Misha Pinkhasov Luxury in the time of cholera
Saskia Vogel Exploring Our Hidden Fantasies and Taboos
Mauricio Albarracin Mauricio Albarracín abogado LGBTI
Jeremy York Jeremy York
René Nguyen Taboo
Justin Dingwall Justin Dingwall
Justin Dingwall Breaking down Albinism
Dina Lagos El Arte Tabú
Loyiso Mkize on Taboo
Ophelia Pastrana Ophelia Pastrana
Chiara Rapaccini Taboo con RAP
Flávio Steffens Flávio Steffens
Sneha Suhas Comedienne
Sneha Suhas The Monk's Curfew- Featured Band
Tammy Myers Tammy Myers
Laura Baena Laura Baena
Fábia Lombardi Fábia Lombardi
Morgan Givens Intricacies of Identity
Jake Witzenfeld Jake Witzenfeld
Simon Frankart Simon Frankart
Gina Nebesar Ovia Health
Pinar Ogun Noticing the everyday taboos
Ann Friedman Taboo: So Magical It's Dangerous
Leah Ball The Challenging of Taboo
Oslo Davis Embracing Taboo and Controversy
Bri Lee Taboo
Michael Venn Michael Venn
Arjanna van der Plas & Fran Guijarro Rendering the Spectrum of Homelessness
Gianina Cărbunariu Discussing taboos through documentary theatre
Dan Moulthrop Freedom For the Thought That I Hate
Yi-Hwa Hanna & Carlin Gerbich Thoughts on magazine publishing today
Fabio Buresti Client and Agency
S Surface S Surface
Zaki Djemal Zaki Djemal
Ben Hammer Ben Hammer
Gregory Kloehn Q&A with Greg Kloehn
Michele Okuhara Michele Okuhara
Gregory Kloehn Redefining what a home is
Maya Freelon Asante Maya Freelon Asante - Taboo
Brett Trapp Taboo
Jiří Rejzek Jiří Rejzek
James Greig Self-care for the creative soul
Matt Busby Citizenship is Taboo
Cynthia Ho Cynthia Ho on TABOO
Bri Lee Bri Lee Taboo Icebreaker
Bri Lee Taboo Icebreakers
Alexia Perry Spare Some Change?
Andrea Bonilla e Ian André Andrea Bonilla e Ian André
Chris Bergeron Chris Bergeron
Mark Musgrave Using creativity and enterprise to make a difference
Adam Bent Startups that disrupt archaic industries
Cassandra Calabouço Cassandra Calabouço
Carlos Galiana Tabú en política vs tabú para el actor
Алексей Потапенко и Юлия Халецкая Каково создавать бизнес в паре
Frank Gaard The Burn To Make Things More Beautiful
Neda Sokolovska Taboos of the 90s
Connie Regan-Blake Breaking Taboos: Challenging the untrue stories we tell ourselves
risky nath When Diversity Becomes A Taboo
Sarah Kay Q&A
Sarah Kay Poem Your Way
Donatas Paulauskas Feminizmas - tabu? (LT)
Jane Hervey #BossBabeATX Boss
Nadja Schnetzler Nadja Schnetzler
Katrien van Beurden Playfulness And Taboos
Nikki Jackson A Personal Journey
Dave Ortega Dave Ortega
Daniel Lateulade Daniel Lateulade
Iza Moczarna-Pasiek Iza Moczarna-Pasiek
Tom Loois Taboos and Sexuality
Iza Moczarna-Pasiek I would like to encourage you to break the taboo.
Kajsa Schedwin & Maria Hellbjörn She did not. Just. Say. That.
Claudia Cano On Being Rosa Hernandnez
Mariah Mansvelt Beck Discussing the Difficult
Jason Buckley Hell Pizza
Rosalba Romano Essere o non essere, questa è la scelta
Liz Valentine Liz Valentine
Julia Taffe Dance Taboos
Malin Schulz Malin Schulz
Raneen Farid Taboo
Brandon Ward Taboo
Amal Iqbal Studio FIG
Duron Chavis Taboo: Speaking Truth In A World of Alternate Facts
Raphael Clemente Let’s Talk Taboo & City Design
Jessica and John Winters Why Not?
