SUNDAY, MAY 4
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TIME: 13:00-16:30 + concert at the Culture Container at 18:30
WHERE: MPA-HUB, Holzmarktstraße 25, 10243 + Culture Container (same site as the MPA-HUB)
CURATED BY: Dovrat Meron www.dovratmeron.com
TRANSNATIONALITY AND TRANSLINGUALITY TALK/BRUNCH
PERFORMANCE ART AND CULTURAL POLICIES
The Transnationality and Translinguality series culminates with a brunch and discussion about performance as labour and the working conditions for transnational performance/ing artists writers and poets. We are delighted to collaborate with Joseph Michael Patricio and Nowhere Kitchen a successful model of micro economy merging performance, discussions and lectures with vegetarian meals for performative price. nowherekitchen.wordpress.com
In the center of our discussion stands the complex attitude of institutions toward transnational performers and the multiple transdisciplinary roles of researchers-performer-curator-presenter-producer and promoter. We will propose critical positions towards the controversial issue of artistic practice and labour and the influence of the art institutions policies on performance curators / presenters / programmers and performers working conditions and artistic freedom.
The public is invited to join discussion on different aspects of International Performance/ing Festivals and the formation of alternative structures and platforms such as MPA-B.
18.00 Concert by Tamar Linder “The couch surfer from Tel Aviv”
Location: at the Culture Container, MPA-B Hub. Entrence: suggested donation 3 Euro. The concert is in English and Hebrew.
Mêlée Performance installation by Veronika S. Bökelmann (German) can be approached any time throughout the event.
Photo Credit: “Over Exposed” by Claudia Ximena Lopez
The Transnationality/Translinguality series is kindly supported by the:
and with the kind support of Foundation for Contemporary Arts Emergency Grant NY
Photo Credit : Teena Lange
MIXED MEDIA ON PAPER
FOUR LIVE PERFORMANCES
One condition. Four approaches. What will occur? Four artists will perform simultaneously on four paper platforms within the characteristic ambiance of the MPA-HUB. Each of them chooses one more material to work with. During the time zone of four hours you are invited to witness singular approaches, occurrences and spheres.
Photo Credit: Emillio Rapana For MPA-B, MOMENTUM curates a month-long program of Performance Sundays entitled WORKS ON PAPER II. Works on Paper inverts classic assumptions of paper as a medium, inviting performance artists to approach paper not as a static blank canvas, but as a dynamic source of conceptual and performative possibility. This year’s WORKS ON PAPER takes place parallel to MOMENTUM’s exhibition PANDAMONIUM: Media Art from Shanghai.
PANDAMONIUM is the collision of Panda Diplomacy – China’s longstanding practice of sending cute fluffy mammals into the world – with its most enticing cultural export of the day: Contemporary Art. WORKS ON PAPER II focuses on China, where the painting of calligraphy, from its very origins, had a performative aspect.
WORKS ON PAPER II: PANDAMONIUM
SUNDAY PERFORMANCE SERIES
Untitled (2014) is a combined text installation and performance work in which the installation remains as a discrete work once the performance is finished. The installation comprises two principal elements:
1. The titles of several thousand exhibitions that have taken place in public institutions and private galleries of note, internationally, during the past ten years, and affixed to the walls and ceiling of the exhibition space as though they were constituents of a single sentence, an arrangement that empties them of their original meanings, and makes possible many alternative possible meanings by virtue of their juxtaposition.
2. A podium that holds a book of similar dimensions to a book of Scripture, but which contains a succession of the same titles, together with the dates and the institutions where the exhibitions took place. In the performance phase, the artist enters the installation space and, in solemn tones, reads from the book the titles of the exhibitions contained therein, and then exits the space, converting it thereby to a spatial metonym of the semantic emptying of the titles that the installation imposes.