Stephen Hannock – Intimate Landscapes of the Soul on Show at Wirth Galerie (October 1 – November 1)

With his new exhibition ‘Ophelia Rising’, the contemporary American painter digs into the magnetic and magmatic depths of his personal history to gift the viewer with pieces of art that are as sincere as vividly evocative.

By Tommaso Cartia

Stephen Hannock – Hogsmill River Oxbow, Flooded: For Bridget (MASS MoCA #281) 2018 Polished Mixed Media on Canvas 36″ x 60″ x 1.25″/ 91.4cm x 152.4cm x 3.2cm

My second time around at Wirth Galerie – the eclectic art salon space in NYC, sharply thought and designed by curator Sabrina Wirth – left me shaken and still shaking by the emotional intensity with which Stephen Hannock’s new works spoke to me, with the dazzling speed of a sudden thunderbolt.

Intimacy. I almost felt like I needed to come up with a new word for intimacy, maybe with a new world. As I stepped into the room and made eye contact with one of Stephen Hannock’s paintings, I knew immediately that I was stepping into a new world, a space lit up by a full spectrum of human emotions. I knew immediately that Mr. Hannock was telling me a story, and probably his own story, but more than that, he was telling us about our history, at the threshold of life and the mystery of the unknown. And I had no preconceptions about Hannock’s aesthetic, or the artistic reasons behind ‘Ophelia Rising’.

Stephen Hannock – Blue Water with Ophelia Rising (MASS MoCA #328) 2021 Polished Mixed Media on Canvas 23″ x 18.5″/ 58.4cm x 47cm

What I felt is that his Ophelia, notoriously depicted on the verge of drowning incapable of her own distress but still regally gracious in her own stillness, is somehow singing an ode to the beauty of a life lived to the fullest while she feels the swirling traction of the waters. A moment of suspension on the life’s stage, where gratitude and abandonment, ecstasy and grieving, have the same weight and dissolve one into the other whispering to us the secrets of death and rebirth.

Stephen Hannock’s pieces struck me as iconographies, fragments of moments where the timeline between present, past, and future is truly not alignable, but comes and goes in waves bringing sudden pieces of truths to the surface about to be submerged by the uproar of our subconsciousness.

It is later on during the presentation of the exhibition that I come to know that the ‘Ophelia Rising’ paintings are indeed intended as an ode to life, inspired by the life of Hannock’s late wife Bridget; by their family, by the emotional and physical places that Hannock’s traverses down the memory lane of emotions.

Stephen Hannock – Emerald Willow Waiting for Ophelia (MASS MoCA #282) 2018 9″ x 13.5″ / 22.9cm x 34.3cm

As stated by curator Sabrina Wirth: “the series centers around his wife Bridget, and the emotions the loss has inspired and evoked in Hannock’s artistic practice, the paintings in this exhibition are very much a celebration of life. When speaking about this body of work, Hannock enthusiastically describes it as depicting “a universal story”. The stories all come together in the final painting in the exhibition, “Hogsmill River Oxbow, Flooded: For Bridget”, a magnificent portrayal of the landscape where the Oxbow River bends, that includes written narrative woven in between the greenery, collages of both Chuck Close and Gregory Crewdson’s photographs, and then, on the far right, an image of his daughter Georgia seated on her mother’s memorial bench (appearing for the first time in his paintings) peering out dreamily into the horizon, onto the future, and into the next chapter.”

Sabrina Wirth & Stephen Hannock at the opening night of ‘Ophelia Rising’
Stephen Hannock – Lady of Shalott (MASS MoCA #278) 2018 Polished Mixed Media on Canvas 14.25″ x 11.25″ / 36.2cm x 28.6cm

The night of the opening was also graced by the presence of Jason Rosenfeld, Hannock’s long-lasting friend and estimator, Editor-at-Large of the Brooklyn Rail and co-curator of the exhibitions John Everett Millais (Tate Britain, Van Gogh Museum),  River Crossings (Olana and Cedar Grove, Hudson and Catskill, New York) and Pre-Raphaelites: Victorian Avant-Garde (Tate Britain and the National Gallery of Art, Washington, D.C.), among others. It was precisely the Pre-Raphaelites exhibition curated by Jason Rosenfeld a big inspiration behind ‘Ophelia Rising’: “Hannock was struck by the story of Shakespeare’s Ophelia – a popular theme among the Pre-Raphaelite artists,” states Sabrina Wirth, “the story of a young woman tragically arrested in her youth resonated with him, and even more so because the imagined location where John Everett Millais painted Ophelia was the Hogsmill River, reminiscent of the Oxbow River that is the subject in many of Hannock’s paintings. When he began composing his own Ophelia, Hannock felt as though he was “literally picking up where [Millais] left off.

The pre-Raphaelites believed in setting a scene for their subjects, resulting in paintings with a theatrical stage-like composition. Hannock’s Ophelia series plays off (or “riffs off” as Stephen likes to say) this theatrical sequence, starting with “Emerald Willow, Waiting for Ophelia” a painting representing the environment where she would eventually lay. Other iterations of Ophelia present her in the morning fog, in the middle of the Oxbow at early dawn, and finally with her rising- her final chapter is one of resurrection and celebration: Hannock gives her the opportunity to move on. In a previous interview, Hannock said: “The Oxbow has become sort of a metaphor of a stage for me. That’s just another link to the episodes of my stories. I recreated the Hogsmill river, I turned it into a little Oxbow, and there are a whole series of permutations with every show that I do.”

On show at Wirth Galerie till November 1ist, ‘Ophelia Rising’ feels like an invitation and an occasion, for us to rise above our life’s miseries, our sense of loss and dissolution, to celebrate the richness of the gift of life treasured in memories that suddenly re-emerge from the abysses of the past to light up a future for us.

To find out more about the exhibition & Wirth Galerie:

Website: www.wirthgalerie.com

Instagram: @wirthgalerie


“There Is No Blue Without Yellow.”

By Caitlin Du

Within the creatives’ mind. Visual Artist & Graphic Designer Caitlin Du animates the color symbolism and business philosophy of Creative Point-On in this suggestive comic inspired by the genius of Vincent Van Gogh and the meaning of the solar plexus and throat chakras. Featuring our founders, Business Strategist & Artistic Director Daniela Pavan and our Editor in Chief & Media Expert Tommaso Cartia. Ready, Set, Imagine!

Caitlin Du
Comic by Caitlin Du featuring our co-founders Daniela Pavan & Tommaso Cartia.

About Caitlin Du

Caitlin Du
Caitlin Du

Caitlin Du is a visual artist specializing in illustrations and comics. Caitlin was born and raised in Beijing, China. In 2018, her work was exhibited in the Metamorphosis Charity Exhibition in the UCCA Center for Contemporary Art in the 798 art district. Caitlin arrived in New York City in 2019 to study illustration at Parsons School of Design. During her time in the US, her art has been featured on the 12th Street Journal and the Collaborative Clarinet in Concert Exhibition between Mannes School of Music, New York Youth Symphony and Parsons School of Design.

Artist Statement

“I work across mediums and specialize in illustration and comics. My work consists of many symbologies, inspired by the hazy style of the Chinese misty poetries. The subject of my art is usually myself, ranging from my stories, my emotions, to my identity and my culture.”

Follow her: www.caitlindu.com

Special Pride 2021: How Queerness and Creativity Will Save Us.

by Pramila Baisya

On the occasion of Pride Month 2021, we revisit the Special Pride Episode of #CreativityWillSaveUs, our series where prominent figures from the world of art, entertainment & business unite to reflect on the central value that creativity brings to humanity during the challenging times of the COVID-19 pandemic emergency. 

Pride 2021
#CreativityWillSaveUs Special Pride Episode. Watch it on Youtube HERE.

What does pride mean to you? The first image that is most likely to pop in your head is a rainbow flag. The pride parade is filled with individuals who both identify as queer or allies proudly waving the flags throughout the month to represent the proud visibility and ongoing resilience of the queer community. However it is integral to access, where does pride truly come from? How do queer individuals overcome self-hatred, imposter syndrome, ostracism, and quite often disapproval from their families? The answer lies in creative outlets. 

