1. Sumugan Sivanesan is an anti-disciplinary artist. Often working collaboratively, his practice is concerned with histories of anti-colonialism and transcultural exchange. He was invited through 4A Centre for Contemporary Asian Art to perform at MOMENTUM|Sydney (2010), with “Who’s Eating Gilberto Gil”, a performance-lecture using history, popular culture, art and music, invoking the tropes of cannibalism to discuss recent ideas about race, settler–colonialism and contemporary necropolitics. M O M E N T U M is proud to invite Sivanesan back with another performance-lecture on the topics which take his research-based practice around the world.
    The Anticolonials traces a thread of anti-colonial anti-politics through history and into the present, offering a patchwork reading from scraps of material culture and glimpses of contemporary mediated life. Itinerant artist Sumugan Sivanesan will present a performance-lecture developed whilst shifting between Sydney, London and Berlin.

    More info on momentumworldwide.org/exhibitions/past/anticolonials/

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  2. TRAVELING SOULS

    09 DECEMBER 2012: LIVE PERFORMANCE

    14-23 DECEMBER: GALLERY EXHIBITION
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    TRAVELING SOULS: An Interdisciplinary Performance

    Commissioned, Curated, and Co-Produced by MOMENTUM

    Created, Choreographed, and Directed by Emi Hariyama, Maximilian Magnus Schmidbauer and Daniel Dodd Ellis

    And Interactive Light Design Specialist Dr. Marcus Doering

    Original music composed and performed by:
    Daniel Dodd Ellis
    Holm Birkholz

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    What happens when you bring together a Japanese ballerina dancing with the Berlin Staatsballet, a German painter, an American opera singer, and Berlin’s most innovative interactive media artist? Magic. MOMENTUM commissions a new work made specially for our gallery in the historic Kunstquartier Bethanien, a former hospital built in 1847 by Kaiser Friedrich Wilhelm IV which functioned as a hospital until 1970. Subsequently inhabited and fought over by squatters and arts organizations, this space has had a poignant and colorful history.

    Enter four diverse artists who have never worked together before. Now based in Berlin, but originally from very different parts of the world, they come together to reflect on the movements which have brought each of them to converge on this particular space at this moment. Using dance, visual art, voice, and interactive light design, they respond to the unique spaces of Bethanien and the latent aura of its history. In asking these artists to work together, we have given them free reign to develop their own expressions towards this location and their own answers to the question MOMENTUM continuously poses: What is time-based art?

    Crossing interdisciplinary boundaries, drawn together through creative synergies, this foursome of talent embodies MOMENTUM’S mission to enable great art to happen across cultural and institutional borders.

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  3. For Month of Performance Art, MOMENTUM curates a month-long program of Performance Sundays entitled Works On Paper. This exhibition series inverts usual assumptions, inviting performance artists to use paper both as form and as content; not as a blank slate upon which to create, but as a dynamic building block with which to create. Bringing together a diverse group of international artists based in Berlin, MOMENTUM invites them to work on paper and with paper to activate all the possibilities of the medium in unexpected ways. Working through durational performance, instruction pieces, physical and social architecture, live performance in dialogue with video performance, and a diversity of individual practices, Works On Paper invokes the breadth of performance art to reimagine paper: this most traditional of artistic media.

