Festival 6 - 10 March, 2024

In Lickalike we give voice to our reflections on the necessity and the character of artificial and natural forms of organisation. The focus – both visual and auditive - is on the connectivity between everything that is alive. From this point of view, the work examines such self and externally organised systems that have become the basis of our current social understanding.

It’s all about individual and social identity, about interconnectedness and collectivity, social responsibility and our digital and natural living environment.

A prevailing situation can always be seen from various perspectives. The film follows various narrative threads, some of which evolve into utopian contexts of development and meaning. Fragments of organised connectivity are extracted and reassembled; the whole context is fragmented – but nonetheless it becomes apparent: Everything is connected.

In a circus, an ensemble of acrobats tries to create a perfect pyramid of human bodies. However, one of them has problems with his hand and cannot hold his colleague so that the pyramid collapses. The choreographer now has three options to achieve his goal: He can replace the injured acrobat with a new, more capable person; he can replace the whole ensemble, or keep the team, but find the right spot in his choreography for everyone involved. All three processes can have the same result; however the essential difference lies the path that takes them there.

In a purely abstract way, Hierarchy Glitch deals with a core idea of the Common Good Economy model. Both its visual patterns and the ensemble’s voices are tied up in hierarchical behaviour that restrains the full potential and mobility of each individual element. Soon the matrix pattern collapses, connections and directions are lost, resulting in entropic disorder. This is the moment when individual units autonomously connect with the rest, forming organic and balanced constellations. They develop a collective organism, a resilient entity.

The project explores urban edges as they correspond with the marginality of social groups who inhabit them. Distance, the anonymity of the architectural setup, decay, but also movement and interaction are subjects of a raw sketch that seeks to integrate a discussion about space and segregation into the discourse of the Common Good. The audio-visual language of the film uses a transparency and starkness of approach to reflect its subject matter. The fusion of architectural lines with sound through unexpected correspondences and synchronizations aims to generate a new kind of intermedial proposition.