The latest performance of the series The Politics of Movement: On Reinterpretation of Power by Milos Sofrenovic deals with the 1968 movement – its symbols, images, and its political heritage. The Brazilian author Vinicius Jatobá and Denise Helene Sumi met with Milos Sofrenovic to address questions around the nature of a revolutionary and as well performative body, the street as a stage for political and performative movement, and its specific visual language. The starting point of the conceptual piece 40’ 33’’: All Power to the Imagination (2018) is an artistic and acoustic landmark, the piece 4’33” (1952) by John Cage, which marked a shift from the representation of an artwork toward an experience of time, space, and the body of an artwork, i.e. the performance itself.

Denise Helene Sumi: Your newest performance 40’ 33’’: All Power to the Imagination (2018) is framed by the piece 4’33” (1952) by John Cage, which deals with the suppressed postwar society by activating attention and awareness through a Zen-like mindset and by illusionary statements, recorded by the NASA for the Voyager Golden Record (1977) to portray the diversity of life and culture on Earth, being rather a very unilateral description. The additional visual material consists of black-and-white images and video recordings of the French student protests in May 1968. Why did you choose these two examples, one from the 1950s and one from the 1970s to frame your study of the protests of 1968? There are multiple events on this timeline one can select.

Milos Sofrenovic: The point of departure while preparing my upcoming conceptual solo performance came from coming across one image by Lynn Rosenthal depicting an event that actually took place in 1968 involving John Cage and Marcel Duchamp playing chess on a chessboard that turned chess moves into electronic music. The two great modernists, by playing chess from 8:30pm to 1am the following morning of March 6, 1968, truly extended life into art and vice versa. I find this moment in time, 1968, fascinating in that two key figures behind some of the twentieth century’s most innovative approaches toward the conceptualization of art practice were sitting across each other playing a performative version of a chess game:

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