But How When Why? 

The first part of this episode of #CreativityWillSaveus is a segment taken from Slap & Tickle, a play written by Award-Winning Author David James Parr, telling a sweetly ill-fated love affair featuring a gay man and a transgender woman. The piece was recorded in quarantine and is part of the Pride Plays Series 2020 co-produced by Actor Michael Urie. Actress Pooya Mohseni plays the character of a transgender woman who chronicled the first stages of coming out as a trans woman. Her monologue covers common questions such as how, when, and why? Instead of fixating too long on these empty questions, her side of the monologue ends with “the dress now fits.” 

“I’m glad I almost fell in love with you.” The heart wants what it wants. 

From Slap&Tickle by David James Parr

Actor Sebastian LeCause plays the part of a gay man who eventually romances Ms. Mohseni’s character. He comically recalls how he tried coming out to his Dad by saying he likes Han Solo and his father, not understanding what he meant. The play continues to play on themes of intimacy, courage, and love, things many queer people fear they will never experience. Their journeys have them star-crossed and by the end, they both share an equal sentiment: “I’m glad I almost fell in love with you.” The heart wants what it wants. To watch the full Pride Plays Series video, click HERE.

#CreativityWillSaveUs takes on a new rendition when it comes to discussing art not only created during a pandemic but also as a means of expression for queer artists. Many allies don’t consciously realize that growing up queer means losing a part of your childhood because you could not grow up fully expressing yourself. Creativity at an adult age however is a reclamation of that childhood, allowing full expression of the stories that need to be told. This and other urgent and timely topics for the LGBTQ+ community today we discussed through two-panel conversations with he protagonists of the #CreativityWillSaveUs Special Pride Episode, hosted by Creative Point-On editor-in-chief Tommaso Cartia, and artistic director and business strategist Daniela Pavan.

Quarantine granted everyone regardless of sexual orientation the unique freedom of boredom which singer-songwriter Erene Mastrangeli spoke about. 

Creativity at an adult age however is reclamation of that childhood, allowing full expression of the stories that need to be told.

Erene Mastrangeli spoke in this interview about refinding your gifts and creativity.  “Our gifts are necessary to contribute to the evolution of humanity.” She dove into why, as a musician, “boredom” can somehow become a great resource for an artist, because she could play the piano or write a song simply to pass the time. From that moment of stasis, Erene was able to unexpectedly release a song called “Treasure”, which extends hope that all of us need to find the treasure within us to keep humanity going. 

#CreativityWillSaveUs Special Pride Episode – Interview with the Protagonists Pt. 1

Producer & actor Robert Driemeyer spoke about Judy Garland and the history of bars in New York and how they often turned down queer patrons. In his segment he gave an important explanation regarding the 1969 Stonewall Riots, and why he decided to simply make a special rainbow cocktail for his Broadway Barfly – a weekly video-series that pairs theater lore with classic cocktails and historical context. “The rainbow cocktail is communal. What is better than sitting down and having a drink with someone?” Explains Robert during the conversation. It is such a simple pleasure that was denied to queer folks before our time, and this disconnect in community with social distancing in the covid era, is one that queer folks worldwide had to deal with unfairly. Queer liberation continues to charge on and now many are afforded the privilege to enjoy this pleasure and company.

“It’s wonderful that our stories can bridge together because none of us live on an island”

Pooya Mohseni

Actress and Trans Activist Pooya Mohseni spoke about her character in David James Parr’s play saying, “It’s wonderful that our stories can bridge together because none of us live on an island,” in regards to portraying a trans woman in a gay man’s story. She brought up how often trans people and their stories do not have a “traditional” place with queer stories as a whole and being part of this project was a step forward in bridging a gap between different people of the queer community. 

#CreativityWillSaveUs Special Pride Episode. Interview with the Protagonists. Pt. 2.

The #CreativityWillSaveUs Special Pride Episode also featured: Photographer/Cinematographer and Digital Artist Claudio Napoli, who decided to fill the emptiness of the NYC’s streets that this year, for the first time since 1969, will not see their proud LGBTQ+ community marching for its rights, with an inspirational recollection of the last three Pride that he participated in; Photographer Thomas Cluderay who gives us an exclusive peek on the Washington D.C. quarantine, where he lives, through his collection “Stoop Sessions in the COVID Age” and from Fort Lauderdale, Miami, actor Larry Buzzeo who performs one of his favorites cheerful tunes, What a Wonderful World, part of his “Quarantine Karaoke”. The backdrop for the performance is a beautiful walk on the Fort Lauderdale beach that Larry recorded last summer, wishing for the world to safely reopen its wonders.

This pride month after a year long pandemic offers a unique time and perspective in creative expression. As things reopen and we adjust to a new normal, more inclusive and unique stories are finding a place at the forefront. Queerness continues to expand and evolve in its expression, and the fight for liberation is unstoppable. Queerness combined with creativity ultimately can and will save us.  

Thirsty for more creativity? Point out our #CreativityWillSaveUs Series Phase 2 here below, with tons of conversations with prominent artists from all over the world. Ready, Set, Imagine!

Wirth Galerie Opens in NY. A Cosmopolitan ‘Art’ in the Heart of Manhattan.

Curator, artist, writer, and collector Sabrina Wirth infuses her worldly sensibility in this intimate salon-style gallery that challenges the COVID times opening new bright horizons for the art market.

By Tommaso Cartia

Sabrina Wirth with Artist Gabriel Ortega, the protagonist of the first exhibition at Wirth Galerie. June 3rd, 2021

A childhood dream come true thanks to that resilience that is forged in true passion – Wirth Galerie is an art oasis in the heart of New York that welcomes you into the marvelous life’s journey and the imaginary of its curator, Sabrina Wirth, a life-long New Yorker who had the chance to travel the world since she was a little kid and spent 6 years of her life in San Miguel de Allende, Mexico.

On June 3rd, as New York slowly remerges from the restrictions imposed by the COVID-19 emergency, Sabrina opened the doors to a selected group of art lovers to give the world the first taste of this enchanting space inspired by the intimate “art salons” from the days of Peggy Guggenheim“Wirth Galerie is a collaborative space for the positive exchange of ideas and for connecting people through art and design from around the world. When creative minds come together, anything is possible”. Stated Sabrina Wirth introducing the gallery. And that atmosphere was certainly palpable during the opening event that presented the “Superheroes” series by Colombian artist Gabriel Ortega.

Gabriel Ortega
Superheros in Istanbul 2017 Acrylic paint, gold foil, canvas 32.5” x 32.5”. By Gabirel Ortega

Gabriel Ortega’s pieces were truly the perfect opening to identify the DNA of Wirth Galerie, with their unique blend of Western and Eastern culture, an art that audaciously displaces iconographies to construct new surprising narratives. “Ortega’s work combines painting with sculpture, making each piece a little scenario in which superheroes entrusted to any mission or presented as cult figures stand out.” States Sabrina Wirth presenting the exhibition. “His technique has an impeccable finishing touch with polished outlines and surfaces of pure color, influences by the ligne Claire (Claire line) comic style. The use of Tintin, the main character in the work of Ortega, is intended to show the iconic connotations of the character: moral values, and an unwavering determination to complete a mission. So, when Tintin embodies embodies a superhero or a Saint, it is intended to indicate that the mission is in good hands.”

Adventurous, bold and, inquisitive, Sabrina’s approach to the art market is fresh and yet nostalgic of the way pioneer collectors like Peggy Guggenheim changed the game and the history of modern art collectors with their bohemian, fearless aesthetic, and that innate flair for talent that turned niche artists into global phenomena.

Although just opened, Wirth Galerie has a lot on its plate already: “Next I will be exhibiting the work by Stephen Hannock and there will be film screenings at the gallery and then an exhibition of Mohamed Yakub‘s photographs inspired by Calatrava’s Oculus.” Tells us Sabrina.