Frank O'Neal Taboo? Or Ethnic Socialization Cleansing
Jared Anderson 5 Steps for Overcoming Inflicted Taboos
Melissa Crum The Taboo Stories We Hold
Thomas Kunze Thomas Kunze
Raphaël Cruyt How MIMA breaks social taboos
Cat McCarthy Love Your Community & Be Yourself
Mike Morrison The Advocate and The Entrepreneur, and the delicate balance of trying to be both
Amy Chiou Taboo
Dr. Moritz Peill-Meininghaus Dr. Moritz Peill-Meininghaus
At Viva Erotica our audience may not be masturbating in the cinema but they are hopefully finding themselves in dialog and discovering keys that unlock the possibility of being shameless and being free.
By investigating our taboos rather than turning away from them, we might find keys to parts of ourselves we didn't know were locked. We don't have to fling the doors open, but it's good to know what's inside.
Our Taboos they mediate the access we have to ourselves, and so in order to understand ourselves we really have to learn to understand them.
I would argue that we have to allow our erotic desire to become intricate part of the body of stories we tell about ourselves, or else, I think we are at risk of loosing out on really interesting personal insights and sources of inspiration.
And I find that in my own fiction writing the more I pay attention to my erotic fantasies, who features in them, the power dynamics in play and so on, the more I sensitive I am to why I'm writing what I'm writing. And this certainly does not exclusively apply to when I'm writing about the topic of sex but also how I'm writing and thinking about people and the dynamics of relationships in the world.
In addition to the provocative framework, the trigger, I now look at this fantasy as a way for me to sort of take my temperature. How I fantasize tells me about how I'm feeling about myself and how I feel in the world at any given point. And I think this kind of increase sits alongside things like dream interpretation or psycho analysis, you know, places where you go in your life to discover new things about yourself.
So what does this solitary, anti social experience mean for our fantasy lives? I think, how we consume porn has changed our relationship to it. And because it's ubiquity it's much easier to treat it purely as a tool, a trigger and not much more. And as triggers, I don't think we really... If you are just going to something as a trigger, I don't think it needs to be of a particularly good quality. I think you just need a provocative framework that kind of does it for you... And I'm just talking from a personal experience.
Now days, I think most of us consume our porn all by our selves, with the rare exception of a festival like this or Cinekink in the States or the Porn Film Fest in Berlin - places that ask of the audience to consider the art of the sex film, not just it's utility.
When something is taboo there is a lot of baggage to contend with before we can start asking the really interesting questions. Taboo is, in the way we are talking about it today, a hurdle and apprehension, something that keeps us from communicating honestly and openly. And it can lead to us censuring ourselves.
When we think about those days, I think there is a sort of discrete social element to porn you had to know where to get it, you had to create a network of sharing, and you had to find a safe space to consume it in. Because of the conditions needed for watching a pron film - space and discretion, you might have had to share the experience. And however covert, this was a social process of discovering.
I would argue that we have to allow our erotic desire to become an integral part of the body of stories we tell about ourselves or else I think we are at risk of losing out on really personal insights and sources of inspiration.
I wonder what stores of creatvity, insight and knowledge can be unlocked if you give yourself permission to be shameless?
When porn is treated as taboo, I think we're prevented from having a decent conversation about it.
As soon as someone tells me not to do something that's exactly, exactly, what I want to do.
It shouldn't be about the dark side of things all the time.
Everything that I care about is what inspires me. And everything that I hate is also what inspires me.
Everybody's the same when you're covered with pudding.
Being proud of yourself should not be taboo.
If comedy, if humor tells the truth about people, it helps people and society deal with taboo.
The humor walks holding hands with taboo.
The taboo can be a positive form of social rebellion.
If we follow social norms, the taboo has a confined space in the backstage.
