 Good morning, welcome. It is 10 a.m. in Paris Central European Times, CET, where Wednesday 20th of September and you are listening to the live stream of fresh 2023. Fresh the international event for the development of contemporary circus and outdoor arts is back. 20 years, 20 years, 20 years anniversary this year of Circo Strada Network. Circo Strada, what it is, it is a network all around Europe, all around the world with more than 150 members, more than 40 countries together in Paris for the 20th anniversary for three days today, tomorrow and after tomorrow in Paris and around Paris. While I am talking to you, you that are listening to me all around the world through the web, exclusive live web radio station, I can see people gathering and entering into this space in Leville. La Villette was chose for this meeting because it's a huge cultural center in Paris. It is located in the northeast part of Paris and it's almost a city, a big village. In the middle of La Villette, you have this industrial building renovated called La Grande Halle de La Villette. And this is where we are, underneath, under the Grande Halle de La Villette used to be a butcher place. So you have in La Villette La Grande Halle de La Villette, but you also have the city of music, you also have a theater, you also have a park, you also have a canal, you also have La Géode, a scientific place. You also have a new philharmonic place called La Philharmonie, that is all like a sardina in the sky, but we are here together to celebrate Cirque Stradale network fresh and making waves association and all around platform are our partners to make it possible, follow the stream and full program on CirqueStradale.org and you can also get access to this live stream of the fresh 20, 23 morning sessions through the all around platform. You might, you may listen to some voices of all the people coming in this theater place and then it's where I remember I've seen a lot of great theater performance. In La Villette you also have Cirque's place, it used to be the Shapito place. So it's really the place to be, to be an international active interesting cultural meeting. This morning you will attend to the morning sessions as if you were here there will be round tables, artistic talks and keynotes and every morning, as you may know, a different topic will be choose today on live at La Villette for the opening, still many people arriving while I'm talking. You will be attend to special morning about the notion of care, to care about what to care about, to care together, which is a philosophical and ethical topic. Tomorrow we will talk about the notion of safety and Friday about sustainability. So as you can see, three main topics to see the present and also to draw perspectives for the future in this world of contemporary circus and outdoor art. The morning session, as you will soon hear, is organized on the following menu in French. So I talk about food. So to start there will be, of course, the welcoming words, then you will listen as every morning to a keynot, a 20 minutes keynot. It's a short, dynamic and powerful session to reflect. So as I told you, the keynote today will be about care and it will be done by a French philosopher called Fabienne Brugère who wrote a book about it, the Ethique of Care. And right after a keynote, she will join us on the radio for 10 more exclusive talks. Later it will be around 11 o'clock, maybe a bit later, as it is, always take time to start. A large roundtable will take place in which six artists and cultural professionals will discuss and share ideas about the relationship between programmers and artists and always on this topic of care. And it will be a long roundtable, 90 minutes roundtable to make possible everybody to talk clearly. And after this roundtable it will be around maybe, let's say, 12, 45, right after. We'll be glad also with this exclusive stream radio to invite, for a brief talk, one of the panelists who participate to the roundtable who is Cun Alary. Cun Alary is coming from Belgium, from Ghana, and he's a coordinator and he's developing a dance punt into an incubator for amateur and emerging artists. It's very interesting also to have his perspective because he talks not only with artists but also with amateur. And around this question of care it will be important to listen to Cun. Of course you will listen to all the morning session. I can see now we are certainly soon to start, more and more people are coming. As I can see the audience is quite young. It's around, let's say, I would say 40 years old and a big nice mix of man and woman. I can even see a plant working there, a girl with a plant in her top bag, which is funny. I guess she bought it. It's beautiful in this place. As I told you, we are celebrating for the next three days Circo Stradas network with supported by the French ministry with Art Sénat and with the European Commission, but it's not exclusively an European network. And this web stream is here for you that couldn't be here with us to listen to the exchange and with the Making Wave Association. You are recording it and you will have the stream with the help of all around with sending the sound and the sound spreading all over the world. And I have to tell you that also you will be able after these three days to listen to the podcast that will be edited and also to read in few months a publication that will be made, but you can also from now listen to the podcast that was made before the event by Mike Hemus who produced Around Fresh where you can see all the topics, care, safety, sustainability already separated in different podcasts and that you can get of course through Circo Stradas.org and listen to this very stimulating podcast. Can you hear the sound? All are coming. I would say more than 200 people here in Paris. Let's listen a little bit to the crowd for a few seconds. So here people coming, Lavilette, Fresh, Chinese anniversary of Circo Stradas network. As I told you, we're ready to open. They were in Lavilette, so