Sabrina’s electrifying enthusiasm as she toasted to the realization of her dream, her warm smile, and her sparkling eyes leaned towards the future of her artistic enterprise, is what NYC and the world need right now to never stop believing that yes, creativity will and can save us as we co-create, all together, our Imaginarium of tomorrow, not a new normal… but a new exceptional like Wirth Galerie promises to be. 

More About Sabrina Wirth & Wirth Galerie

Sabrina Wirth
Sabrina Wirth posing at Wirth Galerie

Before considering myself a “lifelong New Yorker”, I spent the first 6 years of my life in San Miguel de Allende, Mexico, surrounded by art and artists everywhere. It is no wonder I absorbed this love for art, which has become a passion and obsession: it was a major part of my childhood. I have been since deeply fascinated by the art market, and the psychology behind art, value creation, and the stories that make up this world. At Williams College, I developed my knowledge of the history and practice of art, and later studied the business side with a Masters from Sotheby’s Institute of Art. My first business, upon graduating, was an art advisory company, Helac & Wirth, later Wirth Art Advisory, with which I curated exhibitions in multiple non-traditional (and under-utilized) spaces within New York City, a pioneering concept back in 2009. I have worked as the first Chief Curator for the art startup IndieWalls, upon recommendation from a former SIA mentor, and have written about art exhibitions and profiled artists in the following publications: The Art Newspaper, Cultured Magazine, The Economist, Musée Magazine, ArtObserved, and Bal Harbour Magazine among others. I am a curator, artist, writer, and collector. Combining my experiences, along with my continued interest in seeing how the art world is evolving, I would like to share my world with you.

For more info check: www.wirthgalerie.com

Thirsty for more creativity? Sabrina Wirth is also the host and guiding voice of our #CreativityWillSaveUs Podcast series! Check it here below and ready, set, imagine!

2002/2020 – The Empire At The End Of The Decadence?

ON-Editorial New Year’s 2020. A letter and a poem from our Editor in Chief Tommaso Cartia

Clock

I am the empire at the end of the decadence. Prophet of a world that has stopped being prophetical. Milan. Italy. Someday, some night, in 2002. I woke up in the middle of that night, with a virulent urgency, with a trepidatious feeling. With those words on my mind. I wrote them down, quickly, and they suddenly opened a breach into my consciousness. An engulfing stream derailed my perception of space and time and I traveled.

I traveled through a feeling, I traveled across the sentiment of a world in turmoil, of an entire collectivity languishing. Those sudden travels are little miracles; on rare occasions, benevolent muses grant writers access to extraordinary emotional vehicles. At that time, I was “growing pains” because I was an adolescent and there was plenty to be mad at in the world in my “roaring twenties”. But that night, those excruciating roars were not shouting out my insecurities in front of the mirror or the feeling of being perceived as an ambiguous character always somewhat on the outside, out of place everywhere. That night was the face of the world and its distortions, grotesquely staring at me from the pieces of a fragmented mirror.

Since September 2001, the world itself was feeling ambiguous, precarious, on the outside, out of place everywhere. The world was turning into a fearful adolescent, certain only of its paradoxical uncertainty. We are all familiar with that feeling because it happened to us. We are all familiar with that feeling because it is happening to us. It began when the first minuscule ember of those crumbling towers started filling the air and our consciousness with a vicious nebula of unclarity. And by the time those towers reached ground zero, we all reached ground zero. Our end, or our beginning? The people of my generation who didn’t experience apocalyptic disruptive events like wars, pestilences, or natural calamities, suddenly knew what it felt like to be a fragile ember in the vastity of an unknown universe.

So that night, something that was dormant, something that I was blocking from my mind in my naive attempt to believe that “everything will be alright,” erupted with the force of a world quivering to come to life. A new cycle was beginning, but we were stuck at our ground zero, a step behind the past, not yet a step ahead into the future. And yet a 0 looks like a circle, and the circle is an infinite perfect shape. Our end, or our beginning? And in between, what’s in between? It is maybe what the astrophysics tend to call liminal times, and the people of faith purgatory times? It is definitely a time of purges when all of the infections need to be spurted out of our systems, all of the wounds stitched and disinfected, all of our mental and spiritual clutter, dismantled.

If that was the beginning of a new cycle and that new cycle started with purgatory mode, are we at the end of this purgatory?. 2002/2020, looks like some sort of cryptic symbolism that could satisfy the many conspiracy theorists out there. This pandemic, the fragility of our ecosystems, the autarchic leaderships, the rampant inequities and iniquities all around the globe, the corruption, the violence, the constant danger, this indefatigable feeling of fatigue and tremendous uncertainty… and so on and so inescapably forth… is this the acme, the tip of the iceberg, the final act, the extreme ablution of all of the viral infections we need to free ourselves from?

I would hope a benevolent muse comes back to grant me access to a piece of prophetic truth. The French poet Paul Verlaine was definitely granted a grand truth when he wrote in his poem”Langueur” (Languishing) of 1883, “I am the Empire at the end of the Decadence,” a lyric that was inspired by the collapse of the Roman Empire addressing the collapse of his own era, and that later inspired my feeling of collapsing of our era in 2002. Three eras, the same languishing, decadent feeling; is this enough to satisfy the category of “prophetic truth”? If we dive into the recurrent liminal cycles of human history, do we find there an answer to our dangling present? Because after a liminal cycle, a golden era always arises and did arise. And maybe that benevolent muse came to me one time and for all during this 10 years of purgatory time in which we are living. And so envisioning the prescient beginning of our golden era, I let that adolescent of 2002 in his “roaring twenties” respond to my anxiety of this current 2020 and give me hope, and possibly give it to the reader, that purgatory mode is about to collapse. If this is ground zero all over again, let’s turn it into an infinite circle of enlightenment.

AMEN
2002/2020

Books

by Tommaso Cartia

KNOWLEDGE LEADS TO FREEDOM
FREEDOM LEADS TO SOLITUDE.

There is just freedom of reprinted thoughts,
of partisan words
of non-debatable debates.
There is a vile terrorism bombarding the unknown
a wall of obscurantism
feverishly patched up every day
not to let a drop of truth shine through.
It is there where from a crack on the wall
a glimpse of light filters
that I dive
inebriated by the quench of Truth
soaked up in a rainstorm of Mystery
a sweet prisoner of Knowledge
of Reason, of Love.
I’m a researcher of liquefying principles
archeologist and funambulist
over the cut of this wall
conceptual space
I travel, I abandon.
I try to escape this towering inferno
this cold war’s flying arsenals
these weapons of mass distractions
this incessant restoration of walls of dogmatism.

I am the empire at the end of the decadence
prophet of a world that has stopped being prophetical
I know I can still burn
my body can still be put at stake
my words can be put at stake
at the ground zero of our involution
on disheartening altars
where the web-masters
preach the way
and humiliate differences
and sacrifice intellects.
Can the freedom in my words
sound like pain and punishment?
Can I be extinguished
Can I be banished and vanished
inside of this mass that needs to be leaven
bulked and fed and poisoned
with apathetic resignation?

From the inside of this mass’ wall
Let’s continue to conduct heat
Let’s continue to conduct Knowledge
Let’s continue to conduct Love
Let’s push for a change of status
Let us be

FREE

Free to say that we can’t change, choose, control, or recolor the skin we are born in, and the sexuality we are born with. That we can’t believe in imposed absolute dogmas that are in fact nothing but relative. Let us have the freedom to discover our own sense of the Absolute, instead of that being cut, edit, banalized, and repackaged for us on plastic bibles. And let us have access to all the books and grant back to the messiahs their historical sense. Let us overturn the hegemony of autarchic patriarchs and let’s land powers also in women’s and in multicolored hands. Let us rephrase this inaccurate paradox:

… we are all equals …

… let the different be equals to the equals and the equals to the different …

I pray, that the act of Love would be granted and permitted to everybody.
I pray, for the end of racial and sexual crusades and of cultural exterminations.
I pray, for the Truth, not to be hidden behind beautiful lies.
I pray to Know, I pray to Love, I pray to Breathe, I pray to Live.

AMEN.

