Jérôme Bel’s "The Show Must Go On" (2001)  | Photo by Mussacchio Laniello.
Jérôme Bel’s “The Show Must Go On” (2001) | Photo by Mussacchio Laniello.

NEW YORK CITY. United States |  The Museum of Modern Art will be streaming live video of select performances and programs from the exhibition “Some sweet day” at MoMA.org/live.

The schedule is below, but please note that it is subject to change.

Saturday, October 20
Jérôme Bel, The Show Must Go On
Livestream from 1:00 to 1:30 p.m.
Jérôme Bel (French, b.1964) is a central figure in a group of contemporary European choreographers who have questioned the fundamental parameters of their own practice—and the practice of choreography in general. As a result, they have produced highly conceptual and critical works that expand the boundaries of what dance can be. At MoMA, Bel stages The Show Must Go On (2001), which, in many respects, serves as a response to Judson Dance Theatre and Steve Paxton, whose work is shown in the same week. The work pairs New York City dance luminaries with nonprofessionals.

Jérôme Bel and Steve Paxton Performance Response
Livestream at 4:00 p.m.
Jérôme Bel and Steve Paxton respond to the week’s performances in the Marron Atrium. The conversation is led by Sabine Breitwieser, Chief Curator, Department of Media and Performance Art, and Ralph Lemon, guest curator and choreographer.

Sunday, October 21
Jérôme Bel, The Show Must Go On
Livestream from 1:00 to 1:30 p.m.

Steve Paxton, Satisfyin Lover and State
Livestream from 4:00 to 4:30 p.m.

Steve Paxton (American, b. 1939) is regarded as one of the most significant choreographers of his generation. He indelibly transformed the vocabulary of dance through his contributions to the Judson Dance Theatre in the 1960s and his development of the Contact Improvisation movement technique in 1972, which was influenced by his studies in the martial arts and based on ideas of improvisation, gravity, and momentum between two bodies. For Some sweet day, Paxton presents his seminal postmodern works Satisfyin Lover (1967) and State (1968), which question the established parameters of dance, such as virtuosity and style, while also addressing the artist’s fascination with the ideas of simple everyday movements and the untrained body.


Wednesday, October 24

Faustin Linyekula, What Is Black Music Anyway…/Self-Portraits
Livestream from 1:00 to 1:30 p.m.

Choreographer and director Faustin Linyekula (Congolese, b.1974) creates works that reflect the sociopolitical history and cultural struggles of his native Democratic Republic of Congo. In What Is Black Music Anyway…/Self-Portraits, a dance/performance he created for Some sweet day, Linyekula is joined by Congolese guitarist and composer Flamme Kapaya (Congolese, b.1978) and South African singer Hlengiwe Lushaba (South African, b.1982). Together they contemplate what
black music might be in the Museum’s white cube space.

Dean Moss and Laylah Ali, Voluntaries
Livestream from 4:00 to 4:30 p.m.
American choreographer Dean Moss (b. 1954) works across disciplines, mediums, and cultural boundaries in collaborative performances that probe subjects of identity and perception, and promote audience participation. For his MoMA commission in the Marron Atrium, Voluntaries, Moss invited visual artist Laylah Ali to join him in a work reexamining the legacy of John Brown, a white abolitionist who attempted an armed slave revolt in Harper’s Ferry, Virginia, in 1859, resulting in his capture and execution.

"Le Cargo," de Faustin Linyekula, Studios Kabako (2011) Centre national de la danse
“Le Cargo,” de Faustin Linyekula, Studios Kabako (2011) Centre national de la danse

Thursday, October 25
Kevin Beasley, I Want My Spot Back
Livestream from 3:30 to 4:30 p.m.
In his sculptures, Kevin Beasley (American, b.1985) explores spaces of ambivalence. His contribution to Some sweet day consists of a two-day performance in the Museum’s Marron Atrium. Beasley takes on the role of DJ, mixing slowed-down a cappella tracks by deceased rappers from the 1990s with additional textures, rhythms, and feedback. Evoking and altering the social, emotional, and political contours of hip-hop, Beasley immerses the audience in a visceral soundscape that emphasizes the body’s relationship to charged social conditions.

Saturday, October 27
Dean Moss and Laylah Ali, Voluntaries
Livestream from 1:00 to 1:30 p.m.

Faustin Linyekula, What Is Black Music Anyway…/Self-Portraits
Livestream from 3:00 to 3:30 p.m.

Dean Moss and Faustin Linyekula Performance Response
Livestream from 4:00 to 5:30 p.m.

Dean Moss and Faustin Linyekula respond to the week’s performances. The conversation is led by Daphne A. Brooks, Princeton University, and Brent Hayes Edwards, Columbia University.

Friday, November 2
Deborah Hay, Blues
Livestream from 1:00 to 1:30 p.m.
Deborah Hay (American, b.1941) is widely considered one of the most influential and relevant choreographers in experimental dance today. As a founding member of New York’s Judson Dance Theatre in the 1960s, she took part in radically reshaping American dance by opening it up to other art forms and by shifting it away from spectacle and toward ordinary, everyday movements.

For “Some sweet day,” Hay contributes a new dance titled Blues, which was inspired Hay’s vision of a dance for 12 African American and 15 white American dancers in the Museum’s Marron Atrium and lobby. Addressing issues of race and social reality, Blues is a means “to ground the space in life.”

Performance of Steve Paxton’s State (1968) at The Museum of Modern Art, October 2012. Part of Some sweet day (October 15 to November 04, 2012) 2012 Museum of Modern Art, New York. |  Photo by Julieta Cervantes
Performance of Steve Paxton’s State (1968) at The Museum of Modern Art, October 2012. Part of Some sweet day (October 15 to November 04, 2012) 2012 Museum of Modern Art, New York. | Photo by Julieta Cervantes

 

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