I told you Lavilette is a huge city in the city in a way, but always linked to other city because it's very close to the suburb in a way. And the space is always moving towards the other, always transforming. It's a lively place. Tomorrow we will go to Bagneux to the Le Plus Petit Cirque du Monde, the smallest circus in the world. You know, in circus it's always extraordinary, most fabulous. And as they are very humble, they call it the smallest circus in the world. So it will be the second moment of the morning talks where we'll talk about safety. You will see in Bagneux also a very interesting project about circus and outdoor art in a demo-critical way. And for the third day we will come back to Paris, but also another place called La Pelouse Roy, which is in the east part of Paris next to Bois-de-Vincennes, you may know. And in Pelouse Roy, there is the village du Cirque. So it's a place where actually a circus and outdoor festival is taking place. I can see people coming, it's nice to see all these people. The kids, they meet, they say hello, everybody knows, everybody or not, everybody yet. It will be done in three days because, you know, in fresh in the afternoon, it's morning session altogether in the morning, sorry. And in the afternoon there are different paths that are organized to get to know more circus and outdoor places here in Paris where it is organized, Cirque Stradale Network for the 20th anniversary. It's almost full, it's crowded here. It's nice. We'll send you pictures so you could see. And it will be done on the Cirque Stradale.org where you can listen as I told you again to the podcast Around Fresh produced by Maikémous and that was, that is online. But you will follow anyway the morning session with us, Fresh Radio Live Stream, well, live, I can tell you there are, it's almost 20 past 10 in Paris, local time. And after the welcoming words, we will listen to the French philosopher Fabienne Brugère who wrote Letique du Caire, which is a book that I think of the necessity to care into not only a political way after the pandemic, but a revolution way to be together again. She's not familiar to contemporary circus and to outdoor arts, but this is on purpose because Cirque Stradale wanted for this 20th anniversary to invite every morning someone that was not from the circus world or not from the outdoor arts, but to look to open perspectives. So a philosopher, a designer, a scientific will come every of each morning, open the perspectives, the horizon and our world, our professional world with design, landscape design, of course, we'll talk about sustainability, how can we do together. And with the scientific, we'll talk about safety, of course, all topics that are very pregnant in our actuality, but we don't put it in the political way, we put it in the humanistic way, in our world, the contemporary circus and outdoor art. Okay, people are coming now on stage, as I can see, gathering around, still full, waiting to the morning session to start, and we can see on stage now a screen introducing the morning schedule of the session. I said menu, you know, but I should have said schedule of the session. So as I told you, welcoming words, cannot on a tick of care, intermission, but the intermission will be with us because you'll have the chance to have 10 more exclusive radio talk with Fabienne Grouchard talking on the tick of care. And after the round table, the title of the round table is care in art world. And there are a few closing words that are closing words we will listen to and after we'll meet again with Ken Ullery working in Tantz Punt, an incubator for amateur and emerging artists in Bonn, in Belgium. Let's listen to the crowd. Younger, I told you, 40 years old, but more I would say 30 years old. From Comerot, Kisses, saying hello, the theater is full. That's great. Good morning. If you join us, we are in Paris. You are listening to the web live stream of fresh, fresh, 20th anniversary of Cirque d'Ostrada network. People around starting soon, the morning session, we are at Lavalette. Lavalette, it's a huge place in Paris. You may know, you have to discover it if you don't know it, because it's fantastic also from the architectural point of view. You can see buildings from the 19th century, where used to be the industrial food part of Paris, where used to be butchers. And you can visit the latest building that was made by Jean Nouvel, French architect Jean Nouvel, who just made a few years ago, the Philharmonie, which is huge and glittering, like metal into the sky, which would be the sea, because it looks a little bit like the Sardinia. You have also a small red spot, buildings called Folie, you have gardens for children, you have open-air cinema, you have a geode, which is all round for the scientific place. You have a circus place, and if you cross the street, you can find other circus places that used to be the Fratellini Circus, where some people will go this afternoon. It's almost time for the debate to start here in Paris. The name of the theater where we are, it's underneath, so the industrial building, and it's called La Salle Boris Vien, who used to be a French artist and singer and writer with typically French humor, we can say. So here in La Villette, we are celebrating the 20th year of Cirque Stradale Network, fresh 2023, it's Cirque Stradale, more than 150 members, more than 40 countries, and I guess I have to open the microphone to the stage. It's time to start at La Villette, welcoming world followers on stream. You are listening to the web stream, Radio of Fresh. Fresh is the event to celebrate the development of contemporary circus and outdoor network Cirque Stradale. I tried to speak, I can see the light going down, so it will be the time for the welcoming words, the light first went down, and maybe now we open the microphone. Hello and welcome to La Villette for this first morning of Fresh. This year, we will celebrate the 20th of the Cirque Stradale Network with a special edition of Fresh because