{"id":459,"date":"2021-03-12T21:17:17","date_gmt":"2021-03-12T20:17:17","guid":{"rendered":"https:\/\/www.flutgrabenperformances.org\/?page_id=459"},"modified":"2021-03-12T23:12:45","modified_gmt":"2021-03-12T22:12:45","slug":"moritz-majce-xxx","status":"publish","type":"page","link":"https:\/\/www.flutgrabenperformances.org\/?page_id=459","title":{"rendered":"Moritz Majce: A Ride, Some Letters, Drawings, Models, and Two Movies"},"content":{"rendered":"

Episode #1<\/strong><\/p>\n

Starting with the first episode of Flutgraben Performances 2020<\/em> I began to write letters about aspects of my own work as reply and afterthoughts to the other artists‘ insights on their own work.<\/p>\n

Letter to Asaf: On Multiple Attention<\/strong><\/p>\n

Dear Asaf,
\nWith regards to your notion of \u201csplit attention\u201d I felt that I would like to add a few words about my own moving practice that I am working on together with Sandra for some years now, most recently in the piece \u201cChora\u201d together with a group of twelve dancers. We are working on the idea of splitting, or rather spreading each dancer\u2019s sensory attention to at least two different sensing \u201cantennas\u201d at a time, using this as a source for movement as well as to allow for a specific relation of audience and performers. It\u2019s one of the key concepts of the relational moving practice we call space choreography. [ . . . ]<\/p>\n

Click here to read full text<\/a><\/p>\n

Letter to Jefta: On The Gaze<\/strong><\/p>\n

Dear Jefta,
\n[ . . . ] I do feel a resonance between this story of a meeting of a human eye and a crocodile eye \u2013 the striking moment of dehierarchisation it meant for the reanimalised human \u2013, and one of the basic concepts of my own artistic practice: the idea of understanding the role of the spectator not as merely looking at a work of art but as being in a situation of mutual watching \u2013 that is: looking at a work of art that is looking back. By this I do not mean a directed gaze of a single performer trying to involve a passive viewer into an action. What I am interested in is not tearing down the fourth wall of the theatre, it is not about the end of the spectator. [ . . . ] <\/p>\n

Click here to read full text<\/a><\/p>\n

Letter To Ixchel: On the Growing of a World<\/strong><\/p>\n

Dear Ixchel,
\nMany things you are mentioning feel familiar to aspects of my own work: the evocation of what you call a \u201cvisual ghost\u201d in the encounter of an event and a spectator, its materialisation through sensations that lead to a certain kind of awareness, the specific quality of its mutual exchange, and its relation of presence and absence. In my response I would like to write about a particular aspect of my work while trying to relate it to your concept of the \u201cvisual ghost\u201d: its distinctive evolvement in time and space. [ . . . ] A characteristic feature of space choreography is its specific areal quality of a landscape \u2013 a landscape that is both autonomous from spectators and receptive towards their presence, allowing them to bathe in it at any moment but without a need for this to happen. [ . . . ] <\/p>\n

Click here to read full text<\/a><\/p>\n

Letter To Sergiu: On Ancient Theatre<\/strong><\/p>\n

Dear Sergiu,
\nWith regards to your insight into your current work and your interest in ancient texts, or perhaps in discovering seeds that were sown some time ago, I would like to tell you a bit about my own investigations into ancient Greek theatre that are closely related to one of the key elements of my artistic practice together with Sandra. All of our works are group pieces with a specific understanding of this group as space chorus, which refers to the group\u2019s relation and receptivity towards its surroundings, towards each other, and towards spectators. My explorations of the ancient Greek theatre and its conception of space began to manifest during [ . . . ] <\/p>\n

Click here to read full text<\/a><\/p>\n

Episode #2<\/strong><\/p>\n

In the second episode I did \u201cOut Into The Open\u201d, a car ride for one guest. Both me and a visitor were been driven by taxis from Flutgraben artists house, each of us sitting in another car, talking on the phone while driving to the wasteland where my next piece (together with Sandra Man \u201cAeon<\/a>\u201d) would take place later in the year, and continue our talk while walking there before returning to Flutgraben and joining the other visitors and artists there. The main topic was inspiration.<\/p>\n

\"OutAt the Wasteland, 2020<\/small><\/><\/p>\n

Episode #3<\/strong><\/p>\n

In the third episode I presented an Insight on my \u201cSpace Models and Twist Diagrams\u201d both of which are rarely shown publicly but are an important aspect of my work. <\/p>\n

\"SpaceView from \u201cSpace Models and Twist Diagrams\u201d Insight Presentation, 2020<\/small><\/><\/p>\n

\"SpaceTwist Diagram for Choros<\/i>, 2018<\/small><\/><\/p>\n

\"SpaceModel Close-Up from Adam + Eva<\/i>, 2018<\/small><\/><\/p>\n

Episode #4<\/strong><\/p>\n

In the fourth episode the twelve Flutgraben Performances<\/em> artists of 2020 were split into two groups. Each group was watching another movie in another room at the same time, all groups where connected via Whatsapp and had to text to the others about what they were watching. One group had to focus on the bodies and their movements they saw in their movie, the other group on the spatial situations being shown in their other movie.<\/p>\n

\"CoMovingCoMovingSpace, 2020<\/small><\/><\/p>\n

The two movies shown were \u201cExterminating Angel<\/a>\u201d by Luis Bunuel from 1962, and \u201cNight of the Living Dead<\/a>\u201d by George A. Romero from 1968.<\/p>\n","protected":false},"excerpt":{"rendered":"

Episode #1 Starting with the first episode of Flutgraben Performances 2020 I began to write letters about aspects of my own work as reply and afterthoughts to the other artists‘ insights on their own work. Letter to Asaf: On Multiple Attention Dear Asaf, With regards to your notion of \u201csplit attention\u201d I felt that I…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-459","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.flutgrabenperformances.org\/index.php?rest_route=\/wp\/v2\/pages\/459","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.flutgrabenperformances.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.flutgrabenperformances.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.flutgrabenperformances.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.flutgrabenperformances.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=459"}],"version-history":[{"count":49,"href":"https:\/\/www.flutgrabenperformances.org\/index.php?rest_route=\/wp\/v2\/pages\/459\/revisions"}],"predecessor-version":[{"id":526,"href":"https:\/\/www.flutgrabenperformances.org\/index.php?rest_route=\/wp\/v2\/pages\/459\/revisions\/526"}],"wp:attachment":[{"href":"https:\/\/www.flutgrabenperformances.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=459"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}