Memory returns: Art event on Breitscheidplatz in Berlin

On 9 November 2019, actors will be performing different forms of experiencing memory

Memory returns: Art event on Breitscheidplatz in Berlin (lifePR) ( Berlin, )
Memory returns – inevitably, unavoidably, and without warning. It is universal and every individual is entirely at its mercy. Certain events bring back memories, and these may trigger positive or negative emotions. While positive memories and their connotations change over time, negative memories always remain tied to the same emotional state.

But in the end, it makes no difference whether these are positive or negative. Memories are firmly anchored in our lives. In Japan, they even form part of a child’s education. Within the general discourse on the culture of memory, artist and philosopher R.O.M. Roland Orlando Moed is now delving into this subject area in an artistic manner.

A different type of memory culture

In his project, Moed transforms words into gestures. In times of SEO-optimised copy, texts with valuable content tend to vanish into the nirvana of the internet. What remains is merely the experienced sensation of a moment with no space for memory.

The art event on Breitscheidplatz in Berlin is a transformed text. Written words become visible, mobile, and in this moment, are turned into personified words through the actors. Hereby, they present different forms of experiencing memory.

The face behind the event

R.O.M. Roland Orlando Moed is the creator of the event taking place on 9 November. He received the Goldberg Foundation’s international art prize in 2009 for his interdisciplinary work. In addition, he was awarded the Ingeborg Drewitz literary prize in 2018. This makes Moed one of the few artists to receive distinctions in two different disciplines.

Moed regularly delights art lovers and critics with a comprehensive and incredibly fascinating oeuvre that is highly topical in its interdisciplinary nature. His most striking work segments include a reflexive contemplation on painting against the background of the media discourse that began in the 1960s as well as a large number of conceptual pieces that continually examine reality and spatial conditions and their significance for the observer’s experience.
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