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Moon Calendar, 2007

video

GermanEnglish

Documentation of the rehearsals for an unrealized performance at The Red Security building, 2007. The rehearsals for an unrealized dance performance took place during a visit to Amna Souraka, The Red Security Building, in northern Iraq.

This building complex used to be one of the infamous jails where Saddam Hussein detained the political prisoners and today it hosts the Iraqi National Museum of War Crimes.

Hiwa K tap-dances in the premises of Amna Souraka to the rhythm of his own heart beat that he follows by listening through a stethoscope. With the increasing intensity of the dance, the speed of the feet and that of the heart lose simultaneity and chase each other in a beat and counter-beat discordant pulsation. The rhythm of the heart isolates the artist from the surroundings thus creating a private and hidden space for his own thoughts. The ludic dimension of the dance allows for a state of denial that makes trauma absent while still being present in the place.

By focusing on the rhythmic dimension of the movement and the beat, the piece generates a semantic slippage that allows for a reflection on time and temporality. The reference to the lunar calendar opens to a different understanding of the passing of time and hence triggers a shift in the perception of the events.

Moon Calendar leads the viewer to a lateral understanding of the unspoken events which happened in the Red Security Building. Through a decentralisation of the prominence and the possible banality of the emotional engagement, it hints at the past but never reveals it, thus offering a counter-narrative space of reflection.

Following Hiwa K’s words, "this performance has the potential to transform the space in which it occurs. The version shot in Germany [for Manifesta 7] relates more to my connection to the audience. The one shot in Saddam Hussein’s former security building in Iraq is very different. Although the video only shows a rehearsal, since the performance never took place, the viewer reads the work through the context of historical events."

Written by Hiwa K and Francesca Recchia
Source: http://www.hiwak.net/projects/moon-calendar/

"Documentation of the rehearsals for an unrealized performance at The Red Security building, 2007. The rehearsals for an unrealized dance performance took place during a visit to Amna Souraka, The Red Security Building, in northern Iraq.

This building complex used to be one of the infamous jails where Saddam Hussein detained the political prisoners and today it hosts the Iraqi National Museum of War Crimes.

Hiwa K tap-dances in the premises of Amna Souraka to the rhythm of his own heart beat that he follows by listening through a stethoscope. With the increasing intensity of the dance, the speed of the feet and that of the heart lose simultaneity and chase each other in a beat and counter-beat discordant pulsation. The rhythm of the heart isolates the artist from the surroundings thus creating a private and hidden space for his own thoughts. The ludic dimension of the dance allows for a state of denial that makes trauma absent while still being present in the place.

By focusing on the rhythmic dimension of the movement and the beat, the piece generates a semantic slippage that allows for a reflection on time and temporality. The reference to the lunar calendar opens to a different understanding of the passing of time and hence triggers a shift in the perception of the events.

Moon Calendar leads the viewer to a lateral understanding of the unspoken events which happened in the Red Security Building. Through a decentralisation of the prominence and the possible banality of the emotional engagement, it hints at the past but never reveals it, thus offering a counter-narrative space of reflection.

Following Hiwa K’s words, "this performance has the potential to transform the space in which it occurs. The version shot in Germany [for Manifesta 7] relates more to my connection to the audience. The one shot in Saddam Hussein’s former security building in Iraq is very different. Although the video only shows a rehearsal, since the performance never took place, the viewer reads the work through the context of historical events."

Written by Hiwa K and Francesca Recchia
Source: http://www.hiwak.net/projects/moon-calendar/

Hiwa K, Moon Calendar, 2007, SD video, 4:3, color, sound, 12:16 min, video still
Hiwa K, Moon Calendar, 2007, SD video, 4:3, color, sound, 12:16 min, video still
Hiwa K, Moon Calendar, 2007, SD video, 4:3, color, sound, 12:16 min, video still
Hiwa K, Moon Calendar, 2007, SD video, 4:3, color, sound, 12:16 min, video still
Hiwa K, Moon Calendar, 2007, SD video, 4:3, color, sound, 12:16 min, video still
Hiwa K, Moon Calendar, 2007, SD video, 4:3, color, sound, 12:16 min, video still
Hiwa K, Moon Calendar, 2007, SD video, 4:3, color, sound, 12:16 min, video still
Hiwa K, Moon Calendar, 2007, SD video, 4:3, color, sound, 12:16 min, video still
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Hiwa K

Hiwa K was born in Kurdistan-Northern Iraq in 1975. His informal studies in his home town Sulaymaniyah were focused on European literature and philosophy, learnt from available books translated into Arabic. After moving to Europe in 2002, Hiwa K studied music as a pupil of the Flamenco master Paco Peña in Rotterdam, and subsequently settled in Germany. His works escape normative aesthetics but give a possibility of another vibration to vernacular forms, oral histories (Chicago boys, 2010), modes of encounter (Cooking with Mama, 2006) and political situations (This lemon tastes of apple, 2011). The repository of his references consists of stories told by family members and friends, found situations as well as everyday forms that are the products of pragmatics and necessity. He continuously critiques the art education system and the professionalization of art practice, as well as the myth of the individual artist. Many of his works have a strong collective and participatory dimension, and express the concept of obtaining knowledge from everyday experience rather than doctrine. Hiwa K participated in various group shows such as Manifesta 7, Trient (2008), La Triennale, Intense Proximity, Paris (2012), the “Edgware Road Project” at the Serpentine Gallery, London (2012), the Venice Biennale (2015) and documenta14, Kassel/Athens (2017). A selection of recent solo shows include the New Museum, NYC (2018), S.M.A.K., Ghent (2018) and Kunstverein Hannover (2018). Upcoming solo shows will be held at Zachęta National Gallery of Art in Warsaw and at the Van Every/Smith Galleries in North Carolina, USA. In 2016 he received the Arnold Bode Prize and the Schering Stiftung Art Award and had a solo exhibition at KW, Berlin (2017). His “Chicago Boys” project is continuously hosted by international institutions.



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