ISPA NEW YORK CONGRESS 2020
projects being pitched. Delegates can book a
booth for free when they register. It’s an
opportunity for them to talk in more detail
about what they’re doing. We always have a really
interesting mix of delegates, including artist
managers, consultants and arts organisations.
Are new theatre technologies
usually presented at ProEx?
Certainly a number of arts organisations are
exploring technologies and want to talk about
what they’re doing and then also there
may be consultants talking about
a new theatre technology or
a new acoustic technology
that they are implementing
in some way.
How are you making
the event accessible?
Programme helps facilitate
the participation of people
from regions that don’t have
the same resources, and those
starting out in their careers. When
will cover Hong
and South Korea
we started the programme, about 12
years ago, we had about four people. This year we
will be welcoming about 66 to New York – more
than 10% of the delegation, and the membership
for that matter. These people create a really
engaging and diverse environment. We provide
their congress registration, ISPA membership
and a travel subsidy.
The fellows have a day together before the
congress, where they can frame the conversation.
We also pair them with existing ISPA members
to facilitate them getting to know more people
in the ISPA community.
What is your hope for the congress?
My overriding hope is always that someone
takes away a new idea that they can use in their
organisation or community. When I go to a
conference, if I walk away with one new idea,
I’m thrilled. ISPA’s very much about building
networks, so I also hope that people walk away
with a new contact, and the event broadens their
world in some way, physically and intellectually.
the culture sector. There’s a lot going on at the
moment – everything from the USA’s trade wars
to what’s going on in Hong Kong and with Brexit.
We will certainly explore the mobility of
artists. It’s increasingly difficult for artists to work
in other regions around the world. There have
even been potential presenters who have said it’s
too difficult for them to attend – but from our
perspective, this is the time when the greatest
effort needs to be made, to ensure international
voices are heard in our communities.
What themes will you
be tackling day by day?
On the first day we’re
talking about how arts
organisations and artists
have an opportunity to
encourage dialogue and
debate in their
decides what stories are
told and what is the role
of the institution or the
artists? Should they reflect the
views of their communities or
challenge them? In an increasingly
diverse world, how do you reflect different
perspectives in the community?
On the second day we’re talking about barriers
and the impact they have on communities from
a cultural perspective and in terms of how they
frame personal interactions.
We’ll look at technology and new concepts
as part of the final day, for example, with the
Design Thinking session. We’ll look at the impact
of digital technologies, including AI, particularly
in terms of creation. Can technologies make
the arts more sustainable? For example, is it
necessary to create sets and costumes for every
production, or can we create them digitally?
What can delegates expect from ProEx?
ProEx stands for professional exchange, and it’s
a tabletop exhibition for around 70 exhibitors
that is held for about two hours over a lunch
period. The 10 artists that pitched in Pitch New
Works, which is held right before, are also part
of it – so they can answer questions about the
AUDITORIA 2020 VOLUME ONE 49