The author/choreographer Sandra Man and the visual artist/choreographer Moritz Majce have been working together since 2010. What distinguishes their collaboration is that they view and produce choreography not from the perspective of the performing arts but rather as a visual art: as art in space.
For the exhibition Choros III (Koroška), conceived by the duo as an artistic research project on the choir and choreography, they have developed outdoor choral constellations as a way of engaging with the specific spatial conditions of landscape as “nature”, and with the possibilities for its reception as well as with its acoustics, its prospects, and its horizon. In parallel, an exhibition will be presented at Kunstraum Lakeside that is also composed as a kind of “landscape” of various views and sounds.
The work includes various elements of the “choral”, including the ancient Greek term choros, meaning circular, sung dance; the dance floor and those who dance upon it; and the linking of dance, theater, and music. The choir is perceived as a spatial network of sensory relations. In a direct confrontation with the audience, the spatial choreography is realized independently of the media used as a movement between all elements and the audience. Vital to this exercise is the direct encounter with the landscape of Carinthia, which served as the production setting for all voice and video recordings, all of which were made outdoors in the alpine region. Body and voice are seen as part of nature here, reacting to the weather and the topographical conditions. Reference is also made to the political and ideological appropriation of the landscape and the choir in the course of history, whereby the work does not merely take up this critical thread but rather reconceives landscape, choir, and space as a multidimensional fabric that is not there for the taking and belongs to no one.
IDEA + CONCEPT: Moritz Majce + Sandra Man
VOICE + MOVEMENT: Christine Börsch-Supan
OUTSIDE EYE: Katharina Wallisch
CURATOR: Nora Leitgeb
Wir bedanken uns bei Lakeside Labs GmbH für die großzügige Unterstützung bei den Videoaufnahmen mit einer Drohne und bei Franz Habich für die Steuerung, sowie bei der Agrargemeinschaft Nachbarschaft Söbriach für den freundlichen Zugang zu einer ihrer Almen.
Eröffnung: 7. September 2017, 18.30 Uhr
Kunstraum Lakeside • Lakeside B02 • 9020 Klagenfurt
www.lakeside-kunstraum.at • +43 463 22 88 22-20
WE ARE LOOKING FOR PEOPLE WITH MOVING/DANCING EXPERIENCE WHO LIKE TO WORK IN A GROUP.
Part 1: 8 + 9 July 2017, 16–20h Uferstudios (can be done separately)
Part 2: 10–14 days rehearsals in October 2017
Part 3: 4 presentations in early November 2017
We are working on a revised version of our piece „Narziss Echo“ (http://www.moritzmajcesandraman.com/narzissecho). The premiere was in March at imagetanz festival in Vienna and there will be presentations in the beginning of November in Berlin at Open Spaces festival of Tanzfabrik. For the performances in Berlin we will be reworking some parts and making new ones. While in the first version we have been working with a single dancer we now want to work with what we call a „space chorus“ of 12–15 people.
The project deals with the relation between audience and performer, engaging in questions of looking and identifying as performing (watching, being looked at, being/performing a spectator); it is an installational setting with a limited amount of audience members. We will play with the inside and the outside of the setting, using the whole space incl. the audience area as the stage and moving spectators only slowly from the frame and the outside into the inside and the seats of „their“ space.
First, there is a video shooting on 8th and 9th July, from 16–20h at Uferstudios. Second, there will be appr. 10–14 days of rehearsal in October. Third, there will be four shows in Berlin in the first November week. We cannot pay for the video shooting, for the presentations in October and November we do have a budget. For more information about our work see www.moritzmajcesandraman.com
If you are interested please send a mail incl. CV to firstname.lastname@example.org
Thursday, 29 June 2017, 20h30
Tuesday, 04 July 2017, 20h30
Wednesday, 05 July 2017, 20h30
Künstlerhaus, Am Flutgraben 3, 12435 Berlin
Between representation and participation lies the audience space. It is the space where a piece takes place. It is bigger and wider than we usually think and feel. It has more than one side, it is multidimensional. It is your body with all its weight and volume, with all its senses: listening, watching, feeling – in all directions.
Let’s try to see the Zuschauerraum, the space reserved for the audience, differently: not as the space where an audience is placed to watch the piece but as the space an audience is being given by a piece. Let’s understand and experience Zuschauerraum not just as a designated area in a building but as the space of a perceiving audience; a space that is not anyway there before and after the piece but a space that consists of Zuschauerkörper – perceiving living breathing feeling moving bodies full of energies, impulses, desires. Let’s think Zuschauerraum not as the seats you are taking but as the space your bodies are making. Let’s try out and explore this Zuschauerraum in present tense.
It’s common to expect and wish that performers move the audience. Let’s find out what it could be for performers to not only move the audience but be moved by it. Be moved by gazes, breaths, sounds, by the impulses and energy of an audience; by where the audience is and how it is. By an audience who is present, open, aware of all senses and thus transformed in a way that allows to fully explore all sensual dimensions of watching.
What would it need for that – as a training for performers as well as audience members?
Could there be a training that includes and involves an audience as well as performers? Is there a way to work on and explore the act of watching, the energy of perceiving as what moves the performers? What comes out if the performance becomes really dependent on the real presence of an audience? What happens if there is nothing else or behind this being perceived and being perceived becomes being moved?
