The past year has prompted more than one type of reflection amidst our creative team. With event formats radically altering, and “creative solutions” having to take on unprecedentedly novel meanings, we found ourselves rethinking virtually every facet of our ideation and production processes — not simply out of logistical constraints, but also for the sake of the audiences left in limbo, unsure of what to seek out, and, crucially, of what can be obtained. While in theory, this positioning grants a lot of power to those in charge of deciding the cultural offer, we refrained from using this power in overly didactic terms; we should not be the ones telling audiences what to enjoy, what to look for, or what to experience. Instead, our strategy has been to empower them to create, curate, and live it out themselves. This principle of interactive co-creation and organic engagement lies at the heart of the hybrid experiences and culture we’ve nurtured over the past year. We like our audiences to be active. Figuratively, and, sometimes, literally — as attested by our latest initiative Esch2022moves, forming an integral part of the prelude to the Esch2022 European Capital of Culture celebrations.
Be it internal or external, collaboration has always been a backbone of our work and company wiring. Over the years, we’ve been fortunate enough to maintain, nurture and develop fruitful creative partnerships with peers we’ve grown to consider friends – and inspirations. London-based theatre group Les Enfants Terribles has been one such trusted ally, accompanying us through a variety of large-scale live projects, and smoothly succeeding in the transition towards the hybrid.
As we partner up again for Esch2022 European Capital of Culture, our CEO Brendan Shelper and James Seager, the British award-winning theatre company’s Creative Director, come together and break down the industry’s post-pandemic state, the latent potential of new formats – and the joy of going to work with your mates.
Bracing up for a year of national and European festivities is no easy feat — certainly not for the flock of creative and organizational masterminds making it all happen, but neither, in spite of common belief, for audiences themselves. Perhaps contrary to (an outmoded) popular belief, audiences are, to us, all but passive. In fact, they’re as instrumental as anyone in bringing a concept, experience, or project to life. Ahead of the Esch2022 European Capital of Culture (ECOC) kick-off, our team has asked: “how can we work not for, but with the audience?”.
Honoring this desire to not just impress but galvanize and boost communities into their own creative and celebratory swirls, the Esch2022 REMIX Festival offers an enticing, engaging, and activating prelude to the celebratory year ahead. Our creative producers — and wiz minds behind the initiative —, Andy Machals and Gabriela Flores take us through the ambition, structure, and methods of the festival and why, far from an ephemeral commemoration, these efforts are in for the long haul.
An instrumental part of the Esch2022 European Capital of Culture celebration, the Future Frequencies initiative emerged from a desire to not just celebrate the existing culture of the Luxembourgish region but nurture its new generation. With this aim in mind, bold, effective, and forward-thinking collaboration was a must in carrying out this music production and composition workshop — and few contenders were likely to live up to the task better than established European electronic music producers Frank Wiedemann and Matthew Herbert.
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