    The pile of paper containing thousands and thousands of sheets is reminiscent of laborious and repetitive exercises that are used for drill, punishment or mastering a skill. In this sense of an ongoing production and reproduction the pile also generates a metaphor for something one sits on top of in order to breed and keep alive, like a pile of eggs and in a more abstract sense a set of rules and traditions or a system.
    In its multitude the sheets of paper become a solid body, which cannot only be marked on the surface, but also carved into, penetrated and shaped both literally and metaphorically. While the structure – the appearance of the pile – remains intact on the outside, changes occur on the inside. Both destroying and building, this penetration of the body may be regarded in a political context as a metaphor for underground movements and the act of undermining systems and ideologies, until they eventually collapse. In the context of scholarly, repetitive exercises the two performers take on the roles of master and disciple.
    The seeming authority of the observer or the master is in itself a failure within the system, as the action carried out on top of the pile is not completely visible. Both the observer and the observed are aware of each others presence and their limited control. Somewhat both roles are interchangable, so that everyone is the observer and simultaneously the observed. The acceptance of this ritual is an absurdity in itself, however, it is so that systems continue to function or are eventually changed.
    From Germany and Argentina respectively the artists are drawing on their personal histories as well as those of their countries, challenging current political systems and social power structures (class, gender, race, religion) still shaping our times.

    Video shot and edited by Igor Dimitri

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  4. For Month of Performance Art, MOMENTUM curates a month-long program of Performance Sundays entitled Works On Paper. This exhibition series inverts usual assumptions, inviting performance artists to use paper both as form and as content; not as a blank slate upon which to create, but as a dynamic building block with which to create. Bringing together a diverse group of international artists based in Berlin, MOMENTUM invites them to work on paper and with paper to activate all the possibilities of the medium in unexpected ways. Working through durational performance, instruction pieces, physical and social architecture, live performance in dialogue with video performance, and a diversity of individual practices, Works On Paper invokes the breadth of performance art to reimagine paper: this most traditional of artistic media.

    “His father’s name was Akaky, so let his son’s name be Akaky too. In this manner he became Akaky Akakiyevich. They christened the child, whereat he wept, and made a grimace, as though he foresaw that he was to be a titular councillor.” (Nikolai Gogol, The Overcoat, p. 1). To write, rather than to speak; to put to paper any given thought is to somehow bind one’s will to language. This is the weight that a paper frequently carries. But, to copy, is to somehow exclude one’s self from the process of making the word real, an avoidance of binding one’s self to the concept and meaning of language. A workshop-based performance will function as research into Nikolai Gogal’s book The Overcoat, both examining the act of copying from the perspective of Akaky Akakiyevich as abstraction, and as a societal relationship.

    Video shot and edited by Igor Dimitri

    # vimeo.com/66332873 Uploaded 140 Plays / / 0 Comments Watch in Couch Mode
  5. For Month of Performance Art, MOMENTUM curates a month-long program of Performance Sundays entitled WORKS ON PAPER. This exhibition series inverts usual assumptions, inviting performance artists to use paper both as form and as content; not as a blank slate upon which to create, but as a dynamic building block with which to create. Bringing together a diverse group of international artists based in Berlin, MOMENTUM invites them to work on paper and with paper to activate all the possibilities of the medium in unexpected ways. Working through durational performance, instruction pieces, physical and social architecture, live performance in dialogue with video performance, and a diversity of individual practices, WORKS ON PAPER invokes the breadth of performance art to reimagine paper: this most traditional of artistic media.

    The underlying theme common to my works is the conflict or dialogue with myself and my interactions with the world. What should I hide about myself? What should I show? What should I reveal? There are questions, there is inquiry – and all of this goes on within the context and with the understanding that I’m sharing the space and creating an experience with other people who are busy with the same thing. The two works I have presented here feature performance, sculpture, and body in an intertwined relationship. Body is a part of the sculpture, and an inseparable piece of it. The performance is putting into question the presence of the body, and the experience is relating to the artist as a person or as a part of the object in that moment. As the designer of these frameworks for experience and an integral performer of them, I experience the performed sculptures as an extension of my body, and as a frame for my body that defines borders, declares division, and offers points of access and inaccessibility. In these works, I create a specific structure for the situation or interaction, which I assume has clear guidelines. However in reality, each person present, individuals loaded with imagination, cultural conditioning, social inhibitions, influence of their peers, will perceive, interpret and act differently in the given situation, and that’s when things get interesting.

    Video shot and edited by Dian Zagorchinov with Igor Dimitri

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