Getting ready

Rehearsing at the exhibition with my extraordinary Palestinian friend, Sharon Rose—dancer, model, artist—brought an intensity and fluidity to the space, a presence both commanding and ephemeral. Later that evening, in collaboration with Mei Hui, the performance unfolded—a charged, hypnotic moment at 6 PM on February 28 It wasn’t just an event; it was an invocation. Visitors stepped into something beyond spectacle—a terrain of renewal, memory, and play, where the boundaries between performer and audience dissolved.

This wasn’t about art as mere aesthetic display. It was about the alchemy of friendship, creativity, and love—our own improvised medicine—coalescing into what Kim Hastreiter calls cultural medicine. In an era of fragmentation and disconnection, Parade rejected passivity, insisting instead on shared experience, on art as an active force against alienation. It reimagined the exhibition as something more vital: a gathering, a communion of energies, a celebration of the communities that shape us and the worlds we dare to create together.