About the Author

THE STORYTELLER WHO CONNECTS THE DOTS OF ARTS & CULTURE

Tommaso Cartia is a NYC-based writer, journalist, published author, media specialist, and publicist with a decade of experience in media communications, publishing, and the entertainment business, in the US as well as in Italy. Co-Founder and Editor in Chief of Creative Pois-On, Tommaso is the mind and the pen behind Storytelier,the editorial project by Creative Pois-On. He has a successful track record in designing brilliant interviews that narrate beautiful stories. Among the celebrities, he had the chance to interview, Writer Erica Jong, Writer Michael Cunningham, Actress Gina Lollobrigida, and Valeria Golino, Director Michael Apted, to name a few.  He is also the founder of the editorial project The Digital Poet – To Live Dreams, To Dream Of Lives and author of the lyrical memoir Reincarnazione Sentimentale, Italy, 2014.

Hand Game, Management’s Game

“One possible etymology of the word “management” comes from the Latin “manus”, meaning “hand”. Indeed, the manager covers the underlying idea of “taking a team in hand” and leading it to accomplish their collective goals”.

For our ON-Business Column, French Human Rights Artist, Academic and UNESCO’s Artist for Peace Guila-Clara Kessous, presents an insightful short “manual” for negotiation professionals.

By Guila-Clara Kessous, PhD, Harvard University

“What do I do with my hands?” The lost look of the man or woman I’m coaching is staring at me with an air of supplication. The answer is not long in coming: “Would it be an idea to cut them off?” At least I get the reaction I wanted: a smile, which brings the tension down. In negotiation, the most revealing non-verbal information is always legible in facial expressions and hand positioning. Without making a catalogue of “good postures”, here are some avenues of exploration to better understand what is at stake in front of you, and especially within you.

Taking Things in Hand

One possible etymology of the word “management” comes from the Latin “manus”, meaning “hand”. Indeed, the manager covers the underlying idea of “taking a team in hand” and leading it to accomplish their collective goals. Whether horizontal or vertical management is involved, it is interesting to realize how important the relationship with the hands are in all corporate exchanges where the question of leadership comes into play. Negotiation is a perfect illustration of this. Wondering “in whose hands” I am amounts to wondering whether, as an employee, I am “in good hands”–those of my superior. Likewise, as a line manager, it is interesting to ask the question of who is “in my hands” about my employees, or even who I have “on hand” in my team as a resource person. Because the question of management touches on the hand, it touches on action, the “power to do”, or even on “power” for that matter. It is the same in negotiation. Is it a situation where “my hands are tied”, where my margin for action is low and my power of influence is reduced? Or, on the contrary, do I “have my hand” in this negotiation, and am I in a position of strength where I am able to express my will? These expressions, while certainly colourful, are not neutral with regard to the relationship with the hands, and it is not surprising that the codification of managerial relations, especially when it comes to negotiation, is done through a “handshake”.

A Frank Handshake

In the large Harvard University lecture hall where Marjorie North teaches the Executive Communication Skills course, people spend half an hour looking for ways to shake hands. There are a hundred of us, and everyone gets a handshake from the teacher, who describes the act as “soft,” “energetic,” “flat,” or “aggressive.” What’s exciting is taking context into consideration. Most of them work for governments and come to learn about different cultural practices, knowing that they are destined for representative positions. Thus, future ambassadors are sent by their states to seek a certain universality in their future communications and negotiations. We learn that there is no such thing as a universal handshake. For an Asian, a handshake must be respectful, because touching the body of the other is a real intrusion into privacy. This practice gives rise to a handshake that a European or American could describe as “soft” or “supple”, since the interlocutor refuses to exert any kind of control over his or her partner from the outset. On the contrary, a good handshake, from the American or European point of view, is a dynamic gesture: the challenge is to show your partner positive energy from the start (see also the article: “Getting a Yes, Sí, Ja, Hai or Da”). Let us recall that the American-style “hug”, where the two parties embrace each other by patting each other on the back, goes back to a traditional process of checking that the latter is not carrying any weapon by fumbling their hand on the back of the other. In this perspective, shaking hands is a reminder of the equality of both parties, who agree not to resort to means of coercion.

My advice for a frank handshake is to remember that frankness comes from a certain authenticity of the individual who is able to adapt to the culture of another. There is no recommended speed to “draw”. There must be harmony between the two parties. Whether you reach out your hand first or respond to an outstretched hand, you know very quickly that once contact has been established with this open and firm hand that is yours, you must adapt yourself to the strength that is offered to you. If the hand of the other party is soft, adapt by responding with the same intensity, even if this goes against what you might consider natural. If, on the contrary, the hand is firm and dynamic in the way it grips yours, know how to respond immediately and not be afraid to keep your hand tight, even if it is a little longer than you are used to. This Macron/Trump style interaction will make it seem that you have accepted the challenge and will be well received by the secondary party. Feel free to practice with friends and family.

To The (Not So) Innocent, Hands Full

Many negotiators arrive at their meetings with a lot of paperwork. The left hand grasps a filled file and the right is already incidentally extended towards the other, before quickly clinging to the temple of glasses to remove them once seated. Without making generalities, it is easy to say that anyone who needs to keep their hands busy during a negotiation–be it in the fixed form of holding something (pocket, backrest, bezel, or stage podium, among others) or in the form of parasitic movement (playing with fingers on the table, biting one’s nails, fiddling with a ring or a watch)–needs energetic support and maintenance. Whether conscious or unconscious, this way of neutralizing the hands is interesting because it is an action derivative of what can be experienced as passive in negotiation: listening. Listening is essential in negotiation. It is in fact the one who listens the most in a negotiation that has the best chance of winning it.

Listening, when it is sincere and respectful, is by no means passive. In fact, we talk about active listening, that is, listening that allows action to move forward. But the one who is listening is also portraying the image of listening to the one who speaks. Whoever uses these derivations is in need of anchoring their hands in a certain state, which does not allow them to show the hands completely. But not showing is hiding! In order to negotiate well, one must dare to “show a white paw” and, to do so, accept (at least at the beginning of the negotiation) to simply put one’s hands on the table or on one’s knees so that the other understands that there is nothing to hide. In a negotiation, it is not so much a matter of building trust at the start, but of deconstructing the distrust that naturally sets in when power is at stake in a relationship. Agreeing to let yourself be seen and to let your hands be seen may be seen as a sign of weakness, but it is the only intercultural way for the other person to realise your effort to be authentic and your willingness to enter into a relationship of sincere politeness.

The Heart On The Hand

As far as posture is concerned, the most common recommendations for successful negotiation are to not be too emotional, to not show too much emotion. However, this does not mean that you have to completely disconnect from others and appear robotic in your words and gestures. If hands must deconstruct mistrust by daring to show themselves, this does not mean that they should remain glued to the table or on their knees. There are a thousand and one possible variations in hand gestures. You have to be able to make them “take off” at some point. They usually take off on their own, acting naturally, when you stop focusing on them and are with the other person.

The generosity that the expression “heart on hand” implies in negotiation has nothing to do with what you’re going to drop as money in the process, but has to do with a generosity of presence to the other, what I call “presential generosity”. The more you are going to increase this presence to and for the other, and especially the more you are going to show to them, the more they are going to agree to give back. The ballet of the hands will take place naturally if you are in a conversational setting with the aim of finding a solution with the other, not against them. You will avoid gestures that can be very misinterpreted during a negotiation, such as “hand washing” (rubbing your hands together), which can give the impression that you are being venal. We should also avoid gestures that may mean the opposite of what we mean in the other person’s culture. This is the case of the famous V of victory made with the palm of the hand towards oneself, which means victory for a German, the number two for an American, and a finger of honour for a Briton. As a general rule, one should therefore avoid separating the fingers too much or showing too much with the index finger, especially in intercultural negotiations. Filming is a technique that all specialists recommend. As long as you do not expect to see the image that you impose on those who negotiate with you, you will not be able to correctly find a posture that is in line with what you are saying, and consequently, you will be unable to achieve congruence.

About Guila-Clara Kessous

Clara Guila Kessous
Guila-Clara Kessous

Guila-Clara Kessous, PhD. is a research professor, a coach, and a UNESCO Artist for Peace. Recipient of a doctorate under Elie Wiesel’s direction, she is using theatrical techniques to help suffering populations (survivors of genocide and human rights violations) better express themselves and have a stronger impact on new generations. She is also certified in positive psychology by Harvard University Professor Tal Ben Shahar and accompanies people to achieve stronger resilience in times of crisis.  She deals with issues of positive leadership, crisis communication, and managerial posture using theatrical techniques and role-playing. Following the coaching of suffering populations, she accompanies personalities, executive committees, senior executives, and managers in crisis contexts in France and abroad. Today, she is working with healthcare personnel, ranging from executives to nurses, to provide coaching and counseling to those serving at the front lines of the coronavirus crisis.

Can We Learn Business Secrets From Artists?

For our ON-Business column, our Business Innovation Strategist and Artistic Director Daniela Pavan distills tips on creativity and success in times of COVID-19.

For years people in creative roles were kind of left out of serious business conversations, which instead used to take place only among the upper management in boardrooms. More recently, it looks like Creativity is knocking at the door of those rooms and has gained the right to sit at the decision-making tables as a driver of innovation. The creative spark that used to be just an aesthetic abstraction and somehow light and breezy concept, is now an important leadership quality that is dramatically transforming the way we do business.

By Daniela Pavan

The challenging scenario created by the pandemic emergency is giving creativity an even more crucial role in our lives. We’ve been through so many changes during the past months: we changed the way we work, the way we interact with each other, the way we shop. Change looks always scary, and facing change can throw us in a state of chaos. In times of crisis like these, who should we turn to, and learn from? My answer is: from creative minds, from artists. You may remember Darwin’s evolution theory about “the survival of the fittest”. It’s not the strongest or the smartest one who survives but the one who can adapt more quickly to change and to new contexts. The ability to adapt to change combined with resilience (the quality of recovering quickly from failure and adversity, and using the opportunity for your personal development,) seems to be the best match to navigate this unprecedented scenario. A set of skills that are part of artists and creatives’ natural attitude. 

Darwin

The Creative Pois-On #CreativityWillSaveUs video and podcast series wants to demonstrate this exactly. We started the project to give voice to prominent figures from the world of art, culture, and entertainment during the COVID-19 emergency, inviting them to come together to reflect on the central value that art brings to humanity during the harsh quarantine times. We have been blessed by so many great contributions from artists from all over the world: 50+ artists for 10 episodes plus a special one celebrating Pride Day. Following these artists and watching them from a privileged point of view, we realized that even between their differences in terms of disciplines and artistic attitudes, they all have two fundemantal traits in common: resilience and adaptability. In fact, they all managed to keep their creative spark alive and produce arts against all of the odds. Even the performing artists who have seen their venues abruptly shut down, basically overnight.

#CreativityWillSaveUs – Follow our Series on our Official Youtube Channel Creative Pois-On

So now the question is, how can we learn to be ourselves, as resilient and flexible? Here are some of the reflections that our series #CreativityWillSaveUs inspired me:

1 Change the narrative: when something bad or unpredictable happens, many of us spend a lot of time in a “rumination mood”, reliving the event over and over in our heads. This way we don’t allow ourselves to move forward. What I learned from our artists is the importance and the courage to change a story by building a new one. How? By writing, singing, playing music, painting, acting, there are infinite creative ways that we could all explore. The goal is to be brave enough to face our deepest thoughts and feelings, and not to necessarily produce a memoir-like masterpiece, courage as a first step is already a big accomplishment. And precisely about this topic, I found out that there is a study from 1988 that demonstrates how a sample of people who embarked in an Expressive Writing program for four days was healthier six weeks later and happier up to three months later if compared to some others whose task was to write about some more random topics. This is valid, in my opinion, for any form of art because it forces us to deeply analyze each one of our ideas and allows us to see things from new perspectives. I personally enjoy changing my narratives through acting and dancing, because they both allow me to explore the story from different angles.

2 Practice Meditation: you may already know that usually, our most painful thoughts revolve around our past and our future. We may regret things that went wrong or we are anxious about the things that will happen or not happen to us. Practicing mindfulness and meditation keeps us centered and concentrated on the present. being, the now. You may think that our main concerns are attached to the present time we are living. You might have this sensation, even though really, our lives are made of a series of circumstances that often we can’t control. Therefore meditation can help us stay focused on what we can control, accept what we can’t control and think more clearly about our next steps. The past months have been very painful for me as well, on a personal level. I want to suggest a practice that I like to do: mindful breathing. I usually get very anxious because I am always projecting my thoughts into the future of what might happen. This exercise can be done for 5 or 7 minutes a day, or every time you feel under stress. Find a comfortable position. You can be seated on a chair or on the floor, on a cushion. Keep your back upright, but not too tight, with your hands rested comfortably. Allow yourself to relax and become aware of your body seated, the sensations that it experiences, the connection with the floor or the chair. Remove any tightness or tension. Simply breathe. Feel the natural flow of breath, while inhaling and exhaling. Notice how you feel while you breathe. See if you can feel the sensations of your breath, one breath at a time. Now as you do this, your mind may start to wander and think about different things. It’s very natural, so no worries. When this happens, gently redirect your attention right back to the breathing.

IKIGAI
Photo by Mayank Baranwal on Unsplash

3 Find your Ikigai. Ikigai is a Japanese word that means purpose in life. We can say that Ikigai is the secret ingredient for happiness. Ikigai is about finding fulfillment, happiness, and balance in life. Many of us think that our job, family, and passions are different solos, like separate aspects of life. The Ikigai philosophy instead puts the accent on a fundamental truth: nothing in life is a solo… but everything is connected… as we always say here at Creative Pois-On. So yes, according to the Ikigai, it is possible to be true to what you love, live a fulfilled life, and make a positive impact on the life of others. So let’s dive in, what’s the definition of Ikigai. The Ikigai is the intersection between what you love, what the world needs, what you can get paid for, and what you are good at. Take a few minutes to write down some keywords, concepts, and ideas that come up to your mind for each of the four categories above and for overlapping areas. Think about how these elements may relate to each other. And then, leave space in your mind to whatever element, word, category, may naturally emerge by bringing these four elements together. So when you have this centerpiece clear in your mind found it, think about what is the first very simple step you can immediately take, and that it could be a practical expression of this centerpiece, which is your Ikigai. Are you curious to try? Artists, creative minds as well as successful businessmen all over the world, have in common the fact that they have found their Ikigai, that they are crystal clear about their purpose in life. That is what keeps them motivated, resilient but also flexible and perseverant.

Now it’s up to you. Ready to take your first step? 

Learn more about Creative Pois-On Business Services HERE.

About Daniela Pavan

THE STORYTELLER WHO CONNECTS THE DOTS OF CREATIVITY, INNOVATION, AND BUSINESS

Daniela Pavan

Born and raised in Italy, Daniela Pavan is now based in NYC. This is one of the reasons why she is blessed with both Italian artistic passion and NYC’s unique edge. With 20 years of experience working in the world of digital, design and communication with big companies, agencies as well as small start-ups, Daniela has also a strong collaboration with the University of Venice (Italy) where she won a grant for a research focused on understanding if and how creativity and design can be drivers for innovation. Co-Founder, Artistic Director, Creativity Curator, and Business Mind of Creative Pois-On.  She is also our resident “bridge builder” as she is fluent in both business and creativity! Our creatives would be lost without her! Follow her Creative Bridge episodes on the Creative Pois-On Podcast.

ON-Poetry Presents “Jupiter Rising” by David James Parr

Jupiter

We inaugurate our ON-Poetry column featuring the second video from the new book by David James Parr – PERSONAL TRAINING: poetry & exercise tips

The video-poem “Jupiter Rising” is read by the author and shot around various locations in NYC. PERSONAL TRAINING is now available on Amazon and Kindle. Please enjoy here below both the video and the poem.

Enjoy the video Courtesy of David James Parr Fiction Official Youtube

Jupiter Rising

David James Parr
The book is available now on Amazon and Kindle.

