J茅r么me Bel鈥檚 "The Show Must Go On" (2001) | Photo by Mussacchio Laniello.
J茅r么me Bel鈥檚 "The Show Must Go On" (2001)  | Photo by Mussacchio Laniello.
J茅r么me Bel鈥檚 “The Show Must Go On” (2001) | Photo by Mussacchio Laniello.

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

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

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

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

Sunday, October 21
J茅r么me 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聽generation. He indelibly transformed the vocabulary of dance through his contributions to the聽Judson Dance Theatre in the 1960s and his development of the Contact Improvisation movement聽technique in 1972, which was influenced by his studies in the martial arts and based on ideas of聽improvisation, gravity, and momentum between two bodies. For Some sweet day, Paxton presents聽his seminal postmodern works Satisfyin Lover (1967) and State (1968), which question the聽established parameters of dance, such as virtuosity and style, while also addressing the artist鈥檚聽fascination with the ideas of simple everyday movements and the untrained body.


Wednesday, October 24

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

Choreographer and director Faustin Linyekula (Congolese, b.1974) creates works that reflect the聽sociopolitical history and cultural struggles of his native Democratic Republic of Congo. In What Is聽Black Music Anyway鈥/Self-Portraits, a dance/performance he created for Some sweet day,聽Linyekula is joined by Congolese guitarist and composer Flamme Kapaya (Congolese, b.1978) and聽South African singer Hlengiwe Lushaba (South African, b.1982). Together they contemplate what
black music might be in the Museum鈥檚 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聽boundaries in collaborative performances that probe subjects of identity and perception, and聽promote audience participation. For his MoMA commission in the Marron Atrium, Voluntaries, Moss聽invited visual artist Laylah Ali to join him in a work reexamining the legacy of John Brown, a white聽abolitionist who attempted an armed slave revolt in Harper鈥檚 Ferry, Virginia, in 1859, resulting in聽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聽contribution to Some sweet day consists of a two-day performance in the Museum鈥檚 Marron聽Atrium. Beasley takes on the role of DJ, mixing slowed-down a cappella tracks by deceased聽rappers from the 1990s with additional textures, rhythms, and feedback. Evoking and altering the聽social, emotional, and political contours of hip-hop, Beasley immerses the audience in a visceral聽soundscape that emphasizes the body鈥檚 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鈥/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鈥檚 performances. The conversation is led by聽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聽choreographers in experimental dance today. As a founding member of New York鈥檚 Judson Dance聽Theatre in the 1960s, she took part in radically reshaping American dance by opening it up to聽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聽a dance for 12 African American and 15 white American dancers in the Museum鈥檚 Marron Atrium聽and lobby. Addressing issues of race and social reality, Blues is a means 鈥渢o ground the space in聽life.鈥

Performance of Steve Paxton鈥檚 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鈥檚 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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