Looking towards the horizon: a new ritual appears. Its practice is not yet clear to us, and it raises questions and anxiety. But we see a recruitment of artists to the fields of meaning and action that the art world can be for human beings.

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In 2020, the Diver Festival presented Mythos of Company – an exemplary story of the survival of a band of artists during the relatively early days of the plague. In 2021, it suggested Rehearsing Ekklēsia – a practice of preparation for the meeting of the audience, after the lockdowns.

Working on Diver 22’, we observe: the future and its possibilities continue to blur, the black and white spaces of the art world continue to feel awkward, the war cannons are thundering due to the fight over new and old energies, and the cognitive dissonance in relation to everything familiar to us becomes an ongoing current of emptiness and fear.

We close our eyes: A pool appears in front of us.

We seem to be standing on the edge of the pool, upon entering. Looking forward to wading and playing with the nymphs. The pool is here, and it’s a human reservoir and an artistic resource; but the pool is also a daydream, ideal and wish. Bathing in it is rooted in the urge to re-bless the artistic act, so that it can find the power to recruit.

Beautiful and interesting things are surely being done among us as it is, but it’s obvious that the relationship between the institution, the artists and the audience – no longer serves the essential contract between art and man.
“Enter the Pool…”, a nymph is whispering and chanting to our dancing bodies.
“Enter the Pool…” – an inner voice is calling, asking for a restoration of the ceremonial field of the art world.

Looking towards the horizon: a new ritual appears. Its practice is not yet clear to us, and it raises questions and anxiety. But we see a recruitment of artists to the fields of meaning and action that the art world can be for human beings. We know that art has something to offer, at least it can aid our fraternization with death. For the time being, we feel our way through uncertain realities, occupying a haunted museum where we wade and cuddle, practising the festival’s economy and getting nourishment from the same well of shared values ​​and institutions.

This year, the festival takes place in spaces of the local art world: a white temple; a black shelter; and a new community center for artists. Several values ​​and ceremonial actions inspire the curation of the festival and invite us to Enter the Pool:” “Be-Company Exhibition” – instead of a group exhibition, a transindividual action is summoned against the neo-liberal separation, and it offers convergence, complex signature and artistic kinship. “Musical Temple” – performances that seek to give voice and movement to the spirit of the period through an immersive and musicall gathering. Finally, the festival will present events and performances of reading and speaking together – thereby calling for a new choreography of discourse, a consumption of concepts led by the artistic act and standing as an alternative to populism.