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Mama Helvetica

Adina Secretan (CH)

associate artist – creation
august
2017
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open daily 10:30 am – 6:30 pm | free access
12:30 pm open meal, pay what you want
5:00 pm – 6:00 pm carte blanche to the hosts/guests*

In the Canton of Vaud, several daytime centres for asylum seekers bear the somewhat mysterious name of Mama Africa. The centres are warm, filled with sofas, a few games sometimes, lots of downtime and quite a bit of invisibility. During the whole festival, a few steps away from Nyon’s Mama Africa, a temporary place will be set up where no ID or entrance ticket is required. Its name: Mama Helvetica. Every person who crosses the threshold becomes both host and guest, for a minute or for the whole day. It is unclear exactly who welcomes whom. Every day, at lunchtime, a meal is prepared, open to all. In the late afternoon, hosts-guests have carte blanche to share practices and give presentations and workshops relating to their approach. At all times, Mama Helvetica is defined as a place to talk, create, test, share and at times, kill time together. A place that changes daily to highlight a simple question: How to be a good host and how to be a good guest?

Schedule day by day : 09 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 August
Full programme :  pdf

*The hosts/guests are : Caractères Mobiles, Mil M2, Jessica Huber et James Leadbitter, Anna Rispoli, Ant Hampton, Britt Hatzius, Mazyar Zarandar… and many more.

concept, permanent team: La Section Lopez & friends / production: La Section Lopez, far° Nyon / support: État de Vaud


Associate artist

Adina Secretan is Associate Artist of far° 2017-2018, a programme that aims to assist her in her creative work and provide her with new research tools as well as greater exposure. The far° team supports the Associate Artist, providing theoretical guidance in the form of mentoring and organising meetings with researchers, scientists and experts from various fields.

Choreographer, stage director, dancer and playwright, Adina Secretan is already well-versed in the performing arts. Nevertheless, she evokes a turning point in her career, which seems the ideal time to join the far° programme. Enjoying national and international recognition which enables her to tour with her shows, she now has to adopt a rate of production more suited to the ‘culture’ of performing arts. Aware of the advantages and traps of such a culture, she considers this mentoring as an antidote, a means of providing her with ‘the possibility of moving away from an economy of production to enter an ecology of creation’, as she likes to put it. It is indeed an open form that the artist reinvents time and time again, a field of collaborative research.

With Mama Helvetica, she aims to ensure that this first year of mentoring will follow along the lines of the performative installation Black Buvette, presented at the festival last year. Involving asylum seekers, the installation made light of the prohibition of the right to work as well as illegal work. Both creations point to the artist’s research which focuses on places as creative gestures and related underlying questions: Who has a right to what space(s)? What is an appropriable space, and who says so? What is ‘participation’ in an urban context?