Steady as my glass that just fell off of the table—

don’t worry it wasn’t full—

and what phase of the moon are we in now?

which tide just got pulled?

Today I felt all bitter and fucked up

like a poem by Dorothy Parker

brittle on the outside

but fragile at the core

They say Jupiter is visible tonight

but I can’t see it through all this rain

On 9th Avenue the boys are cruising one another

            and they’re all starting to look the same.

So Jupiter is rising high 

in the cloudy sky tonight

Michaelangelo must have spilled his paints again

leaving us this pearly drop of light.

Today I felt like a Henry James heroine

crafty and unfulfilled

dreaming of a perfect match

                                    in a rudely imperfect world.

In my back pocket I have a business card

from—I think his name was Ed?

He works in technology

but I didn’t hear a word he said.

I was only thinking how the way he held his glass was sort of like

the way you held my wrist in the movie theatre

stroking up and down as if I might break

stroking up and down as if I might purr.

Tonight I felt like a French film star

leaving by the back door

I’d tell you la raison porquoi

                        but then again, what for?

Can you see Jupiter from where you sleep?

Can you see it from his bed?

In my back pocket I have a business card 

—I’m sure his name was Ed.

Today I felt like a ballad by Adele 

all bittersweet and corny

distraught and crying out your name

            yet deep down just plain horny.

Jupiter is visible again tonight 

impersonating a star

like a drag queen on a good night

think we could get there by car?

And how long before it twirls around?

Blinking its big red eye

How long before it rolls back over?

to a completely different sky.

About the Author

David James Parr
David James Parr lensed by Shushu Chen

Writer David James Parr was born on a cul-de-sac in suburban Ohio and grew up on a farm in rural Pennsylvania, where he learned how to spell “cul-de-sac” and to mispronounce “rural”, respectively. He is the author of the novels Violet Peaks and Beauty Marksas well as the collection How To Survive Overwhelming Loss & Loneliness in 5 Easy Steps: Stories. His title story How To Survive Overwhelming Loss & Loneliness in 5 Easy Steps was chosen by Michael Cunningham (The Hours) as one of the Top 10 Stories in The Tennessee Williams Fiction contest, and is included in the anthology The Best Gay Stories of 2017. David’s story Mata Hari was also selected in 2015 as one of the winners of The Tennessee Williams Fiction contest. David’s plays Slap & TickleAlbee Damned and Pluto Is Listening have been produced all across the U.S. including Chicago, Dallas, New York, Provincetown and St. Petersburg, and his play Mimi at The 44th Parallel was a Top 10 Finalist in The Austin Film Festival’s 2019 Playwriting Competition. His fiction has appeared in Saints + SinnersMosaic and Feminisms. His play Eleanor Rigby Is Waiting was made into a film which premiered at the 2019 Manhattan Film Festival, winning Best Independent Feature.

CORONAVIRUS 2020: UPDATE OF THE ANTHROPOS SYSTEM

Or the delicate art of contactless hands-free connection. A reflection on the world after COVID-19

By Guila-Clara Kessous, PhD, Harvard University
Edited by Kyra Johnson

Peter M. Friess
A screenshot from CORO1, a visionary interpretation of the COVID-19 realized by Brussels-based Conceptual Digital Artist PETERMFRIESS based on the LAMAφ improvisation ensemble. Watch it on our #CreativityWillSaveUs Series HERE. For more info about PETERMFRIESS click here: www.petermfriess.com.

As the world continues to undergo the effects of the coronavirus in all aspects of life, it becomes necessary to recognize what a post-COVID world looks like, as well as to consider it to be a sort of separator of space and time. Such a world-altering event, after all, is so extreme and drastic that it reflects an almost messianic importance. 

Imagining oneself in a post-coronavirus future is already to recognize the pandemic’s role as a separator of space-time. After all, aren’t we in 2020 AD, or even 1441 A.D., 1441 Hegira, Chinese 4718, or 5780 in the Jewish calendar, to name but a few? All these calendars base their point of departure, the year 1, on a founding event which radically separates the coming era from the preceding one. Most importantly, the new era also “updates” the cultural, territorial, social, behavioural, and economic system. We now must seek out a global meaning in all civilizations, which comes from a posteriori to the event since the year zero does not exist. We therefore begin to count long after the event, which only takes on its meaning once we choose its meaning. Therefore, in the current case of COVID-19, we are still in the year zero. Let us try to see what societal norms we are radically leaving behind in order to go towards year one, Post-COVID, and what this new era of ours will potentially look like. 

Another screenshot from CORO1 by PETERMFRIESS

Turning to a New Sun

In our society prior to the coronavirus, human beings shared in the tropism—the natural turning towards an external stimulus–exhibited by many plants; we are like sunflowers, following the rays of the stimuli we have grown accustomed to in order to support our own social growth. What we are leaving to go into the Post-COVID world is above all an anthropological tropism that acted as an irresistible and unconscious force, a reflex behavior that seemed so natural to us.  This behavior that seemed so natural to us and pushed us to use all of our five senses fearlessly in our relationship with others is now absent in lieu of our inability to psychically reach out. Whether they were close or unknown to us, accepting the other meant bringing them into our social “spheres”: the professional sphere, the family sphere, the personal intimate sphere. Each of these spheres has required some sort of a contact greeting. This human-to-human “recognition” seemed so natural to us–whether it was a kiss, handshake, or hug–that it had become a tropism. 

We collectively failed to realize how physical contact norms may endanger us if we had to consider the other or oneself as “potentially contagious”. In the face of the virus, us metaphorical sunflowers are forced to find a new type of sun to turn to in order to achieve and maintain our social growth.

For example, this “new sun” is already somewhat adopted by Asian cultures, where it is custom to avoid touching each other during greetings, particularly in China, where salutations are exchanged at a distance, with heads bowed. We are therefore encouraged to follow the Chinese example in our professional spheres, where even prior to the pandemic, physical exchanges were rarely intimate, and are therefore the most appropriate type of contact greeting to undergo procedural changes in our Post-COVID Year One. The choice of the “elbow” salutation (widely remembered as the “Ebola Shake” salutation, born during the Ebola epidemic) is appropriate, and even already common, in several cultures. What does this mean in terms of anthropological tropism of finding a new stimulus in which to grow from? We would orient our physical interactions to a much more “Asian fashion”: less touching, interruptions, and emotions, and more observation, silence, and neutrality. Adopting foreign greetings may lead us to culture shock, and feelings of “Fear and Trembling” may await us in this “Asia-tization” of our methods of greeting, and perhaps even our modes of societal functioning.

Another screenshot from CORO1 by PETERMFRIESS.

Learning from Porcupines: A New “Hands Free” Connection

If we cannot enjoy our typical experiences of physical contact anymore, does this mean that we all need to find an “inner warmth” to replace what no longer comes from others? This is what philosopher  Arthur Schopenhauer recommended in his famous parable of the porcupines in “Parerga and Paralipomena”, in which he used this group of animals to explain the paradox of human contact. During a frosty snowstorm, the porcupines huddled together in tight-knit groups to keep warm, but ultimately suffered from each other’s sharp prickles, since they were too close together.  They were forced to find a “medium distance” where they could benefit from their collective warmth yet avoid harming others with their spikes. Schopenhauer then writes: 

“Thus the need for society, born of the emptiness and monotony of their inner life, pushes people towards each other; but their many unsympathetic ways and unbearable defects scatter them again. The average distance they eventually discover and at which living together becomes possible is politeness and good manners.”
Arthur Schopenhauer

What we come to understand from this example is that, during this pandemic, we must learn how to benefit from one another’s metaphorical warmth while still keeping our distance, as the infectious disease has become our own set of sharp spines that could damage others, should we fail to maintain a proper distance. Would we have failed in the principle of “politeness” by abruptly changing our socially “average distance” into a brand-new “sanitary distance”? There are no more possible contacts to fall back on once the pandemic has passed, because it is the aggregation of the whole system that is changing. The anthropological system described by Arthur Schopenhauer assumed that groups of humans push towards each other by aggregates “born from the emptiness and monotony of their inner life”. But does this kind of emptiness still exist today? In accordance with our metaphor, the quills of porcupines have grown and become a type of interconnected network of antennas that connect without contact, as if their exchange of bodily warmth is done virtually–it is “hands-free”. 

