Mauro Porcini – “Creativity Is The Answer”

On the occasion of the launch event of the first book by Mauro Porcini – SVP & Chief Design Officer of Pepsico – our editor in chief Tommaso Cartia had the chance to converse with the entrepreneur sharing precious tips for the creatives and the innovators of tomorrow. The event was wonderfully hosted by journalist Francesca Di Matteo, Founder & CEO of the Our Voices broadcast and StrategicA Communication at the enchanting Pinko Boutique in Soho. Special attendees at the event were Mr. Fabrizio Di Michele, Consul General of Italy in NY, and the Director of ITA – Italian Trade Agency – Mr. Antonino Laspina

By Tommaso Cartia

Mauro Porcini
Journalist Francesca Di Matteo in conversation with Mauro Porcini during the book launch event at Pinko Boutique in NYC. Photo by Francesca Magnani

“This day for us is about rebirth,” exclaimed with pride and emotion Francesca Di Matteo presenting StrategicA Communication’s very first in-person event after one and a half-year of pandemic. And it was, truly, a day filled with trepidation, also for me getting dressed and happily ready to experience again the aliveness of a community getting together to share ideas and perspectives for the future, shaking hands and exchange those vivid glances, thirsty for life, and those smiles, that could reassure you, that perhaps, the worst has been left behind. Not even the violent tropical storm that flooded the NYC’s subway on that day, intimidated or tamed the urgency to be together of the more than 100 guests who bravely traversed Manhattan to be present at the event. And the occasion to listen to Mr. Porcini talk about creativity, innovation, and the future of our business models, was certainly, unmissable, for everybody and particularly for us of Creative Point-On who have been “starting up” our business venture not too long before the pandemic hit. How many times, during this still time of our lives and our economy, have we thought about the concept of starting up, of starting over, how many times during this interminably long year have we stumbled and started all over again?

Mauro Porcini
Mauro Porcini’s book; “L’ETÀ DELL’ECCELLENZA (THE ERA OF EXCELLENCE)”. Photo by Francesca Magnani

“Creativity Is The Answer,” that’s the first thing that catches my attention when I’m introduced to Mauro Porcini for our interview, a sentence written in cubital, sparkling letters on his sweater. A sentence that resonates, profoundly, with the philosophy of our company. During the pandemic, Creative Point-On produced a web series entitled #CreativityWillSaveUs, an initiative born to support the artists’ community during the lockdown, and “creative” is the fundament of our name and business identity. It really feels like this encounter with Mr. Porcini should have happened somehow, sometime, and I’m very happy that it happened now, now that we all need, more than ever, to start-up and think about creative ways to take our next steps into the future.

“We need to be students of life and students for life”

Mauro Porcini
Consul General of Italy
Fabrizio Di Michele, Consul General of Italy in NY, takes the stage to congratulate Mauro Porcini. Photo by Francesca Magnani.

I’ve never met Mr. Porcini in person, although of course I’ve been knowing him by his exceptional professional journey and I’ve been fascinated by his entrepreneurial story and rise to success. I think that any upcoming entrepreneur who is serious about his/her career today should study Mauro Porcini, and I’m confident that his book: “L’ETÀ DELL’ECCELLENZA – THE ERA OF EXCELLENCE”; will be that trusted companion in the development of any contemporary enterprise. I have a feeling that it will serve the same purpose to the future generations that Steve Job’s book served to Mauro Porcini when he was an upcoming entrepreneur himself.

What struck me about Mr. Porcini when we started talking was his kindness, his politeness, his flowing rhythm in responding to my questions, his poised elegance and those vivid eyes, thirsty for life, and that smile that can reassure you that, perhaps, the worst has been left behind.

Full house at the Pinko Boutique during the event. Photo by Francesca Magnani.

“One should always feel curious and receptive, 24 hours a day.” Tells me, Mauro, when I ask him what kind of tips would he give to young entrepreneurs. “We need to understand the shades of trends and how they change. Some macro trends have been gone on for quite a while, the pandemic has accelerated them. For example, the health & wellness field, or the personability of brands, digitalization, sustainability, and many more. We need to understand this acceleration and what could be the unique point of view. Often the unique point of view is offered by technology. For example, in our field, food & beverage, we are now utilizing wearable technology that monitors your body and gives you tips on what you should eat or to make your beverages personable, based on your taste, but also your emotions and physiology.”

