A review in four parts:
apap – Performing Europe 2020 _ Part 2: #apapConnects Campaign and interviews with the apap partner directors
A review in four parts:
apap – Performing Europe 2020 _ Part 2: #apapConnects Campaign and interviews with the apap partner directors

After four successful years the apap project: Performing Europe 2020 – funded by CREATIVE EUROPE comes to an end. The project started in June 2016, with a cheerful meeting of the apap artistic directors during the festival Sommerszene in Salzburg. Back then we were not imagining to end the project in these unthinkable circumstances, but on the positive note the worldwide shutdown due to the Coronavirus pandemic had allowed us to take time to look back and realize how much apap has achieved and how many artists and cultural workers has helped in these four years. We wanted to share with all of you these thoughts in a 4 years reviews in 4 parts.


Part 2.

#apapConnects - Campaign

In September 2018 apap proudly announced their first European apap Campaign! #apapConnects draws the attention of the audience of our partners institutions to apap – Performing Europe 2020, the support of the Creative Europe Programme and the European dimension of our network. The campaign appeared in different online platforms and as advertising in the programmes of our partners institutions, securing the right visibility of the project!

apap partner directors in interviews

The concept of the curator has become in recent years more and more influential. But while it has been heavily discussed, criticized and theorized within the visual arts, the function of the programmer, producer, curator in the performing arts remains strangely undebated. Even though programming in dance, theatre, performance has undergone fundamental changes over the last decades there are barely any writings that reflect on its specific role in art production, reception and market.

Therefore, apap decided to put more focus on the curators involved in the network and entice a discussion about their views on the role of contemporary performance in art, society and economy.

In individual interviews the apap partner directors Sven Åge Birkeland (BIT Teatergarasjen), Barbara Boninsegna (Centrale Fies, Dro), Angela Glechner (SZENE Salzburg), Omar Rajeh and Mia Habis (Bipod Festival, Lebanon), Ludger Orlok (Tanzfabrik Berlin), Agnes Quackels (kunstencentrum BUDA, Kortrijk) and Edyta Kozak (Fundacja Cialo/Umysl) answered following questions:

As a performing arts curator, what do you feel the role of contemporary performance is nowadays in art, society and economy?

How does the context of Oktoberdans festival produce an added value?

How do you feel audiences should engage with contemporary performance? 

Statements out of the interviews:

„The function as a humanistic and artistic hub within society is more and more important and plays an important role in shaping our future. ... Our plans for engaging a bigger community and far more people, includes collaborations with the civil society surrounding us ...“ (Sven Åge Birkeland)  

„Contemporary Performance, in my opinion, has the same role of art; it’s a tool for understanding our contemporary society and particularly a vehicle for a more empathic attitude.... Furthermore, Centrale Fies feels the responsibility of being a cultural landmark in a very tiny and remote area. Therefore, we feel the ethical and economical responsibility of our remote land.“ (Barbara Boninsegna) 

„For me, a functioning and living network – in apap’s case with eleven partners across Europe – is an important and positive message in times of political and social upheaval. The anti-European and nationalistic tendencies within Europe and the social division within society have assumed frightening proportions. And this is why art ... ought to take responsibility. ... A network like apap does that in its own way together with the artists.“ (Angela Glechner)

„Being based in Lebanon, this network extends the boundaries of possibility for our work through real possibilities of exchange and collaboration. Importantly for the artists that we work with, these possibilities have already resulted in residencies and exchange projects where they have been given the opportunity to explore and investigate their creative work....“ (Omar Rajeh and Mia Habis)

„Contemporary dance and choreography are questioning our relation to each other and to the world, experimenting with techniques and inventing methods how to do so and what it does to us. As ‚experts for the relational’ this form or art offers a wide range of possibilities. It has an enormous potential since in times of social media and algorithms questions of how to connect with each other....“ (Ludger Orlok) 

„For me, the role of the performance art is the same as any other contemporary arts, and I would say it is about creating otherness. Might it be poetry, pure movement, social imagination, or name it all, contemporary arts brings otherness into the real. During a certain amount of time, in a certain place, something is different... You’ve been displaced, in your thoughts, your emotions, your gaze, your understanding...“ (Agnes Quackels) 

„Performative arts provide excellent means for expressing oneself, explaining both the inner and outer world, interpreting the language of not only other disciplines and sciences but also politics and social movements. What seems to be of the most importance for me is that they allow you to shape the today’s world, soften the discourse and indicate the less authoritative and forceful models, as well as to act courageously and stand up for freedom....“ (Edyta Kozak)

See all interviews on live on apap: