.Instagram @surveillanceartist
.Email: beamoum [at] gmail [dot] com

25.08.1986 in Sofia, People’s Republic of Bulgaria to Ottoman Armenian family. 1990 emigration to Berlin, Germany. Education 2013 – 2020 at the art academies Royal Academy of Art in The Hague (NL), Bauhaus-University in Weimar and Leipzig (DE). Diplom (M.f.A.) in Media Art/expanded cinema in 2020 with the professor Clemens v. Wedemeyer at the Academy of Fine Arts Leipzig. Since 2022 Meisterschülerin (2-years post-grad honors) in Photography with Tina Bara at the same academy.
2017, Studienpreis-Award by the Academy of Fine Arts Leipzig. 2018, DAAD scholarship ‘Go East’. 2019, winner of the competition Art in the Underground by the nGbK Berlin. Finalist and selected runner-up project in 2020 in site-specific art in urban space competition Kunst im Stadtraum “Karl Marx Allee”. In 2021, Recherchestipendium Bildende Kunst / Research Fellowship Fine Arts by the Berlin Cultural Senate. 2022 fellowship by Stiftung Kunstfonds x Neustart Kultur. Since 2022 Saechsisches Landesstipendium fuer Graduierte und Meisterschueler:innen/Saxon state scholarship for graduates and post-grad honors students. Allegro Prize shortlist.
Exhbition participations include Kunstsammlungen Chemnitz, nGbK Berlin, Goethe Institut Montréal, Saalbau Neukölln, MdbK Leipzig, Museum Brot und Kunst, KO-OP Sofia, Galerie Bernau, Copenhagen Photo Festival, Noorderlicht International Photo Festival. Jury membership in Kunst-am-Bau competition “Zillehaus”. Screenings nationally und internationallly e.g. in 2018 at Kasseler Dokfest and interfilm Berlin, and 2019 at LUFF. Working experience in the journalistic field and contexts surrounding non-governmental organizations.
Since 2022 co-founding and co-direction of research residency “ost in space” in the Erzgebirge / Ore Mountains, with Sandy Becker, supported by NuN, ASA-FF e.V.


As a multi-disciplinary artist I am examining facts, situations, natures, cultures and traditions, historic events, and their fields of tensions by extracting their individual elements from their context and scaling them in new playful circumstances. Often, I lift the set of rules of engagement from one concept and apply it to a different concept in an unrelated field.

My work is informed of something that could be called a critical one-world perspective, and I am interested in exploring whether a migrant ethnic identity exists. After assessing and healing from my complicated and complex modes of upbringing, and experiences of racism and objectification in my adulthood, I find that there is now in my person an intersection of several politically charged identities imposed on me from the outside. I am still in the process of figuring out new modes of existing. My internal guiding force for moving through the political world is radical empathy and artistic activism against human brutality, any kind of racism, homo- and transphobias, xenophobia and ableism, using critical thinking and softness, soft judgment and truth seeking.

I use archival and literature research, interviews, audio art, photography, film, text, object, performance, art in the public space, and spatial installation in my practice.

Injustice, power relationships and authoritarian structures appear in my works. My family biography that was touched by different political events between West Asia, the Balkans, Eurasia, and Europe helps me to formulate my message which is: investigate your own life in the context of socio-political and family networks to understand yourself and your place in the world better. In my case I grew up with something I now call a “false identity”, until at age 23 I found out that my father isn’t communist writer Peter Schütt whom I had never met, and whose name I carry, but a Bulgarian scientist also of the name of Peter. Life as a case to be examined - that is probably why I use methods in my multi-disciplinary practice that look like criminologist and archaeological methods.

I am engaging with and researching cultural rites, traditions and customs from different parts of the world, the analogue, digital, ephemeric, spiritual, materialistic and pop culture world, and bring them into new relations to each other. I want to ultimately pinpoint the meeting points of fact and fiction in our cultures and come to an understanding on why human beings behave the way they do. My inspiration and need to create further comes from holding onto the experience of being a child, and growing up racialized and othered in the former East-Berlin.

I am currently formulating a question along the lines of Where does the East of the East (of Germany, and in general) lie? I also have been part of art critic collectives that engage with artists at eye level, and in the future want to help establish awareness in Germany regarding access and accommodations regardless of dis/ability status of an individual artist.

As someone with a twice over migrant history from an oriental-orthodox ethnic minority that was persecuted and ended up in a socialist state (where religion was sometimes more, sometimes less, suppressed) because of a genocide that still hasn’t been recognized, I am in Germany, one of the countries that perpetrated said genocide, and has acknowledged this recently. Growing up, I wasn’t aware of any of these modes of existence, and became hyper-conscious of them during my artistic education when observing the differences in the experiences of me and my colleagues.

Full CV

<b>About & Links</b>

.Website by Stefan Schramm using stacey.
.Photo by Lars Preisser
.Beatrice Schuett Moumdjian, 2012 - 2022.