Author Archives: Moritz Majce

The Basic Principles of Relational Flow

Relational Flow is a spatial practice between several dancers. Its foundations were discovered by Moritz Majce and Sandra Man while working on Chora (2019). Relational Flow is about working with a space of gravitational pull between the bodies, developing a multidirectional receptivity that is directed outwards and connecting to more than one other person, so that the movements created as a result form a dynamic, open continuum, creating new connections over and over. This in turn creates a space of community, which is produced by the bodies being moved by each other and allows the visitor to connect in a different way. They sense how the dancers’ movements form a group body that is shared and heterogeneous at the same time, and feel as if they are being danced with the dancers …

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Aeon (II) August 5 – August 12 2021 @ Tanzfabrik Berlin


Aeon (II), Laura Siegmund © Moritz Majce + Sandra Man, 2021


Open Air Live Installation.
Free admission.

Aeon is the time of the planet, geological transformations take eons. They exceed the presence of the humans, they embed them into the long duration of the landscape.

In two parts, the artist and writer Sandra Man and the artist and choreographer Moritz Majce, each of them together with three dancers, invite you to meet in the urban nature of a wasteland in Berlin Lichtenberg. Located next to the six-lane Landsberger Allee, surrounded by apartment blocks and shopping malls, you will find a place opening itself up to silence, vastness and to the future.

Landsberger Allee 320, 10365 Berlin
Entrance: Gate at the roundabout at Möbel Höffner

Part I
Sandra Man: The Reunion

August 5 + 6, starting at 19.30

In a live installation of two texts, dedicated to The Swamp and The Street, Lisa Densem and Joséphine Evrard let themselves be moved by the real landscape and by imaginary ones. Delving into the deep times of the planet, we will come together elsewhere.

Joséphine Evrard at Aeon

Joséphine Evrard at Aeon, 2020

Lisa Densem at Aeon

Lisa Densem at Aeon, 2020

Laura Siegmund at Aeon II

Laura Siegmund at Aeon, 2020

Together with the performers, Sandra Man is working on ways of speaking a text that open up to the ones who are present as well as to a future. The continuous speaking of the performers and the vastness of the landscape without stage and auditorium allow for a new relation between speaking and listening. The words are calling us, and at the same time the tale is far away. The voices are addressing us, and at the same time they are going somewhere else. Within kindness and intimacy an unfamiliarity is welcomed; inside of nature the artificial is allowed to appear; within the human the program can reveal itself. At the periphery of the city, at the limit of being human, speaking and listening continue outside, in a new landscape.

One text is in English, the other one in German. The English translation is by Anna Galt.

PLEASE NOTE: This part was originally performed by three dancers, including Laura Siegmund. This time, Laura cannot take part.

The area is freely accessible at your own risk. The daily Corona regulation of the state of Berlin applies. Currently open air no testing obligation.

Part II
Moritz Majce: The Clearing

Monday, August 9, 19:00–21.00, open doors from 19:00–20:00
Tuesday, August 10, 19:00–21.00, open doors from 19:00–20:00
Wednesday, August 11, 19:00–21.00, open doors from 19:00–20:00
Thursday, August 12, 19:00–21.00, open doors from 19:00–20:00

Together with Jorge Rodolfo De Hoyos, Samuel Draper, Mikael Marklund, Moritz Majce will present The Clearing.

One year ago, after the first lockdown, artist and choreographer Moritz Majce started to work intensely on Relational Flow, a movement practice that aims to create a living space in-between bodies. Letting themselves be moved by each other, the dancers take the relations between their bodies as source and material; they constantly feel where the others are and allow this sensation to move them.

From the beginning, Relational Flow, has been a practice not only in-between the dancers who are rather activating than performing it, but it includes also the visitors. Understood as sensing bodies rather than as watching spectators, the moving space is flowing through the audience and is happening around them, crossing and enveloping them.

Relational Flow is an ongoing practice research that fully unfolds itself only in the presence of visitors. In the frame of Aeon II the part named “The Clearing” is dedicated to the experience of Relational Flow. Inviting every body into the flow of presence it creates a sensation of being together even when we are apart from each other. Taking place on the vast wasteland on Landsberger Allee, “The Clearing” is opening up the space in-between us humans within the landscape.

