Money makes you happy
Overturning the old adage, which denies this power of money, means going to see how a new, ethical finance has grown and spread, and what tools are suitable and necessary to educate and educate us in the economic and financial field.
Among the tools that have been experimented on a global scale with particular success, from the farmers of poor lands to the supporters of some Western political forces, there is microcredit.
An evening of dialogue on these themes.
Speakers: Ugo Biggeri, president of Banca Etica and Matteo Zagaria, director of CreSud, an Italian company that has been financing microcredit in the southern hemisphere for 20 years.
The evening will be moderated by Angelo Miotto.
Edited by Q Code Mag.
pic. by Freepick
The Money is a cross between a game and a play.
You can choose to be a Silent Witness and watch or a Player and take part in deciding how to spend a real amount of money.
As a Player you can express yourself as you wish. But you must reach an agreement with your teammates before time runs out and by following the rules you will be given. If these conditions are not met, the money goes to the next group of players.
Silent Witnesses can join the Player group at any time and this can change everything.
The playful premise of this celebrated work sets the stage for one of the most memorable conversations you’ll ever witness, as altruism actually soon turns to self-interest, everyone’s personalities clash, and hierarchies are turned upside down.
The results can lead to tensions as in a thriller, or they can be ridiculed as in a farce, but in the end what is asked is: are there really any values we can agree on? Is the most valuable thing of all the common understanding? Finally, what is the most interesting thing we can do together that we can’t escape?
Game|Show – in Italian
Production: Kaleider Concept and Direction: Seth Honnor Artistic Collaboration: Alice Tatton-Brown Production Manager: Jay Kerry Performers: Gemma Paintin, Hanora Kamen, Gilda Deianira Ciao Photos: Prudence Upton
Christophe Meierhans (CH/BE)
Can the money we use on a daily basis be held responsible for the bleak state of the world today? What would it mean to hold it accountable for its actions? Trials of Money challenges the idea that money is just a tool or a means, and treats it as a complex being, a “semi-human” entity that has acquired an autonomous operation and escapes the control of the men who use it.
This new version of the performance is based on the collected testimonies of nine witnesses: an ex-banker, a Suisse National Bank employee, a homeless man, a wealthy philanthropist, a Native American, an economics professor, a kibbutz resident, and a criminologist. It invites the public to take part in the actions of a fictitious court, conducted as a collective exercise where all present freely assume the position of prosecution or defense, based on their beliefs and influenced by the proceedings.
Can money actually be tried before a human tribunal? And if the defendant is ultimately found guilty, what should be the appropriate sentence?
Conference Show – in Italian
A project ZONA K and Stanze
“Show realized within the project Teen Time.”
Concept and direction: Christophe Meierhans Performer: Christophe Meierhans, Luca Mattei Dramaturgy: Bart Capelle With the participation of: Shila Anaraki, Jochen Dehn, Adva Zakai Set design: Decoratelier Jozef Wouters Decor: Giammarco Falcone Light saber microphones: Alexis Pawlak, Gaia Carabillo Costumes: Sofie Durnez, Valerie Le Roy Lighting design: Luc Schaltin Monetary consultant: Olivier Auber Production: HIROS, Elisa Demarré Co-production: AUAwirleben (Bern), BIT Teatergarasjen (Bergen), BUDA (Kortrijk), FAR° (Nyon), Kaaitheater (Brussels), Nouveau Théâtre de Montreuil (Paris), Teatro Maria Matos (Lisbon), Vooruit (Gent), ZONA K (Milan) With the support of: Vlaamse Gemeenschap, ProHelvetia
Christophe Meierhans (Geneva; Brussels) works with and through performance, public space, installation, sound, music and video. His work consists mainly in developing strategies of intervention in everyday life, through the manipulation of accepted conventions, social habits or simple customs. Fragments of reality become the frame for artistic operations that can redirect banality in order to make it reappear under unexpected angles. His work raises questions about norms and conventions, confusing a random context with different ones, and confronting the viewer with something else, with the strangeness of being in the “wrong” place, or the possibility that the place may become something else.