But technology per se is not sufficient, and it shouldn’t and it can’t be disjoint from the human factor: “This is what my book talks about. You can’t just commission a market research or go online and read stuff on social media or blogs, you need to be there, “on the road”, you need to be present and understand what it is happening. To rely just on the A.I. without the human factor and our ability to interpret and decode what we read in the data, it’s a limit.”

“To rely just on the A.I. without the human factor and our ability to interpret and decode what we read in the data, it’s a limit.”

Mauro Porcini

And for Mauro Porcini, “Creativity Is The Answer” to this decoding. “If you don’t work on yourself, on your education, on your training, if you don’t nurture your natural talent you will not get anywhere. In my book, I talk about the inventor of the IQ test who says that people who have been properly educated, formed, who study a lot, can even increase and surpass the ones who have a hereditary IQ higher than them.”

Mauro Porcini
Mauro Porcini signing a copy of his first book. Photo by Francesca Magnani.

A native of Gallarate, a city and comune of Alto Milanese, close to Milan, Mauro Porcini has a strong humanistic and classical formation, which is the quintessential and most distinctive trait of the Italian Renaissance culture. That educational foundation has been for Porcini an inexhaustible resource of inspiration but also a model, a way of living, a modus operandi.

Mauro Porcini
Mauro Porcini with Francesca Di Matteo outside the Pinko Boutique in Soho NYC. Photo by Francesca Magnani.

“We need to be students of life and students for life,” is, in fact, the motto that he coined and it is one of the fil rouges of the book: “We need to be students of our life and the life around us, we need to analyze the past and attempt to decipher the present. Curiosity, humility, and kindness are the keys to be truly successful.”

These are some of the traits of the so-called “unicorns”, a term with which Porcini metaphorically identifies the innovators of tomorrow. “Many make the mistake to think that once they achieved some sort of success, they know everything and they are done learning. I see this as a sign of weakness, because you fear that if you don’t prove to yourself and the people around you that you know everything, you lose credibility. On the contrary, I believe that strong people, who have great confidence in themselves, are not afraid to ask things, to a collaborator, to a child, to the people in the streets. When you start asking questions nurturing your knowledge every day, your business will naturally grow stronger. We should be, indeed, students, for life.”

Waiting for Mauro Porcini’s book to be soon released in English, entrepreneurs of all ages will now have in their hands another essential book to treasure in their “students for life and students of life library” to co-create all together this new era of excellence.

“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

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!

Me & You, A Sunday Morning Of February 2021

Open this poem/love letter from our Editor in Chief Tommaso Cartia sent to all the lovers out there celebrating this St. Valentine’s Day 2021 in all of its love’s forms.

St. Valentine's Day


Me & You, A Sunday Morning of February 2021

It is not a Holiday
Until Billie caresses this Sunday
With the sweet roughness
Of her “Body & Soul”
Outside the window
Winter solmizates 
A snow’s symphony
A concert of ice and lights
Embracing and salvific.
The world is violently shaking
Sneezing blood, death, and confusion
We are prisoners of our hugging desire
But today you are with me
“Body & Soul”
Suspended 
In this house of red brick walls
Warming and fragrant
Like freshly baked bread
A house full of music and future
Of candles lit up to our dreams.
We are a reassuring parcel
To be opened next Christmas 
A lovers’ music box
That plays this fragmented present
With new harmonies
Audacious, adventurous, experimental.
Visions of us getting out of the house
Unmasked 
Hand in hand 
To go embrace of little wriggles of happiness
Our friends tonight at dinner.
A connection of loving sense 
Some wine, some laughs
Some singing, some foolishness
A melting of bodies, voices, sensations
A glimpse into eternity 
And then the present, the ordinary
The dreams of the trip we plan for next summer
More dreams

“I can’t wait to go to her concert…”
“…she is great, though she’ll never be like Billie…”
“promise we’ll see each other next week, good night!”

Later the love, me and you at home
The love
Unmasked
And the tomorrow gets trepidant with trivialities 
Once again 
The necessity of living as much as possible
Before nothing will be, again, impossible.
Me and you, Billie Holiday, and a Sunday morning of February 2021
Outside the window
The pandemic is sour
Flaking down
Even more violently than this snow’s tempest
But it will subside, will melt, and settle
Flash up once again and for all 
And be swollen by the darkness of time.
It will leave us dry, rested, rejuvenated 
Full of love for the days ahead.