for the first time, we will address at the same time the themes related to the art of the circus and the art of the street. La Villette is part of Cirque Stradale since the very beginning, with the network being born in a formal way as a group of professionals who were found on festivals to talk about shows and to imagine common projects. In time, the network has evolved a lot, we are now more than 150 members with more than 40 countries and with very rich activities that are proposed throughout the year. Despite that, the pleasure of finding yourself, of exchanging, of imagining projects together remains the same. In time, the artistic and institutional landscape has also changed a lot. In many countries, the arts in the public space and the circus are now recognized in a much more important way than it was the case before. And that is also very much thanks to the work we have done with Cirque Stradale. That said, there is still a lot of work to be done and the action of Cirque Stradale remains very important and necessary also for the coming years. At La Villette, we have already had the pleasure of welcoming the three first editions of Fresh Circus a few years ago and we are really happy to be able to welcome you here today. So I really want to thank all the partners of this project and especially all the participants of the Fresh Cirque Stradale group who worked on the seminar program, as well as the teams of Cirque Stradale, Darsena and La Villette who worked on the preparation of this day. So I would also like to thank you very much for being here. We are going to address during these three days the themes that are crucial for our society and also for the artistic and cultural work. I hope that it will be a very enriching three days for all of us and I wish you a very, very beautiful day, a first day. Thank you. Hello everyone, thank you very much Raphael for welcoming us to La Villette. Welcome us in La Villette, part of this fresh session and I also want to thank our 12 partners. We work together really well. It is a very emotional moment because this is a very special fresh because you are here because some of you came from very far. And we have 150 numbers in 45 countries in 20 years. This is rather impressive. I'm really happy because we're going to celebrate these 20 years with an event that will not be a proper commemoration, though we need to honour all the people who worked to make this network bigger, but we imagine this seminar really as a work of the looked with the future to keep on working for the whole country in the world. And this is why during those three days we are going to think about three essential questions. We are going to exchange, we are going to debate, but we also are going to laugh because this is also what our network is about. This is a strength of our network to give the possibility to people to find ideas, to resources, to actually reinforce what we know. And it is also a possibility to find example to enrich and to actually pursue our initiatives and we find solutions together. We find inspiration in others. So our approach is both pragmatic and very lively and friendly. Our network is a network where everyone gives as much as it receives. It is the principle of solidarity and diversity was one of the very value. And this is the real engine of our network and that explains why we have been able to continue to work all those 20 years. As director of Arsenault, we are the National Centre of Street Arts and Circus in France. So we are the pilot of this project. This means a whole team that actually supports the international department of our organisation. But seminars like this is also for us a possibility to learn and we have possibilities to learn while watching what is being done elsewhere and doing that we learned a lot about our own practices and what we do and how we do it. So I think this collective dynamics and this partnership dynamics that are in the heart of our network is how we built a European community. Thanks to all of you and thanks to the European Union to actually support this wonderful adventure. Thanks to the French Ministry of Culture to keep on supporting us. So I'm really happy to be with you today for the opening of the 10th edition of Fresh and to celebrate together the 20 years of the Circus Trader network. I'm Stéphane Serretou Aguilar. I'm in charge of international relations and coordinator of the network Circus Trader. One for one, I'll speak in French but I swear that I am going to be rather concise and I swear that I'm going to speak English in the next occasion. I have two lists to share with you, a list of wishes and a list of things. I really wish you an unforgettable experience, strong emotions and expected encounters. I hope you take the time to share your ideas, projects and desires and dreams. I hope you discover and rediscover approaches, practices, places and ways of doing and thinking that are different from your own. I hope you make new or old colleagues and friends and that you forge and renew links, connections and collaborations. I hope you'll be transformed, renewed and regenerated by the exchanges and conversations we'll have particularly during the morning sessions. Today, we'll be talking about cares, tomorrow, safe spaces and Fridays about sustainability. We will also, we need to continue to act together to build a better future for all those of you working in our sectors. There are 400 views coming from 40 different countries, not counting all those listening to us through the Internet. And I really believe that if we want to bring about systemic changes in face the current multidimensional crisis, even on our very small, we can do it. And above all, we must try. Finally, I hope you have a great time in all simplicity and to come back refreshed. But I really realize that this works better in English. So now, here I go with my list of things. First, we are a center team and especially my colleagues, Laura, Kinga and Anna, without whom this event could