Author Archive

THE RAIN DANCER / ESEL

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Die Veröffentlichung basiert auf der intensiven künstlerischen Zusammenarbeit mit Cyrill Lachauer für die filmischen Arbeiten „Esel“ und „The Rain Dancer“. Die 12“ Dubplate erscheint in einem von Tran Duc Trung individuell genähten Cover in einer Edition von 30 Stück auf Flipping The Coin Records.

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TEXT


The heads of Jeff Bezos, Mark Zuckerberg and Elon Musk fuse into one creating a singular entity named “Three headed Hell CEO”. HEIDEGGER’S VALLEY OR TECHNE & THE 3 FOOLS unfolds with such strange representations, as the CEO is joined by Techne, a kind of assistant embodying technology itself. Techne subsequently argues that CEOs next expansion of Silicon Valley units shall delve into the South of Germany. And with this Techne goes on a scouting journey encountering the Swabians, an engineering folk with a strange adversity towards the technological revolution this world is undergoing and yet with such a proud tradition of innovative thinkers, combined with absurd festivities like South Germany’s oh so beloved carnival. Techne encounters three fools of carnival ironically dancing to the US-rapper Future’s song “Mask off” while dressed head to toe in bizarre costumes. 

Humans thus far have mostly resorted to hierarchal orders of society. An order that is countered by the festivities of carnival, that, as the Russian philosopher Mikhail Bakhtin argues, is a “temporary liberation from the prevailing truth and from the established order.” A notion that calls Techne’s servitude into question and is mirrored within the strange conversation she has with the fools, who speak in a heavy Swabian dialect. Techne barely understands. Consequentially, Techne seeks a deeper understanding of language and finds the philosopher bot Hightekker, in the form of the glitching bust of Martin Heidegger himself, speaking in fragments of sentences and philosophical ideas. An overwhelming conversation unravels exposing all the layers that lie beneath Techne’s quest.

As such figures disappear and reappear, they proliferate an entanglement that poses a streak of questions relating towards notions of humanity, subjectivity and being. Is the carnivalesque an inherently human understanding of being? Do Heidegger’s ideas of technological innovation withstand the test of time? To which extent is language a lens through which we can understand the human and inhuman relations between tradition, technology and the future. All this while rapper Future’s chorus rings through the work: “Mask on, fuck it, mask off”. Who shall take off their mask in order to answer to Techne’s search for truth? The fools? The algorithm based Hightekker? Is it her own mask of friendly faces that must be taken off, bursting the bubble revealing the true nature of technology? Or perhaps is it the CEO puppet of capital’s mask? The video game aesthetics of his introduction may offer a subtle hint towards what may lie behind his appearance, as his passion is described as “profit” and his drug as „3x testosterone“.

by Heiko-Thandeka Ncube




INSTALLATION SKETCH EXAMPLE





PUBLICATION

Accompanying the work will be a publication. In the book/catalogue, the page numbers will be replaced by the time code of the video. In this way, the book/catalogue can be read simultaneously with the video. Here, all references and backgrounds of the film are once again broken down in detail and expanded by new reference levels.


AUTOPLAY

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A dance mashup, a bastard pop collage stolen from 1000 different sources: In AUTOPLAY, the copy & paste button becomes the leitmotif. Every movement, every sound, every image is an objet trouvé taken from the World Wide Web. From contemporary choreography to the Harlem Shake, from the video game Fortnite to shampoo commercials, from the selfie style on Instagram to the globally marketed pose of Michelangelo’s David – everything is recombined, reorganized and intermixed.

 

World premiere: 14. November 2019, schwere reiter Munich

Choreography: Moritz Ostruschnjak together with Daniela Bendini and the dancers

Dance: Annamaria Ajmone, Daniel Conant, Cristian Cucco, Antoine Roux-Briffaud

Video: Moritz Stumm

Music mixing & editing: Jonas Friedlich

Dramatic adviser: Armin Kerber

Light design: Andreas Harder

Costume: Daniela Bendini, Renate Ostruschnjak

Audio engineering: Paolo Mariangeli

Production management: Hannah Melder

PR: Simone Lutz

Credits

A production by Moritz Ostruschnjak. Supported by the Department of Arts and Culture of the City of Munich

and the BLZT, Bavarian State Association for Contemporary Dance with funding from the Bavarian State Ministry

for Science and Arts. Realised by a residency of the Theater Freiburg. The artist is supported by Grand Luxe

network 2019/20 an is a member of Tanztendenz München e. V.

RANGDA

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RANGDA

 

 

costume in cooperation with Svenja Gassen

SPLINTER

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SPLINTER

 

safety-glas, wood, light

ongoing series

WIE SICH DER KLEINE MORITZ DIE WELTGESCHICHTE VORSTELLT

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WIE SICH DER KLEINE MORITZ DIE WELTGESCHICHTE VORSTELLT

 

2017

c-print, alu dibond

size variable

HECTORS CALL

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HECTORS CALL

 

2019

video, 4:21 min.

DANCE INSTRUCTION (WALL OF DEATH)

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DANCE INSTRUCTION (WALL OF DEATH)

 

2017

PVC tarpaulin, 350 x 500 cm

IBOGAIN

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IBOGAIN

 

2018

audiovisual live-performance

10 inch Dubplate, Edition of 30 + 5AP ‘s

 

Henk Heuer’s and Moritz Stumm’s -work Ibogain, modifies states of consciousness through audio visual stimulants. By incorporating acoustic illusions such as binaural beats, the Shepard-Risset-Glissando, and time-shifting polyrhythms, a psychoacoustic experiment  emerges that is expanded by hypnotic, geometrical projections in the three-dimensional space.
Extracted from an African tropical plant, the hallucinogen Ibogan is administered in shamanic rituals and leads to a waking dream-consciousness. Sound and rhythm have always been used for healing and the enhancement of perception. Simultaneously, there is a belief in the enhancement of the human being through technology and science which has taken on religious traits. With the help of neuronal stimulation and so-called brain-computer interfaces, a new-, more efficient and intelligent human being is supposed to be created. The cooperation of Heuer and Stumm oscillates between these poles of archaic spirituality and the current tendencies of a supposed rational optimization of human beings. The cultural and psychic aspects of sound and music are recurrent motifs in Moritz Stumms artistic work.

WHO STOLE MY FACE

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WHO STOLE MY FACE

 

2018

multi-channel, video-loop, 30 min.