For questions and more info please write to

Reviews Aeon:

Felicitas Zeeden “Zu Aeon – Spuren der Ewigkeit”
Laura Siegmund and Sandra Man on their collaboration
Beatrix Joyce on Aeon

IDEA + CONCEPT SPACE SUITS 2.0: Moritz Majce COSTUME DESIGN: Kristina Weiß-Busch TRANSLATION: Anna Galt PRODUCTION: Tiphaine Carrère

A production by Moritz Majce + Sandra Man
Coproduction: Tanznacht Berlin

Supported by the NATIONAL PERFORMANCE NETWORK – STEPPING OUT, funded by the Federal Government Commissioner for Culture and the Media as part of the initiative NEUSTART KULTUR. Hilfsprogramm Tanz.

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Video Broadcast of “Chora (Satellite Views)” on April 16 at WUK performing arts


Chora | Stillshot from Open Spaces Festival, Tanzfabrik Berlin, 2019

Starting from today we would have presented to you a new live version of our work Chora at WUK performing arts in Vienna. As you all know, this is impossible now due to the virus.

Instead we are broadcasting on April 16 at 20.30 CET a video based on the first episode of Chora from last November in Berlin on the page of WUK performing arts.

Facebook Event here.

Additionally we are releasing a very special piece: the textual documentation of Chora by writer and performer Beatrix Joyce.

What Forms The Present? – Sandra Man and Marita Tatari, Talk at Flutgraben Performances #4, 9 Feb 2020

At the fourth event of Flutgraben Performances on February 9th 2020 Sandra Man invited philosopher Marita Tatari for a lecture. The text that was read at this occasion is an excerpt of an ongoing talk between the two, initiated by Sandra Man in late 2019 and to be continued all over 2020.

SM: In a recent talk that you gave at the conference in Munich in November 2019 you spoke about the becoming irrelevant of tradition, of history as a frame and source for the new in contemporary art. You said something like: Not that today’s art forms would not refer at all to their history but – in contrast to strategies of breaking up, overcoming, deconstructing etc. – the progressive relation to the past is no longer the reference or the source for the new.
The contemporary change in the relation between art forms and a certain understanding of history, between art and its past, actually has been the core of your thinking for some years now. Let’s start from here: Could you describe today’s shift in relating to the past? Why and how is it no longer out of a “post” to the past that art forms emerge? What is it that is changing so radically today that you even headline it in your talk as “the change of change” itself?

MT: If we take the term „contemporary art” beyond the restrained meaning of the art-period coming after modern art, the idea that artforms respond in a very particular way to their present time, was shaped in modernity: the idea that they respond to their present time by giving to it a form, opening it up as such, all by opening up in it something new, a possible (or impossible) future. The change of artforms has been related to historical change both as a result and as anticipation. Modernity projected this idea of art retrospectively into the past as well as into other, non-western cultures. In the core of this idea lies a precise understanding of relationality at stake in all artforms.
We could even say that the word and the thing of “art” were invented in modernity to designate a relationality that on the one hand is concrete and singular, let’s say, a touching, an affective relation in the present moment (affecting not only for instance visually or acoustically, but also a sensuous feeling even of ideas or thoughts). But at the same time “art” designates this relationality as bringing at play or opening up in each one of its addressees, in each one that is affected by it a non-defined relation: this is its public, its addressees is a non-defined “we” – the common, namely when the common is not conceived as a given order, when it is not defined or definable in a hierarchy. It is from this non-given common, this universal activated in the public addressed by art, that comes all the trouble with art.

SM: Let me interrupt you shortly, I would like to insert a question: How does the public, relate to what we usually call an “audience”? I am asking because I think there is a relation to it but however what you mean by public is not simply spectators as opposed to performers, makers, authors etc. (they are also affected and addressed by the work). Is and how is the public you are talking about an audience?

MT: Well it is first of all a change of perspective, a way to think of an artform/artpiece/artwork/artprocess I mean, it concerns everyone implied in it. But if we think of it in these terms, then we can’t take audience as a ready-made concept, applied to each artform. We have to think of the audience out of the way this special kind of relation takes place (it is actually an emanation of relation). So, if the central question concerning the arts is where lies the extreme limit, that enables relation under different cultural conditions not to be relation between given things, but emanation, then we have to think of the audience and its transformations out of this question too. There is a whole field of artistic research that can be opened up by this change of perspective.