not take place. A great thanks to the fresh committee compared to 24 members of the network, two other members of Zerco Strada and two of our steering committee. And also, I want to thank the key partners, La Villette, Le Petit Syrup du Monde. I'm not going to repeat, so listen carefully. It is the first fresh one. We have so many partners and that opens to both our sectors, contemporary sectors and our street performers. I also want to thank all of the administration, communication and technical staff, as well as our translators. And our three accomplices, Making Wave on the Web Radio, Havi Round, that helps us to spray the Web Radio on the internet and fall off, or committed delicatessen that will delight us during those three days. And also our two funders, the Minister of Culture, more specifically the delegation to creation and the European Commission with Creative Europe. Last but not least, thanks to you in this room to have come to Paris and thanks to the people who are online to listen to us. I promised a short discourse and I think I have made it. So I give the floor now to Gilles Peilayo, who is the head of culture to the EACA, European Education Cultural Executive Agency. There has always been a lot of thanks, but I really want to thank the Villette people to welcome us here. Also, Gwana Ladovid and the whole team of our center to carry on with this project, Steve Van Aguilar and all his team, and Tiako Stradat that enable us to be here. And most of all, I really want to say a strong hello to all the participants, all the players of our sectors, without whom us backstage will just not do what we are doing as a job. And I'm speaking, I speak of artists, producers, managers, coordinators, technicians, staff, communication, people, funders, when modestly all funders as well, venues, creation places, venues, festivals, the whole ecosystem of performing arts. So a really happy both day to you. 20 years is a very symbolical age. And seen from the European Union, the birthday date of the first report that had been asked on the circus sector. So I would say that it is a generation that should really that this new sector was taken into question by the American. The contemporary sector is one of the sector of the performing art that is very important for the creative Europe program and for the diversity of art form. This is evidence by funding and strategic partnership with the sectors, but also by the desire to understand its evolution and needs. And I refer saying that to a very recent study about the situation of the circus in the EU member states. It was published in 2020 just before COVID. The rapid development of the sector for the last 50 years has been really significant in France. The country that is hosting us today, as elsewhere in Europe, thanks for us to informal networks, as Gwendolyn said it, and then formal that are meeting here today to more of the 20th anniversary of Cirque Estrada. Cirque Estrada is one of the network that accelerated the evolution and professionalization as well as the recognition of circus and its encounters with audiences. Internationally by nature, circus and street arts are intrinsically multidisciplinary arts. And they have undergone these last decades a rapid artistic evolution in their contents, but also a technological development and innovation with new teaching methods, new apparatus, new material, new scenic device, new safety tools as well. Thank God to that. And this is really what we want to support with the Creative Europe Program. Development, innovation, the structuration through the actions that we manage in the European Union through first our classical cooperation programs, then the support we give at the European Commission to networks, platforms that help new creators and some pilot actions. To talk numbers, between the old program, 2014, 2020 and the start of the new program, 21 to 27, we supported around 80 street arts and circus projects for about 33.5 million, and we will add to the 6 million that represents a substantial help and we'll say about 40 million euros altogether. Many of the people have been supported are in the room and I'd like to say it again, artists, coordinators, partners and team who conceived, wrote and carried this project and who managed to answer the very selective call to tenders and that bring life to them on a daily bus. Many thanks to you because Creative Europe or Europe of creation would be nothing without you. We also support the development of artistic practices and their production and I'd like to name our project Reform Europe. That is an example and Circus Strada is one of the members of the consortium partners. For us it's vital to have the voices and practices of contemporary circus and street arts represented in this project which aims to support 35 growing, sustainable, equitable, inclusive creations so as to bring a real long-term evolution not only in this sector but also in all performing arts. I saw one of the participants coming in this morning with a plant in a backpack so I see this as a spirit that we really have with us in the room today. This is not an easy practice. We are very much aware that post-COVID in a way may have brought the performing art texture to turn itself on itself and these withdrawal reflexes have crept into programming but we know that there is a real awareness to this problem. This will enable us to collaborate better and more sensitively despite successive crisis we had to face and this will also take us to wild beyond our frontiers, we're thinking our practices and mode of transmission, research collaboration, production and dissemination and presentation. Convincing the need for a Europe of creation, I think there is a real necessity of European art and European democracy and I strongly invite you and encourage you to continue working at a European and international scale while keeping on working with national, original and legal level so that the development of support for the sector continues and is nurtured