Artistic Work

All Tomorrow’s Songs is an interdisciplinary group exhibition featuring individual projects developed by 16 young artists who participated in the international workshop “Making It.” This final exhibition and public moment represent a collective, cross-disciplinary effort, where artists of different backgrounds collaborated side-by-side to create unified, thematic works that blend different art forms into a cohesive, relevant, and multifaceted experience.

The showcased projects demonstrate the artists’ remarkable growth, both individually and as a group, as they developed their works throughout the workshop. The process cultivated their capacity to listen, observe, and conceptually intertwine and connect with each other and their surroundings. The public presentation maintains the multimedia nature of the process and unfolds through alternating performative events that spread out across the different levels of the space.

Each project offers a distinct response to the current socio-political climate, serving as a call for unity rather than isolation. Questions of positioning, self-expression, and voice emerge, along with the responsibility to be a vehicle for others. These young voices provide poignant, poetic insights into the concept of “nowness,” recognizing it as their sole reality. Despite facing significant challenges and limitations, younger generations strive to offer “songs” of hope and constructive solutions, transcending mere criticism to envision a better future.

Artists on display:
Aliaksandra Tratsiakova (Belarus), Amor Smilovic Fazlic (Italy), Angelica Osawemwenze (Italy), Anna Eugenia Furlan (Italy), Ayla Heier (Netherlands), Aws Al Zubaidi (Palestine), Fabrizio Rigutti (Italy), Irene Ambrogi (Italy), Ludovico Colombo (Italy), Nejc Zorenč (Slovenia), Neža Hajšek & Blažka Šifrar (Slovenia), Olga Karaseva (Russia), Qafar Rzayev (Azerbaijan), Rac Montoro (Italy), Sofya Vavra (Russia)

Curators: Laura Rositani, JAŠA
Project leader: WE.ARE institute
Partners: Kühlhaus Berlin, Accademia di Belle Arti di Venezia, Kud Ljud
Main mentor: JAŠA
Co-mentors: Laura Rositani, Grega Močivnik, Nina Vombergar
Guest lecturers & mentors: Harshini J. Karunaratne, Mattias Gingliano, Vuk Ćošić, Tjaša Pureber, Motovila, Noah Charney, Arthur Duff, Michele Drascek, Zlatko Širol
Production & promotion: Glasilka (Vladimir Mihajlović, Andraž Boštjančič)
Design & support: Rosa Lux
The project is funded by the European Union.

Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the National Agency. Neither the European Union nor the National Agency can be held responsible for them.

The project is supported by SKICA Berlin.

The possibility of an encounter, sharing time. When does the moment we stop counting what we give occur? With others – humans or more than humans – the body, the motion of the eyes caressing territories and landscapes. The performance is about work and pleasure, gifts and sacrifice, and bears the traces of this journey. What is it to be touched, moved, cared for reciprocally? When do I give attention to a body?

The performance was a part of Infinite Present Festival, Ljubljana.

Artistic eye: Mara Vujić
Executive production: Nastja Miheljak
Photography: Nada Žgank
Technical Director: Grega Mohorčič
Technical support: Brina Ivanetič, Žan Rantaša, Samo Dernovšek
Public Relations: Tina Malenšek, Paulina Pia Rogač

Special thanks to Luka Piletič, Maša Šebek, Ajka Poljansek Zorn, Manca Kok, Vincent Boon, Živa Gostinčar, Klemen Janežič, Elis Seyto for their participation and kind feedback during the workshop.

Production: Gledališče Glej
The performance is part of the Time for live art project

This project has been funded with support from the European Commission, Creative Europe Culture programme.

This communication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

A crossroads, like a house, can be a place or an act of passage between the visible and the non-visible, or a crossroads, like the skin on the body, can be a landmark between the inner and the outer world, between the hidden interior and the outer façade. And since the Creative Bodies in Movement project is conceived as a set of different and distinct individuals and mentors, each participating with their own specific artistic expression, we can say that the performance Creative Bodies, Movements, Live – Vulnerable Performance is a project that lays itself bare as a landscape of different intersections, where instead of a sewing thread there is a piece of tape, and where, with the help of rhythmic settings, dictation and the measurement of time, the individual immerses themself in a timeless landscape. The safe environment, where the orientation is primarily horizontal, is not only for the key individuals involved in the project, but for any visitor who finds themself in a vulnerable situation.

Within the Creative Bodies in Movement project, the Pekinpah organised a series of creative workshops, which were designed as creative processes within the domain of the performing arts, under the guidance of different mentors (set designer, costume designer, musician, dance artist). The final stage of the educational project, which has been running for more than a year, is a new stage production entitled Creative Bodies, Movements, Live – Vulnerable Performance. The latter is entirely conceived and performed by the participants of the workshops – migrants, whom the project was aimed at, to empower them to work independently in different fields of performing arts.
The flow of thoughts and actions that allow the articulation of a particular idea, both in the workshops and in the final stage production, was based on different processes, carried out with reference to the individual mentors’ own experiences or artistic practices. The final performance is seen by both the project organisers and the performers as a kind of crossroads of the proposed artistic and creative directions.

Production: Pekinpah
Dance: Alla Abramova, Tina Benko, Larissa Braatz, Ayla Heier, Alina Kovalova, Marja Kovanda, Ema Križič, Dijana Pavljašević, Anna Pogačnik, Jelena Racić, Neja Rakušček, Yelyzaveta Elis Sorokina, Ana Vrhovnik, Juan Zuleta
Set design: Dea Beatovikj, Suzana Čolić, Qëndresë Deda, Mahtab Singh, Anila Spahiu, Edin Suljić
Costumes: Sabina Huskić, Tringa Latifi Buçinca, Anila Spahiu, Erika Urueña,
Music: Can Olguner, Marta Plasencia, Oleksandr Plotnikov
Mentor for music: Elvis Homan
Mentor for dance: Matej Kejžar
Mentor for costume design: Barbara Stupica
Mentor for scenography: Atej Tutta
Production: Pekinpah
Producer: Žiga Predan
Coordinator: Zana Oručević Mehulj
Assisstant coordinator: Jasmina Klančar
Partner: Public Institute Cene Štupar CILJ

The investment is co-financed by the Republic of Slovenia and the European Union under the European Social Fund.