By common as non-given order I mean here the extreme limit that allows for anything to come to the foreground and relate, to appear not as defined by something else (as in an order). The common in this sense is mortality and natality together, the extreme limit on the one hand, and the emanation of relation on the other, the extreme limit as emanation of relation. This emanation of relation has also been called techne and technique, because it does not belong in a pregiven natural order. If art has been touching to these extremities, if it has been touching to the common as non-given, that is to say to relation as emanation, it has been opening up a non-given, an excess of the given, in the punctuality of its form, or of its taking place.
This non-given, this emanation may be felt as intensity, and intensity is an emanation of a “more”, a surplus. But at the same time art opens up in us, in each one touched, a distance – the limit or nothingness, that allows to address all “me” as other than “me”, namely „we” as emanation of relation. This emanation exposed as such in a form interrupts the flow of time and opens up a non-time into historical time, an infinite. Christianity understood this infinite as a moment or a pretaste of eternity.
In contrast to this understanding, the modern designation of art in singular, the modern invention of art, distinguishes art from cult and ritual. While the latter addresses the “we” in its distinction from gods (as in non-western or pre-western cult-practices) or, in Christianity, in its relation to God opening up an eternity as an outside of the historical time, art in singular – this modern invention – deals with the surplus interrupting and exceeding the given, the surplus exposed as such, as newness arriving into historical time.
That is to say as change projected into historical time. “We” as exceeding any given, is then being translated in terms of the demand for equality, for inclusion of alterity, inclusion in a non-given order, inclusion of everybody in a non-given and non-hierarchical “we”, a demand opening up a future. The new in art, the change of artforms has been related to this demand and has been interpreted as progress.
All forms of “post”-art: postmodern, postdramatic, posthuman, some tried even to speak recently of postcontemporary art, they all neither just designate a new artform, nor just an artform that gives form to their present time, but also they relate overcoming the older forms to a better realization of the demand for equality into historical time. In other words, emanating relationality was still until the beginning of the 21st century perceived as in modernity, perceived as a non-hierachical and all inclusive “we” to come – be it in Derrida and Agamben’ terms as always to come, suspended in the present, never given, open to its non-giveness; be it as disillusionment from and denouncement of the utopias in which the 20th century still hoped (as in Lyotard’s “sublime”, vertiginous, postmodern art); be it by permanently subverting given orders and hierarchies – for instance between spectators and actors, beholders and art objects, keeping open the non-given common (as in many positions ranging from Ranciere to Judith Butler and theories of performativity); or be it as non-anthropocentric, subverting the established hierarchies between humans and non-humans (as in new materialisms, in technoecologies and OOO)… The variations of the modern scheme conceiving art, history and the evolution of artforms in their relation to history as progress, history as a project of a better realization of the demand for equality and art as progressively contributing to this goal – even as a goal impossible to achieve, or as an open horizon – all these variations are still inscribed into the modern understanding of relationality at stake in artforms. The address exceeding any given as common or universal is being translated into the demand for equality exceeding the present into historical time.

Despite all kind of critique of the concept of art, of its singular, despite the critique of the bourgeois beauty, the bourgeois ideal of state, later on the critique of the political utopias, the emergence of participating artistic forms, etc., etc., the progressive understanding of the evolution of artforms remained untouched until the beginning of the 21st century. Anthropocentric criticism, non-anthropocentric art-forms, as well as postcolonial-art, colonial-criticism are in this sense extensions of western enlightenment: they serve an always greater demand for equality. From a posterior point of view (im Nachhinein), the public each time at play in an artform, is restricted. Forms to come have to address otherness again and as progress, better, more, they have to bring at play a greater openness to otherness.

Today it is said that the oneness implied in the modern invention of “art”, its public (the conception of public upon which the concept of art was based) and the universality implied in it have been founded on racist and anthropocentric presuppositions. We are thus seemingly confronted with the paradox on the one hand to stand for the western demand for equality (which cannot and did not exist in societies not dealing with the non-giveness of the common, that is to say in societies not dealing with the autonomy of the common), and on the other hand to denounce this same western demand for not being enough at its own height. I say seemingly because actually this paradox obeys the scheme of western logic itself, it is projecting into historical future an improvement of the previous conceptions of the common and of the public implied in art, so to include non-western realities or non-humans.

