Glorija Lizde, from “F20.5” series, 2018
The very title of the performance festival in Omiš, Almissa, is derived from the name of the ancient city. Toponyms, people’s names and festival titles often suggest what the event is about, so we could assume that Almissa festival is establishing a sort of connection with the city’s history. When I was first invited to curate this edition of Almissa, at the first moment I thought how important it was — aside from the omnipresent and museumized past of the Mediterranean cities, including Omiš – to think about the future, and to use the festival to speculate about the idea how the world and people would look in near and distant future.
By giving contemporary artists the opportunity to mark, map the city and include new models of reflection through their temporary, ephemeral interventions looking from one side backwards (establishing new links with the past, age, and such) and, on the other hand, into the future, considering models that are currently mapping our reality, which take the role of defining the human future. What kind of schools, what technologies of the self, what attitude towards artificial intelligence, algorithms etc. are developed today? How much are the past and the future intertwined, and how exactly do contemporary artists relate to knowledge that has been rooted in generations, how do they relate to innovative technological achievements, and what are the ways to connect these two different principles?
The festival program offers various forms of exhibiting, from performance, intervention, projections, presentation to discourse, readings, lecture-performances and exhibitions.
Sandra Sterle, curator