Check out the Porcupines & Schopenhauer Story @illacertus Youtube Channel – Animated book summaries focusing on strategy, power & seduction with a flair for history & how you can use the knowledge within today to further your own cause.

This is the basis of our real-world rapidly expanding Internet connectivity, with intelligent underground, underwater, aerial and space smart grids… 5G obliges! The interconnected system of porcupines that gathered together to keep warm symbolically evolved to become an emanation of our own individual social antennas. We each radiate our own quills that serve as a protective “crown”–which, strangely enough, looks similar to the shape of the coronavirus when viewed under an electron microscope. These antennas are also our ways of relating to each other. This explains why we are able to have hundreds of friends on Facebook without ever actually meeting them in person. In 1992, anthropologist Robin Dunbar suggested that 150 was the maximum number of people with whom we could maintain stable social relationships, so as not to exceed the maximum size allowed by the information processing capacity of our brain. Humans have an incredible capacity to connect, but this pandemic creates a blockage for us to demonstrate our typical human warmth. When “emptiness” no longer exists outside, it is reborn inside us via a “lack of oxytocin”, which is the hormone of love, trust and bonding created through physical contact (such as caresses, kisses, etc.). We are about to live through an incredible moment of withdrawal where our only option to remain hyper-connected is to use social media platforms, where we can engage in a sort of “hands-free” style of interaction (Facebook, Twitter, LinkedIn, and TikTok, among others). But is keeping this mode of “no contact” relationships, truly without risk of contamination? It may present a dangerous “Zoom-ification” of our world where others only appear in two dimensions, “framed” in a relationship controlled by a “power” button that you just have to press once for others to disappear.

Another screenshot from CORO1 by PETERMFRIESS.

The Return of “Courtesy”

This “love from afar” that we must now practice is reminiscent of the ballads of “courtly love” that were sung by  William IX of Aquitaine “Roman de la Rose”  and the troubadours (traveling poets) of the twelfth century. In this medieval context, songs describe the object of love: the rose; and the woman, the object of wooing, is far away, but one must surpass the presented obstacles in order to fulfill their conquest. In our non-medieval context: less oxytocin hormone, therefore, equates less touching, yet provides more dopamine, the hormone of success. A “setting far away”, which is the new distant location of individuals in our lives, allows us to rework the path that leads to others. This medieval approach to human connection seems very outdated. 

On the contrary, the practice of working through obstacles to achieve our object of interest is anchored deep within us, in what we are desperately trying to find again during this time: a rediscovered physical closeness with our companions and an ambition to take on a brand new, albeit mysterious, future. a brand new future.

The term “courtesy” does not force us to return to feudalistic style, but allows us to rethink our “porcupine” social system on a human scale–that is to say, we must insert ourselves into metaphorical “courtyards”: small bordered spaces in which a finite number of individuals who share common values reside as a community. Taking residence in these spaces is not advocating for the return of the aristocracy, or the feudal reign of the King and his Court, but rather, it is to set up each individual to have the capacity of a “power” button; not to make others entirely disappear, but to simply make them leave their screen, like Tom Baxter in Woody Allen’s film  “The Purple Rose of Cairo”. We have the ability to be aware of the collective world, thanks in particular to the analysis grid of the 17 Sustainable Development objectives adopted by the UN in 2015, and the credo of the platform of action for the coronavirus, set up in mid-March by the World Economic Forum in Davos. We know what we have to do, but we don’t do it yet… even if we hear many people say that, despite the difficulty of containment, what we will regret most is this long period of time when we could have “settled down” for a moment before returning to the frenzy of active life. This is the principle of the “JOMO” (the “Joy Of Missing Out”). This joy celebrates disconnection from an idealized world in order to concentrate on real life, on our truly important relationships without feeling fearful under the gaze of others.

Another screenshot from CORO1 by PETERMFRIESS.

Towards Optimistic Leadership  

What about business in our “professional sphere”? In comparison to the familial sphere, it is not the one that is most naturally useful to society, but it is probably the one that has the most responsibilities in terms of helping everyone “hold it together”. In Latin, “Entre-prehendere” means “to take in one’s hands”, and “to take the risk” of creating something valuable that is beyond financial gain. This is where the “courtyard” that the company represents is so important since it must recreate a will to create, share, and co-construct together, and to bring water to the metaphorical mill of society so that the economy can turn. Just as an individual struggles with the idea of death at the sound of a cough, a company thinks it is finished when it sees its sales drop during the last two months. However, they are far from being finished.

Just like the individual, if companies take on the responsibility to not contaminate and not be contaminated, they enter a phase of change in accordance with what the virus has taught us: how to resist by breathing. To continue to breathe in spite of the miasma of this virus means to, against all odds, feed on the air of others and accept that it may be necessary to empty oneself of their own air so that another can feed on it.

This circulation of air must take place in a healthy environment, between healthy individuals, for a healthy purpose. The return of deconfinement in the workplace should aim to achieve this healthy system at the managerial level: leaders must regain the health of the collective through a narrative sense. Telling a story of survival is crucial in terms of resilience. And for that, the leader’s communication is essential at both the verbal and non-verbal level. When presenting content, a leader must make the choice of using positive, unifying, hope-creating words, but above all,  they must be transparent with the situation, for that will make the difference. Far too many leaders would like to apply the perception of the pre-COVID to the post-COVID era by making people believe that nothing has happened. On the contrary, it is by underlining the difficulties undergone during this time of collective survival, and by detailing the different steps to follow going forwards, that unity will be able to motivate the team. This is what the “optimistic” leader should look for, to use the ideas of the famous Tal Ben Shahar, professor of “happiness” (a form of positive psychology) at Harvard University, in his book The Happiness of Being a Leader: a clever mix of optimism and realism. The leader must go beyond their bodily barriers. It is their own body, which has been denied so much in the virtual relationship, that they will have to re-inhabitat. This will show how the leader will be judged, measured, and despised, and if they can be followed. For the body does not lie and when one is the image of power in a company, it is the body that reveals its weaknesses, impostor syndrome, or megalomaniacal impulses.

Another screenshot from CORO1 by PETERMFRIESS.

Even the newly named “coronial” generation of babies coming from this era (including X Æ A-12, the aptly named newborn of Elon Musk) have a body, which is what remains to us as irreducibly fragile and therefore “human”. So let us become guards of our own body by not listening to those who want to amputate it under the narrative of reinforcing our performance with “painkillers” and “anti-epileptics” by inhibiting nerves or by cutting off our sensitivity where it hurts. In medicine, just as in business, we should be wary of symptomatic treatments that would create a Guillain-Barré syndrome, a consequential fallout suffered by many people who have been ill with corona: a loss of sensation that can lead to paralysis of the extremities (hands/feet). In a company, it is necessary to look at how the virus was experienced by all the employees, offering at all levels (from “feet” to “hands”) not only spaces for words, but real possibilities to integrate and collaborate “in the common courtyard” with real recognition–without such an approach, it would lead to a paralysis of the company’s whole collective body . “Stop applauding us and come and put your hands in the sludge instead,” a doctor said to me the other day. He didn’t necessarily mean making a medical commitment, but contributing in some way to ensuring that there is a dedication to relieving the harshness of daily life, each at one’s own level. What can be said about what awaits us in the post-COVID era is a real human question that searches for meaning and involvement at the individual level. 

This shared sense that we all have within us is a voice that guarantees the survival of our species and tells us to “do and play our part” as if we are an orchestra with an infinite number of instruments. Our song would be an uproar that is certainly very powerful because of its resonant force but would have no collective melody and even less unison.

