globalized society. The intention is to share these questions and experiences as a response to this open call.
CET-Central European Time-UTC +1
In Be-coming Tree events we encountered a lack of cross-generational media literacy, and participants in general having difficulties using accessible technologies (smartphones, Zoom) fluently enough to enable free flowing creativity. By encouraging use of accessible tech we aim to empower generations not born into a digitised world and enable intersectional artists to reach new audiences globally.
Challenges I am preoccupied with are situated in formal, and informal, art education, forced into the online realm since March 2020. From positions of teacher and student, they are; preconceptions of neutrally in software, lack of consideration towards neurodiversity, miscommunicated feelings, an inability to have challenging and motivating group discussion where we listen to each other deeply.