through the coordination of player and this is where so Australia is important. Please allow me to highlight an aspect and it is that it will be vital to involve the various level of players in working conditions, fair remuneration and the statues of the artists and this is a point of the report I mentioned of 2020. The European Union published within the framework of the open method of coordination and this report was published in July 2023 and it shows how much remained to be done in this area, especially in a sector where there are a lot of freelance workers. It is the priority number one in the new European council priority of work and in our program we will certainly stress it is important. It is one of the major project to all cultural sector, not only the one you represent, it is a project that for reasons of superiority will have to be carried out at all level with the necessary involvement of all those working in the field. It is not the only project that will have to work about the freedom of expression, about cultural right, about inclusions, about gender equality and ecology and also the external relationship of the European Union and really pleased to have in this room people coming from outside Europe. So this is a lot of work for us and for you in the next 20 years. I hope I did not spoke more the seven minutes that are usually are allowed for academic circles. And I am going to give the floor to, I also speak in the name of Daniela Avic, who many of you know and unfortunately couldn't bring with us today. So a really happy 20th anniversary and her fruitful work in Paris and nevertheless a lot of the pleasure with it. Thank you Gilles for those very encouraging words. I am going to launch the festivities once more and invite Fabienne Puget, philosopher from the University of Paris for her keynote. Thank you. Thank you very much. Hello to everyone. You made a request for today and to introduce the notion of care, which I would say is a non-identified object, a bit like the G.O.D. here at the Villette Cinema and this request is something I am very happy to try to provide an answer and I would like to thank our Sena, the Presidents and Managers for having invited me here and specifically Laura Jude, with whom I have been dialoguing to prepare this talk. I am going to try and avoid as much as I can to taking a position from above over this subject and any kind of hierarchical presumptions because in the field of culture, in this field in particular it is an open sector which doesn't hesitate to move the order of things. Putting theatre, circus and outdoor arts together is already abolishing something or distancing what du buffet is called spectacularly asphyxiating culture that he said would face what creation could bring in terms of originality and dissentual. So the question is how can we come out of this suffocation that there is always a risk in culture through the use of care? What artistic content could make it prosper facing the collapse of collective certainties even when we see the commodification of cultural products which are called globalization in the name of globalization such as the Barbie film which has just come out and which intersects industry, finance and culture on unprecedented scale. Is there an urgent need, there is an urgent need to take care of artistic practices to take care of artists, of audiences and cultural institutions at a time when many studies evoke what we could call the expulsion and the brutality, the complexity of market driven societies that normalize these existences which sort them to the point of suspending lives, condemning them to survival and in that sense care is an approach, an ethic, a policy that takes care of the most vulnerable lives, the most vulnerable people who are in vital need of support and who want to regain dignity and also be recognized acknowledged. How can we look at that from an aesthetic point of view given that in France for example we often have been very ironic with our attitude towards care and saying what should we do? Are we going to turn artists and audiences into care takers or patients and carers? That's not at all the question here even if care can have a certain provocative side but care is not, the idea of care is not to put art into the idea of art as therapy and I really insist on that but it's rather the establishment of a relationship with the world that's not intersociable from an ethical perspective and a political perspective with fair institutions. So the idea of living a good life and with fair institutions. So this practice is a really vital. I think that when we talk about care we need to be realistic. It's difficult to say we can produce care. We can produce goodwill and good practices because today I'd just like to look at the present for a moment here. There's an attempt to identify this non-identified object which is care and today there is a use, a neoliberal use of care which is well defined by many studies. This use infiltrates our lives every day and makes us permeable subjects and associates us with what many people call a crisis of care. I think we're talking about this neoliberal use of care to refer to the works of Michel Foucault, his work on neoliberalism and the naissance de la biopolitique, a book in which he speaks of the of American neoliberalism and it's what it's that liberalism in America has set itself the task of extending economic analysis to areas that are considered non-economic so they can social areas, culture and even imprisonment. So with this application of neoliberalism to care we have to interpret spheres of life in strictly economic terms which up to now were not considered as economic spheres. Michel Foucault said with that perspective human beings are associated with human capital part of which is acquired which means that you have to build the human capital over the life of an individual in particular through investments in education and in that perspective of human capital what Michel Foucault puts forward