This is a disease, an addition, we need to do the right thing.
We cannot arrest our way out of this.
If we are ever going to beat this disease and really challenge it, and really look at this, I think we need to destigmatize this and have open discussions and have people who are in recovery say it was really difficult but I’ve made it through.
Everybody that is in the film is identifiable to everybody.
You are forced to look at them as a human being in a real story.
I really wanted to make the choice of going outside that box by showing people as they are today.
I wanted to make the audience really like and to know these people and their stories and know them as people because I think that’s the first way of breaking that stigma.
I wanted to tell real people’s, real stories and a lot are in recovery and some of them are not. I wanted it to have that really personal feeling.
It’s sons, daughters, friends, people that you know and people that you don’t expect.
Every headline in every newspaper was about Heroin.
Most of the time a taboo is just something we can't talk about.
Taboos are these unwritten rules that hover above us that govern what we do. Most of us don't know where they came from or who put them there. They exert incredible control over our daily lives.
The mantra I like to live my life by, instead, is that everyone poops.
This fear and this inhibition to actually get started with something, because we feel like it's not reinventing the wheel.
We live in 2017—it's the 21st century—what could I possibly be adding to the conversation that hasn't already been said?
Hot Chicks with Big Brains started about two and a half years ago, as this like real weird little pokey project, where I was convincing successful women to let me into their homes.
Hope trumps despair.
Say hello to people. It sounds daft, but that actually does really make a difference.
...The chances are if they love what they do they'd love to do what they love to do for something good.
...I came away from from it just feeling quite heavy, just realizing it's such a big thing. I was hoping to basically bottom homelessness and solve it within the meal but it turn's out it's actually a bit more complicated than that.
There is a time to call it quits, but you guys, this is not it.
If your soul is invisible you need to feed it invisible things like love, laughter and joy.
Just question: what does art do to a militarized city like San Diego?
Hope trumps despair
There is this enormous potential and creativity as we age. As long as we're willing to question taboos.
There are a lot of taboos that limit us. They tell us who we can be and who we can't be, they limit our choices.
I always tell people, know what you are excellent at, and own, and articulate your unique value that you bring to your job. And when you have that, you can defend it, and you can feel confident, as you build your career in the direction you want to go.
What we try to achieve with the museum: to find a bridge above every different singularity. We have different identities, but we have cultural values that we share above our singular identities.
It was more like the idea of a music concert: if they don't come for the artist, at least they can come for the people!
At the time I understood words to be about shock and power and trying to use taboo to my advantage. I wasn't authentic to how I communicated, who I actually am as an artist or a person. And I grew into my authentic creative voice.
This poem is my newer attempt at finding language for anger and also allowing myself to explore what I once thought of as taboo, or what I once perhaps used as a weapon, and now I'm using with more thoughtfulness.
It took me a long time to feel ready to give myself permission again to write angry poems. . . . I have a lot more reasons to be angry than I used to. When I was a kid I had to drum up that anger, and unfortunately these days, I don't have to drum it up quickly; it's there.
What you think of as being edgy or taboo can change pretty dramatically and quickly, but also, what feels true is often something that outlasts where it is in the moment, or it may be true again at another time.
Alternative facts didn't just suddenly appear. . . . I live in a world where there's been lies told all of my life.
We are firm believers in that you can’t make equality without breaking a few taboos
Whatever we do, we try to at least push the world into a little bit more equal place
It’s not a matter of who we are; it’s a matter of who we can be.
You need the relationships between people in space to actually create choreography.
Dance is a community thing; you want to dance with people and for people.
For me climbing is a dance in stone.
If you wake up and you don't like what you're doing, do something else.
We didn't know what we were doing. We still don't have any idea what we're doing. But it was our thing...so we said 'why not?'
Suddenly, the artists realized they are in Molenbeek
At its simplest form, 'advocacy' to me is making sure that the system has the information it needs to work as well as it can for as many as it can.
The systems that we build are only as good as the people who manage them and the information they have to work with.