White Money (2021)

ADEREMI ADEGBITE invented and inaugurated the first Nigerian Cultural Institute of Yoruba Culture 'Tutuola Institute'. ANUJA GHOSALKAR reflected on the complicated ethics and harsh economic realities of working as an artist in India in her solo 'I promise the Bearer'. REHEMA CHACHAGE shreded a heap of rejected funding applications and transformed them manually into something radically new. ABHISHEK THAPAR took the audience on an intimate and speculative journey through their bank accounts, hearts and minds. AZADE SHAHMIRI’S lecture performance showed representations of the West in Iranian plays and posed questions from the past to the present. NORA AMINs solo 'My dance' shedded light on the history of so-called "belly dance"  wrestling the dance form from the exoticized and voyeuristic gaze and transforming it into the empowered expression of the dancer.

No More! White Money (2024)

Flinn Works invited three artists from its previous edition: ANUJA GHOSALKAR (India), ABHISHEK THAPAR (India/Netherlands), ADEREMI ADEGBITE (Nigeria) to share perspectives with three new artists: ADA MUKHINA (Russia/Germany), and SOPHIA STEPF & KONRADIN KUNZE from the host company Flinn Works (Germany). They were decidedly only a producer in part one, this time around participating as artists as well. The six artists decided on a collective performance  and focused on the (im)possibility to co-create from unequal grounds – unable to meet at eye level amidst differences in privileges, perspectives, hierarchies and power positions. They were  interested in what can emerge from collision and co-operation if they fully acknowledged their intersectional positionings: How can we approach working together? How can we make visible the obscured structures we are entangled in through our process? Considering varied artistic practices, how can this co-creation forge a newer understanding and creation of aesthetics?

The White Money series is funded by white money. This is a paradox, a blessing and a necessity. Paradox because white money is required to critique the mechanisms associated with it. A necessity because perhaps, only white money is available to finance a project of this nature.