is this necessity to make this capital come to fruition as on the market to fabricate to manufacture us within a relationship of an idea of life that people are entrepreneurs and an entrepreneur themselves selling this capital. As an expression I found very interesting he explained society will build, favorize and manufacture kinds of skills, machine based skills which will produce revenue and that is how he defines new liberalism, American neoliberalism which is like manufacturing well equipped individuals and care in that context is a way of manufacturing and taking care of those economic units as individuals and in that perspective care becomes a service we talk about home services, personal services and there's even a commercialization of care making it into a thing that can be purchased. The ethics of care comes in as a response to this neoliberalist use of care from the 80s onwards in the states in particular thanks to a first text published by Carol Gilligan in a different voice published in 82 when during the Reagan presidency this text with this movement of ethics of care is the recognition of the universe of care and a relationship that is fair between our practices of care and our measures of care so if we look at Gilligan's text or John Tronto's text about care the idea is to prove and to make sure that there is an activity which is generic and necessary that includes everything we do to maintain, perpetuate and repair our world. Those three verbs are important, maintain, perpetuate and repair our environment so that we can live as well as possible the ethic of care is to support all life in a fair way. Of course we need to add that if the experience of care is universal it concerns interpersonal relationships which are unique and which belong to a world of vulnerabilities and with the necessity to be part of that we take care of people who are more in need than ourselves, more vulnerable than ourselves in a relationship between a giver of care, a caregiver and a receiver of care there is a hierarchy in that sense it's also sometimes the caregiver can be very vulnerable and the whole question of care becomes a question of scale of care more or less fragile against the backdrop of vulnerability. The vulnerability which is those of our bodies first and foremost and I also think of the play which is currently at the Gérard-Philippe Theater and in the way that in office for social work in New York in the 70s you see these people and these bodies asking for help asking for social welfare and all of the way that these people ask how they do it how they demand what they need and it's a very interesting point to bring up this question of bodies in this scope of care these bodies which are more or less vulnerable. If you go from the body to the subject we are not sovereign subjects we are dependent and interdependent subjects we are subjects which at one point in our lives will feel dispossessed it's an experience we will have and that changes our definition of autonomy you don't have to be shouldn't should not have to be autonomous it's something we need to be thought of with in the scope of accidents and dispossession of our capabilities vulnerability life so with this like accent on care it's very unique as all of these care relationships are all unique and now I'd like to carry on with a third point which is the relationship between care care and art and the arts it's a line of interpretation which is coming into being in a certain number of countries including France now for many years it's been the case in the US in the UK and many others how can we take better care and how do we do it well in the context of culture and arts in theater art there are creations more than creators it's like a beehive because everything's collective related located somewhere on the stage or in a public space more or less public space and we find what care demands collective responsibility the stamping down of hierarchies collaborations and of course there is vulnerability we are looking at a small form of society with its possible corporations dialogues its unstable balances but also as its conflicts and its excesses you can be faced with kind of utopias of organization like the village perhaps a utopia of living being is because bodies are very present so these arts represent a culture that denies the hierarchical order imposed through art history between noble arts and popular arts and we know this notion very well in philosophy and it's very hard to get rid of overcome so there's they require appropriation by the subjects that pay attention to the idea it takes includes a space for judgment reflection or criticism in this register the ethics of care which we're starting to identify are important because they highlight in terms of support the importance of alterity otherness the importance of incorporating and considering difference and otherness your presence your artistic presence here our way of performing preserving forms of difference in our liberal societies in the case of a post-forwards capitalism still in perspectives of globalization which is to say is uniformization so I'd like to finish with a reference to Sophie Karl in 2007 this artist published a book called take care of you self her artistic proposition was this she wrote I received a breakup email I didn't know what to answer it was if it wasn't written for me and it finished with the words take care of yourself so she asked a hundred and seven women chosen for their professions and their talents writers actresses researchers family mediators have lawyers to interpret the letter from professional perspective which means to help her to untangle this mysterious letter which put an end to her a love relationship so take care of yourself and so what is she doing what was Sophie Karl doing she is creating a performance of course but within the context of an association between art and ethics because through what she's asking these hundred and seven women it is a request for attention