Me, you, Billie Holiday, and a Sunday morning of February 2022.

It will be so, beautiful. 

Tommaso Cartia


Ballet Has Never Been This “A-LIVE”

Herman Cornejo, Principal Dancer of the American Ballet Theatre, partners up with the visionary genius of photo-artist, director, and documentarian Steven Sebring, to launch his newly created dance company, D A N C E L I V E, featuring some of NYC’s most talented performers. An innovative and epiphanic concept that transfers and transforms the ballet art form into a digital, live and hyper-realistic immersive experience.

We sat down with Herman Cornejo for an exclusive interview on the eve of D A N C E L I V E first show: “New York Alive”. The Virtual World Premiere will be up this Saturday, January 30, 2021, 3:00 pm EST. Streaming on @veeps
By Tommaso Cartia

Herman Cornejo and Skylar Brandt
Herman Cornejo and Skylar Brandt in “New York Alive”. Photo Credit: Steven Sebring.

N E W Y O R K C I T Y I S D E A D
But is it really?

This is an example, of one of the many, scary headlines we have been bombarded with since the beginning of the pandemic, slowly pulverizing our hopes and dreams to go back to the so-called “normal”. N O R M A L again, a kind of ordinary word, suddenly turned into a headline. The COVID-19’s narrative is a sort of “normalized” “all is lost” narrative, which is the stage, in the traditional hero’s journey – from Homer to Star Wars – where the protagonist shifts their pursuit of what they want to the realization of what they need. It can stop them dead in their tracks, but it’s also the point of the story which is instrumental to the triumphant return, the victory, and the final apotheosis of the hero. The artists have always been, throughout history, our heroes, pushing the boundaries of what’s possible, envisioning our next steps into the future of our evolution. So yes, in this “all is lost” phase that we are living, we want to go back to New York’s theaters, but what we need is to never stop dreaming, while we get back there. 

Herman Cornejo and the Sebring Revolution multi-dimensional media company of Steven Sebring are going beyond “normal”, into the territory of the extraordinary. With the D A N C E L I V E company they are already making brand-new headlines and building brand-new narratives promising to nurture that need to attune ourselves to those dreamlike frequencies of the soul, only transcendental forms of art can activate. Their first installment, “New York Alive”, is indeed that headline we all needed to read. The immersive dancing experience features, alongside Herman Cornejo, ballet sensation Skylar Brandt in new works by choreographer Josh Beamish, and will be streamed this Saturday, January 30th, 2021 at 3:00 pm EST on the @veeps platform. Tickets available here https://sebringrevolution.veeps.com

Sebring Revolution Presents: DANCELIVE by Herman Cornejo! Saturday January 30, 2021 on Veeps.!

Dive into the D A N C E L I V E company with our exclusive conversation with Herman Cornejo, and “welcome to the future of ballet”. 

When and how did you come up with the Dance Live concept? 

I started writing about this project in 2018. I wanted to create a live reality show about the dance world. I have been thinking for a long time that many people may be interested in the real-life and the work process of dancers: from class to rehearsal, to actual creation, that would be streamed live, meaning with no cuts, recording everything that is happening with no additional editing. I thought it was possible to do something artful and entertaining at the same time. Now, with the pandemic and all performing activity stopping, it was the perfect momentum to pursue it. I contacted Steven Sebring and shared my idea with him, since he is a genius of the visual arts, and I was thinking of something very innovative. His perspective gave me a whole new scope in terms of the technology we could have used to channel it.

Introducing DANCELIVE with HERMAN CORNEJO! By Sebring Revolution

This project promises to be visually groundbreaking, something totally new for ballet. What can you tell us about its uniqueness? 

The visual uniqueness of this project resides in the system Steven Sebring created to record movement in 360, which allows us to capture and transmit any dance through virtual and augmented reality. In that sense, we will not only have a video as we all know it, we will also have many other interesting media products coming out of the production, which take advantage of the latest visual technologies through which we can show the dancers’ work.

Tell us about your artistic collaboration with visual artist and director Steven Sebring? 

