Controlling the time is a form of domination. One will set up a deadline, the other will respect it. One will keep someone waiting, the other will wait. One will impose the rhythm, the other will follow it. Whether it is love or professional relationship, the one who has the control over time, has the power as well…
In the art world it’s even more unbalanced, as artists not only have to follow the timing of others, but are stuck between two oppositional temporalities in perpetual confrontation:
On one hand, we live in a crazy world of fast decision makings, huge pressure, short deadlines, where we have to create quickly, be productive, propose more and more innovative solutions, find new insights and perspectives, react immediately and quickly to local and global contexts, be constantly updated, in advance, and ready.
On the other hand, conducting deep researches, exploring the unknown and experimenting with the unexpected, listening, opening our eyes and heart, finding our own path, artistic voice, and personal aesthetic, making connections and friendships, building an audience, gaining people’s confidence, that’s all very slow and incredibly long…
I created the “School of Disobedience” to explore how to disobey to the dictatorship of speed.
To unlearn the feeling of “We have to be in advance”.
To unlearn the feeling of “We are late”.
To relearn the feeling of “We are just on time”.
In the “School of Disobedience” you set up your own time zone and let people around you follow theirs: they are in their time zone, you are in yours, and that’s perfectly fine.
"Born in Budapest (Hungary), in 1983, and graduated from the ENSAPC Art School (France) in 2016, I am working with art as a means of connection and with education as a means of activism. I am making full evening pieces and short-format performances, holding multi-sensorial political soft-spaces, creating immersive choreographic experiences, and building rebellious communities. In the past 8 years, I dreamed up the School of Disobedience, founded an artist collective then my own performance art company (Gray Box), launched an annual festival (Wildflowers), exhibited in a toilet, performed in a boxing ring, curated in an elevator, gave lectures in a techno club, run classes in a hammam... I like everything that is unusual, unexpected, and nonconformist. I am not kind with assholes and learned how to follow my own path. I think the party is outside the canon."