The Home is a fictional residential care home provider, created by artist Christopher Green.  In 2019 UK audiences were invited to a 48-hour experiential show where they moved into a fake care home.  Now The Home is going digital and global.  In a major international collaboration with Saitama Arts in Japan, you can move virtually into both a British and a Japanese care home and feel what care is like.

This innovative entertainment engages the audience with cutting edge technology, stylish design, interactive games, original films commissioned from a range of exciting filmmakers, contributions from leading thinkers in the field, and a healthy dose of satire.  It features collaborations with a huge range of creatives across Japan and the UK, including performers of a huge range of ages. Being vulnerable, being cared for, is something most of us don’t want to do.

The Home seduces you with exciting content and before you know, you’re thinking about ageing in a more positive way, considering how care is delivered in other cultures, potentially advocating for change in the sector, and balancing the negative view of residential care in the media.  Who knows, you might even enjoy yourself.

The Digital Home will be available as an online choose your own adventure, and the full experience will be available to download as a game to be played on all devices. Click here to access.

This extraordinary immersive experiment investigating the performance of – and line between – care and control is an unforgettable feat of emotional engineering.  The Home is remarkable… neither a blanket celebration nor critique of the care sector, but a demonstration of how complicated and difficult it is. By making us genuinely vulnerable, The Home forces us to directly address the care industry and our own possible futures within it.

The Guardian on The Home

Credits:
The Home is created by Christopher Green
Produced by The Albany, Entelechy Arts and Christopher Green
Japanese Partners: Saitama Arts
Funded by The Japan Foundation

 


 

 

Supported by the Garfield Weston Foundation through the Weston Culture Fund