Saying that all these critiques of the enlightenment’s conception of art are still inscribed in it, sounds today almost as an insult; yet this is not how I mean it. Why does art have to be new, why do forms have to be new? Newness was not a request for “artistic” practices in ritual communities. Art, this modern invention projected, I repeat, retrospectively into other cultures, has to be each time new because it addresses a non-determinable “we”. Hence this can only be addressed each time under the conditions of its time. It has to bring at play a „we” escaping the given.

Nevertheless, there is currently in my view a shift of this same western scheme. While the demand for equality, enabled by the autonomy or the non-giveness of a “we” persists, as well as the need to address “us” (in other words the need to address the absolute in us, extreme limitation as emanation of relating), oneness has lost its hold over the contemporary world. Under current technological (and actually techoeoconomic) conditions there is no one horizon to project change, and no one history to understand the present. Maybe this is why currently the new in arts, “contemporary” art does not appear in the form of a “post”: not a new artform defined by overcoming the older. The demand for equality, the denouncement of colonial or anthropocentric blindness do not help us understand what is happening currently in terms of art, because they are inscribed in the scheme they denounce as its improvement and continuation. Hence it is this very scheme that shifts: it is not in terms of a new artform, it is not in form of a “post”, that the demand for equality in art persists. So how can we grasp what is happening in terms of art, in terms of form, of artmaking?

When we say that the new in art is not conceived in terms of form as an overcoming of older forms, we say that the surplus of relationality at stake in it, the excess of the given in it is not projected into a horizon. But also, that the given is not the oneness of a history. We could then say that it is rather the framing of what is a form that shifts and with it the very notion of public, the space of appearance, the space in which relation accesses an extreme limit able to address its free course, its emanation. For instance, I find interesting in the case of the so called decolonialization of aesthetics or of postcolonial art, that the demand for equality – the confrontation with the pain and violence caused by colonial blindness in western-global culture, is paired with an experience of limit that is completely strange to western culture: an experience that cannot project the excess of the given into future, an experience of alterity that cannot be motor for historical change.

Audience Voices on Chora


Chora | Concrete Runners | 2019

“Es ist ein wirklich einzigartiger Raum, den ihr geschaffen habt. Auf eine Weise unaufgeregt und tief berührend zugleich, die ich noch nie erlebt habe. Ich war sehr glücklich darin.”

Christine Börsch-Supan

“Dears Sandra and Moritz. I came to watch Chora and I found it very precious and deep. I loved how it is so connected with bodies, persons and relations but speaks to me at the same time about the world, the environment and human/nature. I loved the installation and the dance and how the two are interdependent. It opened new possibilities of imagination and I loved as a public member to be inside this game/performance/state of being.”

Elena Dragonetti

“Ich liebe den Raum, den ihr kreiert habt, die Filme, die Präsenz. Am Ende habe ich bemerkt, am besten ist es, wenn ich mich mitbewege und beeinflussen lasse von der Umgebung, dann ist jedes Teil ein Element vom Ganzen.”

Joséphine Evrard

“Thank you for the space you created with Chora. I was there on the last day for many hours, and I experienced a peace that I rarely feel within art. A lot of accepting, specific energy from the performers that was very unique and ego less. There was something very safe in the space and I am grateful to have been there and absorb and just be. I felt very connected to this work, and I am happy for experiencing it, visiting this poetic world.”

Anna Fitoussi

“Sorry for my thousands of likes but I am in love with your project Chora?
Thanks for sharing it at Tanzfabrik.”