Just to clarify, I am the director and creator of the project D A N C E L I V E project. I contacted Steven to present this idea to him to see if he wanted to collaborate with me on this project. Steven leads Sebring Revolution, and he is directing all of the films and how the visual material should be presented. I am in charge of organizing the part related to dance: from dancers and choreographers to the music, costumes, and the whole dance show. Steven brings the technology and the visuals into play to interact with my ballet and dance art form.

Joshua Beamish
Herman Cornejo with choreographer Joshua Beamish. Photo Credit: Steven Sebring.

What about the other members of the company? Tell us about the extraordinary ballet talents involved in the project. 

The talent will always be different as this company, for now, will work “project to project”. For “New York Alive”, I invited Skylar Brandt to be my partner and Joshua Beamish to be the choreographer. I am beyond happy I chose them. They deployed not only their amazing talent as artists, but they also showed amazing support towards this project. They are amazing people.

How will the world be able to enjoy Dance Live? On which platforms will it be available? 

We are working to have our own platform at the Sebring House, which is a totally virtual gallery/theater where the user will navigate as if you were in a video game. Right now, we organized one first show to be broadcasted on the platform VEEPS. It will take place on January 30, 3 pm ET. Tickets are available at this link https://sebringrevolution.veeps.com. More info about the project and this show is available at this link https://sebringrevolution.com/dancelive

Herman Cornejo & Skylar Brandt. Photo Credit: Steven Sebring.

For Herman Cornejo, what will be the future of ballet after the containment of the COVID-19? 

I believe the arts will go back to theatres and museums, but there are going to be so many new tools. My company will be another option to enjoy dance in a virtual way. Also, the choreographies created for D A N C E L I V E will be able to be performed in a theater, live, in front of an audience as well as they have been set into a virtual environment. There is that sort of versatility attached to the project. Also, everything recorded for D A N C E L I V E will be an educational asset. The 360 images can be very helpful for students and teachers to analyze dance steps in an interactive 360 imagery. 

To know more about Herman Cornejo and his 20th anniversary with The American Ballet Theatre, listen to our podcast interview here:

Watch Herman Cornejo’s contribution to our #CreativityWillSaveUs Series:

“You Have To Have An Emotion In Anything You Do” Homage to Michael Apted.

We honor the recent passing of the Master of British Cinema by recollecting the podcast interview recorded exactly one year ago.

Photo Courtesy of David Magdael & Associates.
Michale Apted with Daniela Pavan & Tommaso Cartia, Artistic Directors of Creative Pois-On, at the BBC Studio Location in Manhattan.

The iconic filmmaker of Caol Miner’s Daughter and James Bond – The World is not Enough, has sadly passed away this January 7th, 2021, in LA at the age of 79. In January 2020, our Artistic Directors Daniela Pavan and Tommaso Cartia, had the privilege to meet and interview the director on the occasion of the release of 63 Up, the ninth installment from the Up Series, Michael Apted’s epic documentary saga exploring all of the different layers of the British class system. A 63 years work of devotion and of unconditional love for his country, an “emotional bed”, like Apted likes to address his narratives, to lie and reflect on our own existential paths.

Listening to his words was more than just having the possibility to get a closer look into the work of a master. But to collect a life’s testimony about the mission of an artist and the waving of history. Enjoy it here below. Ready, set, imagine…









The Courage to Be a Woman at the 2nd Edition of the Women’s Leadership International Summit.

An interview with French Human Rights Artist and Academic Guila-Clara Kessous – one of the UNESCO’s Artists for Peace – hosting the 2nd Edition of the International Women’s Leadership. Protagonists of the panel are personalities of the caliber of Actress Eva Longoria; Authors Eve Ensler; Metin Arditi; and David Foenkinos, among others.

This article was first published in French on Luxe Infinity Lifestyle Magazine.

Guila-Clara Kessous is Ambassador for Peace, UNESCO Artist for Peace, and Rising Talent 2020 of the Women’s Forum for the Economy and Society. She will host prestigious speakers at the second edition of the International Women’s Leadership Summit on December 8 and 9, a 100% digital event. She will be joined by personalities such as Eve Ensler, famous author of the “Vagina Monologues”.