request for attention in a vulnerability in a situation of vulnerability where she is vulnerable and it's completely in this way it's clearly artistic and why because art and the answers and what Sophie Karl built with that insinuates something it insinuates art always insinuates keep that in there's the relationship to ethics is never transparent it's it's a question of games and ethics are always aestheticized fortunately we there's always a sensitive capacity of art which is open to all dialogue as Proust as Proust wrote beautiful books always written in the kind of foreign language and wonderful circus author so be careful with notion of care I have two comments to make as a conclusion firstly this is the register of arts all arts and so care must always be first and foremost to take care of their imagination according to Delos and Rotterie May 68 never came as except through the imagination we could say that care as as an attention given to imagination could finally give that power to the imagination but only if that is in with the framework of institutions that know how to invent themselves reinvent themselves in the context of auto institutions in some ways Sophie Karl in the 707 women who responded to her is a beginning of an institution on for imagination and care and the first and foremost is to take care of what is invented the second thing is of course that care is about inventions things that are created but they are also the product of the sum of relationships and relationships in which a capacity to care is unfurled this empathy sensitivity to care and above all the empathy with creation our societies must have empathy for creation there should be which means that they really should work against brutalities complexities expulsion they should take care of otherness of this otherness that carries and leads to inventions which are not individual creations but collective creations that can lead to new institutions and we need new institution you are one after all in this field for care as soon as we're looking at artistic practices what I want to say to conclude is that we must not forget that our time our need for care is impossible to satisfy it's an echo to a book by seek document that was written in the great disasters of the 20th century our need for consolation is impossible to satisfy thank you thank you Fabien for this very inspiring talk so three two one I'm going to English now I'm going to give you some time to adjust your headphone if you need to or not so while the stage can be rearranged for the next roundtable I'm going to talk a little bit about this little book that we gave you and so it is our anniversary as you know so we asked all the members of the network if they wanted to submit a story of being a member and together with our editor John Allingsworth we selected 20 story from the members of the network some stories are from recent member of the network some are from very old members of the network and some are intimate some are political you will see some are funny some are very serious but I suggest you can read them the stories are both in French and in English as this morning and you will see that we have some drawings also in the book so we asked an illustrator to do some drawings on some of the words drawings back drawings can I have my drawings so once so we selected 20 words also in the Tezoros made by Artzena so the Tezoros is a completion of words that are used for contemporary circus and outdoor arts professionals and we decided to illustrate them and to translate them also so to give you a little bit of a pace while reading I'm being sabotaged I guess so this is the part where they're changing the setting for the round table I'm assuming I'm gonna keep talking so there is this book and at the end of the book you also have some key facts and figures from Circus Strada over the 20 years okay so it took us a lot of time to do this book a lot of energy and so I suggest you really to read it and tell us what you think about it because we want to hear your feedback about this okay please tell us and it's a pretty nice and also my shirt is you know the colors we made an effort I didn't do this on purpose apparently somebody told me anyway there is something else also that was given to you it's this okay as you realize we didn't print any program but you have the program here that you can scan in French and in English of course but this is a really bit of a recap of the three days so keep it with you at all times we will send you reminders of course but there are several QR codes at the back one very important QR code is the WhatsApp group okay so I think more than half of you are already in the WhatsApp group but the idea of the WhatsApp group which you can scan the QR code and be inside is that you receive up-to-date information of everything okay everything is in the program everything is in the WhatsApp group you can still ask us question of course and for the exact location of all the venues you also have a map okay and you don't need to worry because at the end of each morning we're going to give you a recap of what's happening after okay so we will keep reminding you of all the details of the program you also have our contacts and I think that as soon as the screen is down I'm going to have a slide on something around communication let's enjoy the noise of it voila so the drawings rue street next voila so be informed and spread the love the practical info I told you the Google map I told you as well the WhatsApp community if you're not on it please be on it you can tag us on Facebook and Instagram at Chico Soda Network you can tag us on X and LinkedIn at Chico Soda these are the hashtags you can use I think you have it all you can take a picture of it if you want and now that I did my beat I think I'm going to invite all the beautiful people for the next round table on the ethics of care artwork and I'm going to welcome them on stage and they're going to introduce themselves big round of applause please