Paola Fontana

“I was very moved and inspired by the work I saw from you and Sandra. There were so many layers of my self in context to your work that I had to transgress, but once I did, it was like a doorway to another world of feeling and sensation and new spaces and possible paths. I was very happy to have experienced it. And I really mean ‘experience’, because I think If I had just watched, I wouldn’t have understood all that the inside of that work was offering so generously and so efficiently. So thank you both again. I think my words aren’t doing my experience of it all justice.. but I just wanted to express how happy was to have been there and to have stayed. Thank you”

Jared Gradinger

“I wanted to say thank you !
I really enjoyed your work, enjoyed entering this whole world of Chora. It felt like something very special to come on a Saturday morning after breakfast and being able to take part for some moment. This world you created felt very open, opening up, transparent, inviting, stimulating, as if answering open questions somehow. Always something subtle changing and giving a new impulse, a new tempo, some new information: let it be your movement, some change of bodies in space, the connection in between, all platforms, the videos changing, the light, the doors opening, fresh air, new colors, new visitors.. I enjoyed it all.”

Friederike Heine

“Ich wollte euch sagen, dass mir die Performance unglaublich gut gefallen und mich sehr berührt hat und ich froh bin, den Tag miterlebt zu haben!”

Lara Lehnert

“I came in without knowing and expecting what to happen, not even much about the program of Tanzfabrik. I walked in, stood in the space to experience what is happening, then visiting the space to see what is there; the screen, the poem, the landscape (video and reality), the materials, the people/ performers… it seemed to me that the setting was participatory since we, the audience, are not assigned any specific way of being in the space (apart from some pillows on the brown square blocks). Then I asked myself how much I am also creating the landscape and how much I can be involved. Then I see the poem about cells, eyes, skin, and I embodied them in a way that I am part of the everything, like an animal walked into the human made nature. It took some time to settle, text the boundaries, and not to disturb the space and the habitants, and it was a meeting to the existing things in the space, and I feel happy to be noticed that I am there but not overly taken care, it gives me space to keep regenerating my senses and thoughts. Sliding was fun, meeting through clashing softly and meeting bodies, being in the space with others, thanks for allowing.

I enjoyed the screen was placed outside the studio. Seeing the reflection of people dancing on the window with the poem together have brought me a special way of seeing the space. Thank you once again for the creation.”

Cary Shiu

Chora – 5-9 November 2019 @ Open Spaces Festival, Tanzfabrik Berlin


Chora, © Moritz Majce + Sandra Man, 2019

Space Choreography

The Earth is a foreign planet. Every day it shows a different face.

5– 9 November 2019
Open Spaces Festival, Tanzfabrik Berlin, Uferstraße 23, D-13357 Berlin

There is no piece, no premiere, no stable frame. Chora will grow in time over 5 days up to 16 hours on the last. The whole space will be different every day. In varying media, constellations and rhythms 12 performers will appear in images of technonature, texts of terrestrial phantasies, on mobile objects as unsolid grounds. How to inhabit and how to visit an ever changing space? Chora is a space choreography, a liquid environment of objects, performers, images, texts and sound.


Chora, © Moritz Majce + Sandra Man, 2019


Chora, © Moritz Majce + Sandra Man, 2019

Tue 5 11 | 19.00 | BEFORE – A nature comes back. | Audio-visual installation

Wed 6 11 | 18.00-20.00 | BEGINNING – Choros is a life form, Chora its habitat. | Ongoing live installation

Thu 7 11 | 17.00-21.00 | MOMENT – The moment is a living germ. | Solo action for one visitor at a time

Fri 8 11 | 15.00-23.00 | HISTORY – While we circle quietly. | Film + text screening

Sat 9 11 | 09.00-01.00 | BECOMING – Time is an unknown territory. | Ongoing live environment

6.11.19 | 20:15 | Artist Talk with Marie-Luise Angerer (Uni Potsdam), Bernd Bösel (Uni Potsdam), Moritz Majce, Sandra Man and the performers. Moderated by Jacopo Lanteri (curator Tanzfabrik Berlin).


Chora, © Moritz Majce + Sandra Man, 2019


Chora, © Moritz Majce + Sandra Man, 2019

IDEA, SPACE CHOREOGRAPHY, VIDEOS: Moritz Majce + Sandra Man OBJECTS: Moritz Majce TEXTS: Sandra Man PERFORMANCE: Zoé Alibert, Eli Cohen, Judith Förster, Charlie Fouchier, Assi Pakkanen, Florencia Martina, Gian Mellone, Sonia Noya, Stephan B. Quinci, Laura Siegmund, Maya Weinberg, Natalia Wilk VOICE: Frank Willens PRODUCTION: Patricia Oldenhave ENGLISH TRANSLATION: Anna Galt VOICE RECORDINGS: Fernand Kenzler

A production by Moritz Majce + Sandra Man, supported by Hauptstadtkulturfonds and Wien Kultur. Coproduction: Tanzfabrik Berlin, WUK Wien.