At the moment, the system of the world has just been updated and unifying platforms, such as TikTok’s viral trends, have an impressive capacity to be its own type of virus and spread the same pantomime repeated across the continents as if it is a domino effect of one following after another.The virtual spread of ideas is a unifying force that helps us expand our perception of the world as a whole. Contrastingly, however, Voltaire’s satire Candide tells us of the importance of staying in one’s own social sphere and recognizing their place in the world. After having done all kinds of pantomimes and lived in various burlesque situations whilst traveling the world, the title character comes back home and advises us that it would be best for him to simply “cultivate his garden”…  not in terms of being selfishly interested only in his small plot of physical land, but to play at his level in the territorial, political, economic, and social issues–his own garden, his own yard. This is not a reflection of a post-COVID individualism, but a warning against a possible hyper-connected system that is overwhelmed by the desire to once again restore our norms of contact. The solution seems simple: does “cultivating your garden” not mean less connection and more contact with reality?

ABOUT GUILA-CLARA KESSOUS

Guila Clara Kessous
Guila-Clara Kessous

Guila-Clara Kessous, PhD. is a research professor, a coach, and a UNESCO Artist for Peace. Recipient of a doctorate under Elie Wiesel’s direction, she is using theatrical techniques to help suffering populations (survivors of genocide and human rights violations) better express themselves and have a stronger impact on new generations. She is also certified in positive psychology by Harvard University Professor Tal Ben Shahar and accompanies people to achieve stronger resilience in times of crisis.  She deals with issues of positive leadership, crisis communication, and managerial posture using theatrical techniques and role-playing. Following the coaching of suffering populations, she accompanies personalities, executive committees, senior executives, and managers in crisis contexts in France and abroad. Today, she is working with healthcare personnel, ranging from executives to nurses, to provide coaching and counseling to those serving at the front lines of the coronavirus crisis.

Find out more about Guila-Clara Kessous on our special interview for the #CreativityWilLSaveUS Phase 2 Series

What Will We Take With Us Into Post-COVID Life?

In this powerful Op-ed. Storyteller, Art Curator, Artist & Creative Pois-On Contributor Sabrina Wirth reflects on our collective social and business future after the global pandemic emergency.

COVID19 Mask
Sabrina Wirth wearing one of the masks that she produced during quarantine.

When we started this quarantine journey together in mid-March, it was like we knew we were settling in for the long ride. We knew it would be temporary, and that it would be an inconvenience, but we approached it as a challenge. And so, we began to get creative and resourceful, thinking of ways to keep us busy, or create new content, because all of a sudden, social media became everyone’s outlet, and our home, the stage. Three months in and this temporary way of life has slowly transformed into the “new normal”. The big questions on everyone’s minds now, are: what will remain from this existence, what will return to how we remembered it, and what will change? 

By Sabrina Wirth

There is no question that pre-COVID life will remain in the past, and whatever we had been used to will have to continue in its adapted form- if it is to continue at all. Anyone who had been reluctant to jump on Instagram, or other social media, is now discovering the platform, and realizing that it is the window into a borderless, and virus-free world that does not have to follow social-distancing rules (Yet, at the same time, realizing that it is also a highly visible world, where the impact of what you publish can have far-reaching consequences). In the process of (re)discovering these alternate environments, many individuals and companies came to the awareness that much of what they deemed necessary, like in-person meetings, is in reality more efficient over the phone or on Zoom.

A ZOOM meeting in times of Corona Virus

Distance can no longer be considered an acceptable excuse for missing -or being late to- a meeting, because how can you be late to a phone call? It is safe to say that technology has significantly changed our pace of life over the past 30 years. Remember writing and receiving letters? Those shoeboxes once filled with letters from pen-pals are now filled with either bills, invitations, solicitations, and the occasional letters or postcards. In those letter-writing days, immediate gratification was not a thing. We lived our lives off-line and in the physically present moment. Indeed, everything was much more local, and calling someone in another country was a planned event. When texting became more common, it was exciting to be able to reach another person so instantaneously. Now, no one even gives it a second thought. Our pace of adjusting to the opportunities technology provides has been increasing gradually- so gradually that no one has really noticed.

Then, Covid-19 happened. It was as though someone said “now stop whatever you’re doing because if you want to continue, you have to figure out a different way.” They say “necessity is the mother of inventions”, and in a sense, we (by “we” I mean the majority) have had to invent a new way of life. That’s why #creativitywillsaveus keeps growing, because creatives are, by nature, constantly reinventing and reimagining. They are the ones who are leading the path into this new world, and the more people share on this platform, the more people are inspiring others to do the same. 

With all these advancements in technology and tools for working remotely, why has the workplace structure remained the same for so long? The traditional 9-5, 8-hour workweek has been around since the 20s when Henry Ford and the labor unions instituted a regulated work schedule. After WWII, when women and African Americans entered the workforce, office layouts were designed in the style of the factory floor rows, which had become common during the war years, and have since barely changed. It’s taken 3 months of quarantine and forced “work-from-home” for people to consider a different way- a more creative way.

During the quarantine, Sabrina got creative producing art, homemade masks, and developing innovative entrepreneurial ideas. She is also giving her voice to the podcast version of the Creative Pois-On #CreativityWillSaveUs Series. Check it here below!

And it’s taken this pandemic for people to finally embrace the changes that technology has made possible. If employees are able to productively work from home from whatever geographic location they are in, it confirms the notion that the traditional work model is outdated. As businesses begin to open up and people are given the option to return to their offices to work, there is a high likelihood that most people will want to maintain their flexibility, since it worked just fine during the quarantine. The one main difficulty, however, will be maintaining a sense of structure and balance between work and life, since the two have been blurred by existing within the same space. 

One industry that is discovering a “re-birth” of sorts, is the art business. Auction houses, galleries, museums… the kind of business that relies on in-person viewing. It’s a hand-shake business that capitalizes on the stories behind the object, the mystery of the artist’s process, the stories evoked in the tactility of the paint. The Mona Lisa is not the same on a screen as it is in the Louvre. A picture of a Warhol is not the same as the real thing. So what will this post-Covid transition look like?

Online Gallery
Is the online market the future of the Art Business?

For a while, auction houses were merely flirting with the idea of expanding the market online, and -despite the fact that being in the auction room itself is much more exciting- were cautiously making advancements with online bidding. It was never taken completely seriously though until a recent online auction at Sotheby’s brought in $36 million, more than double from the same period last year. Seeing these numbers come in from digital sales seems to be the validation the art world needed in order to forge ahead into more online ventures. To move ahead of the competition, without the advantages of real estate and location, the challenges will then be about storytelling and creating experiences that transcend between the virtual and the physical. In the meantime, however, museums and institutions that rely on membership and visitor fees will need to re-imagine the on-site experiences they provide in order to keep visitor numbers up. Will visits be limited to a certain number of people? What will happen with blockbuster exhibitions?

As the light at the end of this quarantine-tunnel becomes more visible, and our global attention is split between health and civil rights issues, I cannot help but feel a rush of emotions when I consider what our next phase of life will be. While eager to return to a sense of normalcy, I find myself hoping that some elements from this moment of isolation carry through into our future. Solidarity and community, for one.

#BlackLivesMatter
One of Sabrina’s homemade masks inspired by the principles of solidarity and community. Find more of these creations on Sabrina’s Instagram @_artwirth_

When we were all forced to individually “shelter-in-place”, we found ways to come together with tools like Zoom, FaceTime, and social media. In fact, many people may have found more community throughout these past several months than they had before. The shared efforts of making masks or designing and producing PPE face shields brought creative people from all industries together in a way they hadn’t previously experienced. The Black Lives Matter movement amplified the feeling of solidarity. Hopefully, this awareness of being able to impact change as a collective can transition into a more permanent state. Together, we can do more: we can be more creative, we can affect change, we can be stronger. Together, we are better. Let’s keep this as our main souvenir from Covid.

Sabrina Wirth
Sabrina Wirth

Sabrina Wirth is an artist, curator, writer, and storyteller. Her curiosity for people and different cultures has led her down various unusual, but fulfilling paths, such as exploring Iraqi Kurdistan, and working on a film about refugees in France. She believes in the power of creativity, and has learned that the best stories are the real-life, human ones.

For more info on Sabrina please visit: www.sabrinawirth.com