2nd Women's Leadership International Summit

Other panels will also be with famous personalities like authors such as Metin Arditi (UNESCO ambassador and Giono prize) and David Foenkinos (Renaudot prize), who will give a masculine vision to women empowerment. These live encounters will be opened to the general public who will discover more than ten panels on vast subjects such as digital, audacity, Generation Z, intercultural dialogue, with notably President of UN Women France and activist Frédérique Bedos. In this context, the opening night will be dedicated to host famous actress Eva Longoria in order to get some funding to the Global Gift Foundation.

World League for the Right to Happiness

This prestigious foundation is doing an amazing work to help women empowerment and you can already register here to attend this very special event https://www.globalgiftfoundation.org. In Spanish: https://www.globalgiftfoundation.org/es/paz-interior/. The project is realized in partnership with the World League for the Right to Happiness.

Enjoy, here below, an interview with Guila-Clara Kessous, speaking about the initiative.

Why this international summit on women’s leadership? 

Guila-Clara Kessous / UNESCO’S ARTIS FOR PEACE

GCK – This summit is a moment of sharing reflection on the place of women and her capacity of action in the society. This conference aims to give the floor to speakers on the theme of women’s leadership, that is to say the ability for women to create follow-up, enthusiasm and to endorse a notion of power. An actress like Eva Longoria or an entrepreneur like Arielle Kitio have in common that they do not avoid from accepting the responsibility of being seen as a woman of power and create a male and female followership from this strength.

Why choosing a personality like Eva Longoria to open the entire summit linked to the Global Gift Foundation on the topic: “Finding inner strength”?

GCK – Eva Longoria is an example to follow in terms of women’s leadership. She accepts her femininity together with endorsing political views and creating followership on very important causes. Having her introducing the entire summit is the chance for women today to understand that you do not have to “play it like a man” to be successful in your leadership. She will reveal the secret to resist in those uncertain times and finding inner peace. Those elements will be precious for the rest of the summit, to have those advice in mind to be more efficiently talking about an intellectual approach once you find calm within yourself… The Global Gift Foundation was chosen for its amazing work helping women and children to find resilience. Beginning with this event was a beautiful message of hope.

For you, is there a difference between women’s and men’s leadership? If so, what would it be?

GCK – It is very difficult to make the difference between what comes from birth  and what comes from education between men and women. Today, “leadership” remains an unconscious collective representation linked to the power of the alpha male. This refers to this “first man”, the man who is a pioneer in all fields, to the point of having a predominance over women since he was the first human being on earth through the biblical figure of Adam. As a result, the “first man in the world”, “the first man on the moon”, has invaded our imagination to the point of having immediately in mind when we speak of “progress” or even “humanism”, this naked man’s body with four arms and four legs in a circle annotated by Leonardo da Vinci. Of course, its feminine equivalent by the famous painter, remains wisely with arms crossed and showing only an upper body. For me, there is no difference in the leadership made by men and women. The Mona Lisa could have been a leader, but she remains a “mysterious woman”… The Vitruvian Man, is stunning by the masculine power of strength and energy that comes from the drawing. 

Leonardo Da Vinci
Da Vinci’s Mona Lisa and The Vitruvian Man

 In your opinion, is it necessary to steer away from stereotypes in 2021?

GCK – It is absolutely necessary to steer away from stereotypes in 2021 and fight them with all our strength. This starts with an education of respect for women and stop treating them as beings who must serve or define themselves only in relation to motherhood. Strengthening the girls’ self-confidence with early exposure to, among other things, team sports, strategic games and daring to let them speak more in public remains a basis for positive education. In the business world, it is also through the education of women AND men that this mental switch is taking place. Programs such as Eve from Danone, EllesVMH, among others, are there to help women to break the glass ceiling, to dare to run for positions of high responsibility without fear of not finding a balance between personal and professional life. There is still a lot to be done, especially now in times of COVID, with domestic violence that still puts women back to a level of victims. 

Personally, how would you describe your leadership, and how does it manifest itself?

GCK – I describe myself as an “artivist”, which means that I use my art to bring my action to the world. My work as an educator, a coach or an activist are all linked to my approach to drama. As art is not simply here to “create Beauty” as a “Mona Lisa” representation would do, but on the contrary, to help human leadership taking distance with our action. Today, I have the chance to help many leaders to give them the strength to be able to strengthen the embodiment of their character to give them all the depth of an authentic leadership, where vulnerability becomes revealing of powerful management. This is deeply linked to the body, in the posture, the non-verbal…

What actions have you personally implemented to achieve greater participation of women?

