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Charlotte Hochman
Award-winning innovator. New narratives.
Charlotte Hochman is a Paris-based innovator and artist known for centering agency and new narratives in her work.
She specializes in projects within emergent contexts and fosters interdisciplinary collaboration through collectives like PLACE, Wow!Labs, and The Beehive.
Charlotte's artistic endeavors focus on prompting conversations on rapidly evolving societal topics through writing and artistic direction.
She is involved in teaching, leading artistic residencies, and shaping cultural strategies globally, emphasizing the emergence of new narratives around various themes.
Charlotte has collaborated with notable entities like Obama's White House, mayors of Paris, universities, and cultural institutions worldwide.
Her accolades include awards such as the United Nations Intercultural Innovation Award, Fulbright scholar, and recognition as a Responsible Leader for the BMW Foundation.
Charlotte's educational background spans studies at University of Oxford, INSEAD, SOAS University of London, and Fulbright France, focusing on philosophy, modern languages, entrepreneurship, social impact, law, development, and interculturality.
Highlights
I’ve come to think of collaboration as “not knowing, together”. Sharing the intimacy of disorientation, and sensing the possibilities alongside each other, with everything that our bodies have lived until that point, helped and sometimes hindered by what our minds have also learned.
I’m embarking -literally- on an adventure to test this out in practice: a floating residency on European rivers. Beyond my participation as an artist in residence, I have been tasked to shape how we cocreate across disciplines- an immersed, experiental artistic direction. The diverse disciplines we embody on board include novel writing, biology, performance, cyborg poetry, music, scientific data collection, photography, video.
The residency unfolds in the context of 3 festivals that bring to life the riverbanks of Lille (France), Brussels (Belgium), Utrecht (the Netherlands) with activism, music and intergenerational celebration. The floating residency links the festivals by boat, like a slow creative spaceship, connecting Europe through water. This beautiful utopia, FLUCTUATIONS, was thought by Nicolas Dhers, skilled festival-creator, designed with Charline Albericci, Vince Fueg (Vincent Langlade) and team. This year marks its pilot, on board the vibrant Urban Boat.
My big YES to this adventure came because it resonates with questions alive in my work at present:
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The emergence of new imaginations, which are what we need most at present to preserve life, will come from decompartmentalizing human thought. Human thought now sits awkwardly in silos. Scientists, philosophers, artists, social scientists. Experts in civil society, business, governance. Knowers and non-knowers. How can we cross disciplines and specialized thought patterns radically, to ensure life can thrive in the future? Let's get our hands dirty.
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Our physical experience of the world, as bodies in context, stores priceless information. This is our unique way of understanding the world, what AI will always lack. Yet we - body wisdoms- can partner with technology, to co-create (ha, again!) possibilities for life to thrive. How does our personhood, bodyhood, show up in what we do? How can we sense the personhood of other forms of life - of other sentient beings, of water? Does being ON water and living through different bodies and disciplines, while deciding to sense together (collaborate), give us means of creating differently?
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What relationship do we want with time? We live in urgent times. We need slowness. Creativity happens outside of transactional time. Tomorrow is uncertain. Navigation is slow. Celebration is fast. Silence suspends time. Joy is outside of time. So is true co-creation. Can creativity be ordered? How do we avoid an output-driven culture, yet inhabit fully a shared sense of time?
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Is there a washing machine on board? (a question I have to credit to our film maker- undoubtedly my favourite question of all).
#newnarratives #interdisciplinarity #responsibleleadership
There are no shortcuts to bridging our differences - but there are paths to understanding resistance.
The Global Diplomacy Lab welcomed our latest artwork, How We Meet, in Tunisia last week in Kamel Lazaar’s grandiose artistic centre-in-the-making, Tilal-Utique.
The Global Diplomacy Lab organized its festival to push ways in which diplomacy is being reinvented- including soft diplomacy and cultural diplomacy. Sharing my work in this context and authentic dialogue with peers brought several perspectives.
Seasoned diplomats shared their nuanced view of what politics and diplomacy stand for, as a rethinking of the relationship between individual self, community and nation-level.
Their take on How We Meet, and art and artivism in general, was rich: I heard that an art piece is “political” when it offers space to have a different understanding of our relationships to one another, when it expresses a view on what kind of relations could regulate a community. Putting the human first is a political statement. Any piece that looks for ways to overcome a binary logic is a political act, as is making the perspectives seen of people who are in-between.
I also discovered diplomacy as the art of seeking to understand why resistance arises. “The biggest blindspot I can have is to refuse to have a conversation. It wouldn’t be responsible on my side not to attempt to understand where others are coming from” said a woman diplomat I particularly admire- somewhere experts too rarely go.
Standing in Utica over 3000 years of history, even before Carthage, our unspoken starting point was that we can all shape the future by making decisions in the present that attempt to fix - to some extent- the past.
Seeing the team of the art-centre preparing at full speed for the installation of How We Meet was a moment I will not forget. I’m always in awe of what it takes to install a pop-up piece in a space that it has just met, especially when it is in a place of exceptional natural beauty. There is an encounter there that I find infinitely touching, and I am grateful for their highly professional work in creating the right conditions for it to exist in that moment.
Art and diplomacy, for me, share a desperate quest to find others with whom to create common ground on which we can all stand.
Thanks to partners Kamel Lazaar Foundation The Fulbright Program International Alumni Center gGmbH (iac Berlin) BMW Foundation Herbert Quandt
Thanks to peers Khaldun Johannes Martin R. Castro Stefan Rudrani Chris Cristina Matej Katarzyna Senta Höfer Ilka Amarachi Peter Anna Katharina Patrick Sylvia Shawgi David Elif Trinidad Sabrina Stefanos Audrey Namdiero-Walsh Markus Hipp Darius Polok Tobias Hipp Shabou Farouk Sue Lyn Hakan Tosuner Kerstin