During the last two months we trained a lot to be open and to use all our senses. We worked on looking, listening, feeling as relations to each other and a flow of contacts as reasons to move and be moved. We would like to find ways of sharing this openness with an audience who wants to become part of the contact zones we try to open up and dive in.
We propose three evenings of rehearsals with audience; we would like to find out more about the experience of being a Zuschauerkörper and about the ways our bodies can be moved by your presence.
Thursday, 29 June 2017, 20h30
Tuesday, 04 July 2017, 20h30
Wednesday, 05 July 2017, 20h30
Am Flutgraben 3
(next to Badeschiff, Arena and Club der Visionäre)
There will be a limited number of participants, please let us know if and when you come by sending an email to email@example.com.
Please be on time, the door downstairs is locked and will open only once at 20h30.
Dear 3AM friends,
We cordially invite you to 3AM – Filaments and Voids.
Let’s celebrate together the amazing space at Flutgraben, welcome artistic attractions and distractions, enjoy sound and silence, get together and share an evening of performances, concerts, films, dancing, food and drinks.
When: 4 June 2017, starting at 19.00h
Location: Am Flutgraben 3, 12435 Berlin
Philipp Enders and Adaline Anobile
Daniella Kaufman and Karoline Strys
Christian Kesten and choir
Moritz Majce + Sandra Man with Zoé Alibert, Katherine Gorsuch, Olivia Patrizia-Kunze, Sonia Noya, Fausta Scarangella, Sinja Völl
Nikolaus Neuser and Florian Juncker
Juliana Piquero, Maya Weinberg, Catalina Fernández, Manuela Schininá
Julia Reidy, Samuel Hall and Liz Kosack
Ilana Reynolds and Ira Hadžić
ATTENTION! The (orange) door of the main entrance will be open only 5 times for 10 minutes every time: at 19.00, 20.00, 21.00, 22.00 and 23.00h.
IMPORTANT! For the first time we will also come together before a 3AM to warm up: The participating artists will share with you their thoughts on what they are going to try out at the 3AM event. This get together is itself a tryout in getting in the mood for 3AM.
When: 1 June 2017, starting at 20.00h
Location: Public and Private Studio at Flutgraben, the door will open at 20.00h and 21.00h
3AM – Filaments and Voids is organised by Katharina Wallisch, Moritz Majce + Sandra Man.
Funded by Senat Department for Culture and Europe.
Supported by Flutgraben e.V. and Public in Private Studio.
As you know, 3AM is an independent event with a focus on giving value to experimentation and local collaboration. Our frame stays purposefully open to allow for any new forms to emerge. We’d like to offer possibilities for artists to make tryouts that could be useful for their artistic works, therefore we’d like to create an environment that welcomes doing, viewing and experiencing art in its on going creative process.
More about the 3AM background and idea you can find here: http://3am.events
Many thanks to all the participating artists!
Looking forward to dancing with you!
Narziss Echo works with micro movements in body and voice and lyrical text. Its substance and material are affects and relations: looking, listening, speaking. Almost in direct contrast to Festung / Europa (2015) where we used very heavy wall elements we work now with waves and impulses – light, sound, nerves; whereas in Festung / Europa a chorus of 28 people was literally carrying the piece it’s in Narziss Echo the single body, the single voice and their technical doubles and extensions who are performing; and while in Festung / Europa the audience was grouped and enclosed it is singularized and detached in Narziss Echo.
The fine and airy connections of gazes and spoken words and the exposure of single bodies make Narziss Echo a fragile piece. Its fragility lies in the very character of the material (micro movement, atmosphere of the voice, lyrical words), in the role of the audience (who is exposed and participating but not interacting), in the spatial and sensual separation of the two performers and in the relation to their respective technical doublings (the interplay of what is live and what is recorded/on video); all of these aspects, elements and strings together make the performance and whether or not all of them find and engage in the right rhythm is the challenge and the risk of the piece every time it is presented.
Narziss Echo is precarious and in an almost naïve manner does not protect itself; every little lapse (too slow, too fast relative to what is needed right here and now) in the performance, every technical sound or video problem, every movement and reaction by an audience member can derange it. – But: This risk, this radical unprotectedness and openness to contingency is the piece. It’s a piece that can easily break, fall apart, become vain: the moment when Narcissus recognizes himself in the mirror, the deadly catastrophe of mere superficiality and shallow looks-like-something-but-is-nothing belongs to the piece. It can happen that the piece falls into a vain abyss of identification and sameness. But it can also happen that it relates differently to this moment of narcissist disaster and allows to surf on the flat and slippery surface of the spring. In this piece it is not only the dancer who incorporates Narcissus and who can thus fail but everyone, including every single audience member, and everything, including technical stuff, contributes to and participates in the rhythm that is needed to create the right surface tension for drifting (this interplay of elements and in-betweenness of the performance is btw the reason why we call our pieces „space choreographies“). The spring in and of this piece is the rhythmical tension of gazes, movements, voice, words, the permeability of audience and performers, bodies and technical equipment. In this airy arrangement lies the danger to collapse into narcissist pretentiousness as well as the chance to experience narcotic intensity.