Tanzfabrik Berlin • Uferstraße 23 • 13357 Berlin
Entry: € 15 • Tanzfabrik Berlin

Facebook-Event here

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Working on Chora


Bergheider See, June 2019

The relation of time and space is central to Chora. How does a space move us and how does it change when we move (in) it?


Bergheider See, June 2019

In Chora we continue working outdoors. Mountains and dunes have been our rehearsal spaces and video spots for the last years. Since Choros and even more so in Chora we are intrigued by technologically transformed environments; abandoned areas in which nature is coming back; artificial lakes waiting for the first creatures to come alive.


Prenzlauer Promenade, May 2019

A landmark is with us in Chora, an object, a mobile piece of earth. It is called ekkyklema, in reference to an ancient Greek theatre device, a mobile platform which was used to present happenings from the invisible inside of the stage house (the skene) to the outside.


Wölla, July 2019

The ancient Greek name chora is known to us through Plato’s dialogue Timaeus. Chora is the name of a receptive space in constant movement giving space to movement. It is a mythological concept – dating from before classical Greek philosophy and also from before classical Greek theatre –, storing archaic ritualistic dimensions. In Plato’s Timaeus chora is the space of movement as such that lets everything else – the elements and their movements – emerge; it does so by not having any shape itself and by being permanently moving. In Timaeus it is said that chora is a space which is never still and never in balance: it is shaking, trembling. Timaeus also links this mythological precosmic shaking of chora to the human body and its desire to move – in order to keep the elements in healthy relations.


Wölla, July 2019

Through the ancient name chora the contemporary perception of space in motion, of a world and a planet in fundamental transformation is linked to the peripheries – pre-philosophy, pre-theatre –, to the deep times of Western thought and art. Chora, the name, is a channel to the ancient, the mythological and even archaic and to their symbolic and affective potentials. In a strange way it seems right and coherent that today in the most futuristic conceptions of space the most archaic image of transformation reappears. The most natural and the most artificial meet at the same time, disturbingly and convincingly in many of the most contemporary places on our planet.


Prenzlauer Promenade, May 2019

We dedicate Chora to questions and experiences of time and space. We understand it as a process of growth that will continue and last into its time of being publicly presented. We will grow into publication, through it and out of it. We expose ourselves to a time – the growing – that is usually over when a work is presented, when it is finished. In Chora we set a frame that allows us to stay open to time, to be affected by time, to let time come to us.

Videos / pictures with Zoé Alibert, Charlie Fouchier, Judith Förster, Micaela Kühn Jara, Julia B. Laperrière, Sonia Noya, Assi Pakkanen, Katharina Wallisch

Call for Choreutic Movers (Dancers and Performers) 2019 OVER


Chora, model view

For their new space choreography Chora Moritz Majce and Sandra Man are looking for choreutic movers. The essence of Chora will be a chorus in a growing landscape on mobile grounds. Expanding over one week in November 2019 as part of Open Spaces Festival of Tanzfabrik Berlin Chora will be dealing with expansion and excess – diving into pleasures of becoming and facing threats of too much.


Choros VI, District, Berlin, 2018

In Chora Sandra and Moritz continue their work on space choreography and landscape, consisting of movement, objects, videos, spoken words and sound (see their recent work Choros VI), on the chorus as a life form of somatic and spatial relations and technonature as our current biosphere.


Choros V, WUK performing arts, Vienna, 2018

They are looking for professional dancers and performers with strong interest in precise group work and intense choral practices, joy in relating to others, becoming and incorporating a collective organism by investing their strong individual presence.


Choros I, Uferstudios, Berlin, 2016

They will give a workshop in April in Berlin.

After a tryout block in May and two video shootings in May and September main production time is from mid September until the last performance on Nov 9th.

Moritz and Sandra are looking forward to read from you on: