Arts & International Affairs: Volume 2, Number 2 | Page 178

artistic practice and politics. These works deal with gender and sexuality, racism, disability, colonialism, body politics, etc. They employ poetics and aesthetics emanating from diverse cultural repertoires, social experiences, and ideologies. This kind of work makes me question what it means to be and create in the world and it inspires my projects. Global dialogues on the arts, in the context of co-produced projects, present innumerable challenges, especially when we look at the disparities between the Global North’ and South. These dialogues call recognizing diverse points of view, production models, financing systems, and cultural barriers and imbalances. Festivals have helped me see that when art reflects upon our current time and generates spaces of dialogue, a global uneasiness is illuminated: How to live together? The question operates at many levels and there is no single answer. Nevertheless, the nexus between Culture and politics has never been so relevant. This is a fertile moment to examine the extent to which Culture shapes the way in which we imagine the world. As producers of artistic work, public events and knowledge, it is time for us to take on the responsibility to examine the structures and inequalities that organize Culture at a global level. In this way we can collectively construct discourses and practices able to create new spaces of cooperation and solidarity against the flow of authoritarianism, the rising neo-conservative movements, and the sectarian and ethnic violence that devastates the world. I see festivals as territories where living together is made possible, palpable, and where macro and micro-politics are collectively seen and communicated. While they may not be able to respond to this complex question, they contribute to reimagining the world by displaying glimpses of change. A change that, according to Amador Fernandez-Savater, “will be (in) plural, or it won’t be.” Reference Fernández-Savater, Amador. Foucault’s Lesson: Guillotining the King Once and for All. ����. 177