That's a tough programme. It won't be an easy start spring.
But that's not our fault.
It is history that repeats itself in a macabre system, and takes the necessary turns so that we can say what is so hard to hear. What we don’t want to hear,
This programme is a confrontation with a confused temporality, the temporality in which past and future are taken by a dissonance, an accompanying stain.
We are always in search of words and every attempt is an invention.
This is not a programme about healing, about digesting these stones, but about angry imaginaries, self-defense classes, naming what is not said, dissonant enigmas, and the unknown creatures that may emerge from this violent confusion.
In her book Everybody,A book about freedom, Olivia Laing asks: “How do you convey the systemisation of violence against women if there is a conspiracy of silence around it?”
How can we approach histories of sexual violence and abuse trough art? What kind of fantasies does violence produce, and how can we elaborate on these images, these voices, how to listen, how to perform what does not produce any relief with the time?
Over the course of four days, a platform opens up for conversations, appearances, self-defense practices, sharing of artistic creative processes at different stages - to try to touch this dense and sticky mass, the impossible elaboration, the anguish, the poetic and real and performative consequences of violence in the sexual realm.
In Harm’s Way comes from a dialogue between Carolina Bianchi, Carolina Mendonça and Elisa Liepsch.