GCK – I have been a spokesperson for several founding texts of women’s emancipation through readings that I have recorded such as “I am Malala” by Malala Yousfzai or “A memory, a monologue, a rant, a prayer” under the direction of Eve Ensler. I am a facilitator of several programs of “Women Empowerment” in several Nasdaq companies and I often do conferences on the issue of women’s leadership. Training and coaching-in are also part of my solidarity action for beaten women through organizations such as the “Maison des Femmes” in France for example, or through UNESCO. Not to mention partnership actions to help young girls access education.

What would you like to tell the new generations (men and women), children and young adults on these subjects?

GCK – Not to be afraid…It is fear that creates this sense of empowerment in others. It’s very difficult for a woman not to be afraid: to be a “bad” daughter, a “bad” mother, a “bad” wife, a “bad” girl…With this injunction of “being good” that remains in the minds of women and girls. Today, what I want to say, especially to women, is not to be afraid of not being “good”, since the question is not to be good or bad, but simply to “be” themselves. It’s time to stop being afraid of not looking smart and speak up, that’s why participating in this second international summit on women’s leadership is so important.

To register to the summit click here: www.cil.events

To know more about Guila-Clara Kessous and her many accomplishments, enjoy here below our interview with the artist for our web series #CreativityWilLSaveUs Phase 2, When Venues Close, Windows Open. A Vision into the Future.

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.

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

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


What Do You Think An R.O.E. Is?

Our Business Strategist & Artistic Director, Daniela Pavan, digs deep into the core of Creative Point-On’s business philosophy. In business, ROE has a specific meaning: Return Of Equity, which is a measure of financial performance. It is calculated by dividing net income by shareholders’ equity. ROE is considered the index that measures a corporation’s profitability in relation to stockholders’ equity. But how does ROE apply to the art & business of storytelling?

By Daniela Pavan

Creative Point-On’s business lines gravitate all around one central concept: storytelling. So the question is, how can the ROE, the return of equity, be applied to a storytelling approach? Maybe interpreting the ROE from a different perspective. If we think about it in terms of Return of Emotions then we can more appropriately and efficiently find its application in the storytelling field. 

Since the dawn of time, we have tried to make a sense of our romance with the unknown by expressing it through stories, from primitive graffiti to songs, poems, movies, podcasts, blogs, posts, till the stories on Instagram.

Storytelling pushes the message in the gears of modern communication and global innovation. Behind every artist, entrepreneur, brand, product, or institution, there’s always a story. 

We live in a world where we are online almost 24/7, and at times we forget to value the importance of human relationships. Well, stories can help us stay emotionally connected to one another in the same way that they can help brands connect with their potential customers on an emotional level. Stories are indeed a powerful problem-solving tool. They build connections and transform perspectives. Through the conflicts and the challenges in a story, an audience can profoundly transform their point of view and become emotionally attached to the storyline material and to who narrates the story.

Stories emphasize emotional values. That’s why if a brand, a company, or a talent articulate their storytelling well, they can effectively grow an affectionate audience base, which can therefore turn leads into long-lasting customers.

Daniela Pavan

Also, stories emphasize emotional values. That’s why if a brand, a company, or a talent articulate their storytelling well, they can effectively grow an affectionate audience base, which can therefore turn leads into long-lasting customers. Storytelling is, by definition, a way of reaching an audience that taps into their emotions, provokes empathy, and resonates deeply with their own personal story.

Whatever emotion a particular story triggers, it ignites a gut feeling. As humans, we’re prone to listen to those emotions and they often become the basis through which we decide to spread the word, to engage with a brand, to buy. This is why storytelling generates not just a return on investment but also a return on emotion.

For more info about our Branded Storytelling, Urban Storytelling & Talent Storytelling Services CLICK HERE

The Revolution Will Not Be Televised, But It Will Be Likable?

By Pramila Baisya

An essay covering how revolution looks in a social media era and discovering the adverse harm specifically when it comes to understanding infographics.

