Seen from a social perspective, the arrangement of space is itself processual. We are constantly reproducing it through our practices of enacting agency and through our connections to space through perception, imagination and memory. Through the reproduction of space, we at the same time reproduce our social-economic, capitalistic structures and through this, as it were, our alienation from our living environment. Through the ordering of space and my body, during the multidimensional performance, I irritate and break expectations and fixed ideas in the audience, surprising them by offering alternate behaviour patterns rather than reproducing a traditional practice with the space. By playing with space, I refuse it its traditional and continuous methods of reproduction and its alienation of the living environment. Instead, I open a space for imagination, through the multidimensional performance, which provides an escape from alienating space into an artistically arranged spacial vision. This space of imagination further symbolises the multiple alternative ways of living and social arrangement, which become possible through a shift in the habitual mode of engagement and a change in the capitalistic dispositive.
Simultaneously, through its inter- and trans-disciplinarity, my multi dimensional performance transformation process contains, on multiple levels, original ideas in artistic agency such as the transformation of movement into sound, the transmission of a universal technique for music instruments in relation to space, other instruments and my body. This artistic transformation process points towards the possibilities for a global social transformation processes.
My multidimensional performance defines itself through minimalism and thrift. Besides the space as an instrument, myself as a resonating body and a few sound tools like percussion sticks, no further instruments or technical equipment is required. If thrift is reduction, reuse and recycling is itself a form of transformation, it nevertheless symbolises a characteristic of the sustainable modern.
(Through this my multidimensional performance is ideal for triggering a reflection process in the audience towards making their lifestyle more thrifty, minimal, more aware, more oriented towards the common good, and towards organising it more sustainably. The sustainability of my art also enables a statement to be made in regards to sustainability of artistic practice).
From the perspective of physics, my multidimensional performance occurs in four dimensional space. The three spacial dimensions along with air, as the carrier of the sonic waves and the bodies upon which the waves break, are compulsory prerequisites for the perception of my sound production. The progression of time as the fourth dimension of space-time is an equally necessary condition for the possibility of my performance. Any type of art performance, any type of human interaction must occur within these physical dimensions in order to be possible and to be perceivable. Furthermore, in my multidimensional performance space itself becomes an instrument. With floor rubbers, whipping whisks and in parts other acteurs, I bring the space into play. Its floor, its walls and its roof already contain a variety of differing surfaces for the production of sound without the need for further percussive instruments. Along with the aforementioned, my own body also serves as a a resonating body in the sense of body percussion, for the production of sound. Producing sound determines the movement in space, both on the available objects and on my body. Simultaneously, the movements which produce the sound are choreographic and aesthetically perceivable, whereby, my self created rhythms also determine the movement. I transform movement into sound which itself transforms my movement into dance movement. In this way, the space, my body and the movement sequences melt into an inseparable, interdependent singularity that is a multidimensional performance.
An elementary aspect of my artistic creation is occupied with the philosophical reflection on my agency on and across the stage. My wish is that through the multidimensional performance the audience receives an entrance to an abstract method for rigorous reflection on our actions and agency.
Die Klang / Rhythm Performance by Holger Mertin
A Statement from Raphael Martens
(a long time companion & friend)
Holger’s artistic approach was already, from his first precocious musical steps, heavily influenced by the questioning of existing forms and rules, crossing borders, the search for new forms of expression and an unquenchable thirst for self fulfillment through “answers”.
Answers to questions such as: how does non verbal communication function, is there such a thing as a universal language – an intuitively understood expression that makes language at all possible, as well as answers to questions in political, social and socio-economic realms.
Through his style of music performance, Holger, found a way to expand on existing musical frames and forms of expression, adding new elements while exploring others from novel perspectives. He invites the audience to, not only to experience the passive listening element of music, but also to feel a part of the total performance and with another, to discover themselves as active actors! (➥ soundscape / body percussion)
It is always exciting to hear and to see what a differentiated expression a space alone can acoustically provoke, when Holger artistically manipulates it.
It is exactly this alternative perspective on existing, possibly also trivial, material that inspires us urselves to question established forms and frames (material and imaginary) so that we might discover new qualities.
– Raphael Martens –
© 2020 Holger Maik Mertin. All rights reserved.