“We were very conscious of thinking about the history of this space, not only the way that we see it as a factory, but also really thinking about the indigenous communities and wanting to engage with a graphic designer and artist who could really help articulate that and create something that would be another draw to the building,” said Lauren Haynes, curator of visual arts at the Momentary. Oklahoma-based artist Addie Roanhorse, a member of the Osage Nation, created Sway, an arresting arrow pattern located on the exterior glass of the Momentary’s Tower and Container spaces and in the main entryway. The pattern pays homage to Osage attire and beading patterns. It comprises a scrim on the exterior of the building that allows in natural light and doubles as a high-definition projection surface at night. This singular feature speaks to the Momentary’s efforts to marry design, architecture, stewardship, and innovation.
The inaugural TIME BEING festival kicked off opening weekend by turning even the most unexpected parts of the building into territories for performance. Oakland-based dance company BANDALOOP’s FLOOD (2020), a daring new performance staged on the side of the Momentary Tower, undoubtedly rose as the highlight. Atop an oceanic light projection, performers scaled the side of the building with ropes in a dazzling choreography, accompanied by haunting soundscapes.