Graphic by Caitlin Du

 

When you’re scrolling through Instagram and you see new human rights issues beginning to trend through a steady stream of infographics, do you as a consumer ever stop to wonder why? This week all hands are on deck regarding #FreePalestine and #FreeSheikhJarrah, despite the oppression of Palestinian people going back decades. Before this, last week India’s oxygen shortage amid their second wave was trending, before that protests in Colombia, before that Black Lives Matter and the list goes on. Let’s not forget that U.S. troops still have a presence in Afghanistan (which was an unnecessary war). 

The point I want to highlight is all of these struggles are connected to one another, and it is critical to assess the connections of oppression between them and actively question the imbalances of power.

The point I want to highlight is all of these struggles are connected to one another, and it is critical to assess the connections of oppression between them and actively question the imbalances of power. They are not separate from one another, and should never be discarded as “last week’s news”. If something such as the oppression of Palestinian people stops trending on Instagram and Twitter, that does not mean the conflict or the trauma of people ends there.  More than that people’s lives and the varying degrees of oppression are not trending topics to be consumed. A platform like Instagram has a tendency to conjure the creation of infographics, to sum up very nuanced lives of people into square posts and illustrations. These infographics dehumanize the people it claims to support, making their struggles into concepts. 

Via: Instagram @mariebeech

I have written about infographics and the harm they cause in the past but am looking to shift gears with this piece to assess what it means to support a “trending cause”. When you re-share an infographic to share your solidarity with a marginalized or oppressed group, not only is Instagram capitalizing off your data with this, but it brings attention to you the user instead of the bigger picture which is the people at risk. Why on these platforms do we as users feel a need to express solidarity and empathy, when we should have empathy regardless if we engage on a platform or not? Why is there an urge to express support of a certain group only when it trends and more importantly who are we doing it for? For example, by expressing solidarity for Palestine, or Black Lives Matter through infographics, you are bringing the attention to yourself for validation from your peers who are not of that marginalized group. The sharing and resharing of these don’t help the individuals going through their respective struggles. 

When you re-share an infographic to share your solidarity with a marginalized or oppressed group, not only is Instagram capitalizing off your data with this, but it brings attention to you the user instead of the bigger picture which is the people at risk.

The problem with social media as yet another tool is that it doesn’t enforce the difficult conversations and bias that we need to address if change truly wants to happen. With infographics on Instagram, the research for people tends to stop there. What fails to happen is understanding individual stories or generational stories, ones that don’t need research of fact to corroborate their experiences. The word “info-graphic” itself indicates that all it will do is present information as if only facts surrounding the conflicts are all we need to know. While these info-graphics are accessible, easy to read, and save you time on gathering information, they cannot be an end all be all to understanding very complex topics. All conflicts may be painted as black and white, that does not mean the effects on people’s lives are black and white. 

Via: Instagram @soyouwanttotalkabout

What fails to happen is understanding individual stories or generational stories, ones that don’t need research or fact to corroborate their experiences.

Furthermore, depending on the page you are on a lot of these infographics take a neutral stance, as if removing themselves from the issues altogether. While information needs to be presented accurately, factually that does not mean it has to be presented robotically. Removing empathy from the issue at hand is dangerous because it created a disconnect from the user liking it to the people who are oppressed and marginalized. These infographics are a good start if you need basic facts on a particular topic. However, they will not lead the revolution. The real changes happen outside of a social media platform through mutual aid groups, and mass protests, things that the media would never show. The Revolution will not be televised is a song and spoken word poem by Gil Scott Heron that covers how as individuals we would never see the real revolution if we’re glued to our television. His lyrics still stand true, making me wonder how if the revolution will not be televised why would it likable.

The Revolution Will Not Be Televised

About Pramila Baisya

Pramila Baisya
Pramila Baisya

Pramila Baisya is a 3rd Year Writing student at The New School. She is an editor for the school’s Her Campus Chapter, and interned at Bowery Poetry Club. She currently contributes to Street Art United States. She is also a freelance photographer skilled in Adobe Lightroom and Adobe Photoshop. 

“Hi there I’m Prim! Your friendly neighborhood writer, photographer, and overall film connoisseur! Come along on this journey, I don’t know where it will lead! Enough said I hate writing about myself, enjoy my work!”

Check her writing portfolio: https://pramilabaisya.journoportfolio.com

Fotography website: https://www.primsfotography.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!