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.
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
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.
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.