The Performance Now! Festival is not merely a festival. At least, not just that. Above all, it is a community art practice that aims to provide space for other community art practices. A mise en abyme: art within art, community within community.
Thus, Performance Now! uses the form, the means of expression, the medium of a "festival," but fundamentally represents different goals and values than festivals typically do. Here, collaboration, joint creation, and community building are clear priorities; the aim is to function as an arena where people meet and connect. It's a priority to hold space and give space: for creation, experience, learning and teaching, mutual development, and reflection. The "together" is important, that everyone matters here, that the "festival" as an artistic form structures, organizes, and systematizes, provides a framework, thus offering safety, creating opportunities, and opening doors. It connects and forges. Builds and enables. The "together" and the "equally" are important: here, everyone gives and receives, teaches and learns, puts in and takes out. The festival is practically organized by a community of 100 people, of which you are also a part. There's the organizing team, students of the Art Theory and Curatorial Studies Programs of the Hungarian University of Fine Arts, and those who have connected with us: either by hosting a foreign artist, writing about us, providing dramaturgical consultation to the artists as theoretical experts, attending professional programs to network, students who photograph, friends who collect tickets, people who, in one way or another, contribute their knowledge and time to then gain the experience, the learning, the connection that the festival offers. This is barter trade, an alternative to the capitalist system, proof that it can be done this way too. Differently, and like this. I'm not claiming this is "the" solution, but I'm actively experimenting to show that creating quality art, forging relationships, developing, and learning doesn't cost millions; there's no need for NKA, Creative Europe, scholarships, grants, or sponsors because everyone contributes a little. This is the essence of this festival: everyone contributes a little to create something big together. And here, "big" doesn't mean visible, glaringly shining, overflowing from everywhere, but valuable and essential. Defining. Because it's human. The fact that, instead of the obvious capitalist setup, barter trade is our business model means that we've eliminated monetary transactions as much as possible; our currency is not the forint but the festival pass; this is the basis of our system. You don't have to agree with this; the formula is very simple: if you don't want to be a member of our community and trade with your time or knowledge, you can still buy a pass; we keep this option open, but we don't specifically support it. Why is it designed this way? For the reason I started with: because the focus here is on "together." That this festival is primarily a platform for meeting and connecting. And the entire organizational model is nothing more than a sincere gesture in this direction. It's a filter, and the filter is a focus. At this festival, with this organization, the people present over the next two days are those who believe in these values, who understand this, and who see the "deal" in this, that they actually get much more if they come to collect tickets for three hours than if they buy a pass... Those who are here now, and those who will be present over the weekend, are primarily those who want to join the project, and only then the festival. So, those who were captivated by the community in this, our values, and only secondarily the program. Because, essentially, here the community itself is the program, the value, and the goal. I warmly welcome, therefore, at this press conference, members of our community who have joined this in one form or another:
Thank you for being here and for this being important to you too! February 7, 2025 3. Performance Now! Festival Press Preview
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Author"I graduated from both ESSEC Business School and ENSAPC Art School in France. As a choreographer, cultural entrepreneur, and community activist, I harness the transformative power of art to build spaces, experiences, and communities. My artistic practice explores new poetic, fragile, and hybrid forms, spanning multiple mediums, including text, image, object, and movement. I create full-length dance pieces, short-format performances, immersive installations, multi-sensory community experiences. Over the past two decades, I've founded the School of Disobedience, established my own performance art company (Gray Box), and launched the annual Wildflowers Festival. I embrace everything unusual, unexpected, and nonconformist. I am not kind with assholes and have learned to forge my own path. I am here to guide you in thinking outside the box and achieving independence. To me, the real party is outside the confines of the established canon." Archives
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