Exhibition Birdwood House Gallery, Totnes, Devon, UK
Eila Goldhahn is an arts-led researcher with an expertise in embodiment, gesture, site and visuality. Stuart Young practices sculpture and photography. They jointly work on creating a body of work documenting and commenting on the locations they inhabit and how these might reflect larger, geopolitical developments.

The MoverWitness
...a way of practicing “Authentic Movement”

We now understand that we are part of a collective body and habitat. That what supposedly separated us is revised in the face of geopolitical changes.

Wir verstehen jetzt, dass wir Teil eines kollektiven  Lebensraums, ja Körpers sind. Das was uns vermeintlich trennte wird revidiert angesichts geopolitischer Veränderungen.
When the own inner observer becomes empathetic, others may be  reflected with less prejudice and judgement too.  Perhaps the MoverWitness can prepare for a new egalitarianism.

Wenn der eigene innere Betrachter empathisch wird, können auch andere mit weniger Vorurteil und Urteil gesehen werden. Vielleicht kann der MoverWitness auf einen neuen Egalitarismus vorbereiten.

As long as nature remains at least in part available to our contemplation, we can train our esteem in her. We can be still and sense our embodied selves and appreciate the sight of a river, a plant, a bird or a newborn.

Solange die Natur uns noch in Aspekten zur Verfügung steht, können wir unsere Wertschätzung durch Kontemplation an ihr trainieren. Noch können wir still sein und unsere Körper empfinden und die Ansicht eines Flusses, einer Pflanze, eines Vogels oder eines Neugeborenen geniessen.

Being seen digitally: here, now and everywhere is a web-based visualisation of analog art works, which emerged as part of a PhD research project  on movement and dance (Shared Habitats The MoverWitness Paradigm 2007) and continued in new art works and publications.

Movement, dance and observation are the starting points for the here presented sculptures, objects and installations. The themes of development, birth and death stand visibly in the foreground, with silence and movement as recurring topics in the MoverWitness.

The MoverWitness is a method applicable  in art, dance, sociology and other arts, humanities and  sciences, where an observer and “that what moves” are interdependently connected. The MoverWitness is an interdisciplinary tool developed from the Discipline of Authentic Movement by Eila Goldhahn.

Shared Habitats
ist eine web-basierte Visualisierung von analogen und digitalen künstlerischen Arbeiten, welche in einer arts-led Doktorarbeit über Bewegung und Tanz entstanden (Shared Habitats The MoverWitness Paradigm, E Goldhahn 2007) und in neuen Arbeiten weiterentwickelt wird. 

Bewegung, Tanz und Beobachtung sind die Ausgangspunkte für die dargestellten Positionen in Skulpturen, Objekten und Installationen.

Der MoverWitness ist lern- und anwendbar in der Kunst, Tanz, Soziologie und anderen Künsten und Human- und Naturwissenschaften. Die Prämisse ist , dass Beweger, oder das “was sich bewegt” und Beobachter miteinander verbunden und in einer Wechselbeziehung stehen. Der MoverWitness ist eine interdisziplinäre Methode, die sich aus Authentischer Bewegung (Adler 2002) entwickelt hat. Sie bedient sich und trainiert eine phenomenologische, beschreibende Sprache (percept language) in welcher die individuelle Erfahrung als Teil eines Habitats erfahren lässt.

Eila Goldhahn tanzt vor dem digitalen Auge in Rafael Lozano-Hemmers Installation bei der Venedig Bienale 2007. 

Eila Goldhahn dances in front of the digital eye in Rafael Lozano-Hemmers Installation bei der Venedig Bienale 2007. (Copyright with the artists) 

(Un)marked Boxes

Obliteration and the fear of death have always been important aspects of collective narratives, as the survival of the human species is a deeply inscribed, instinctual concern. Societies and their collective experiences contain an energy, whether mystical or scientific, to try to determine the course of the human and planetary history. Experiences of collective movement and dance and an imagined collective body inspired these installations with packing crates. In the face of the current pandemic and geopolitical tensions this work seems all too real.
Material: wooden crates
Works shown at: Dartington Trust, UK
Delamore Arts, UK

Auslöschung und die Angst vor dem Tod waren stets wichtige Aspekte kollektiven Erzählens, da das Überleben der Menschheit als Spezies von tief eingeschriebener, instinktiver Besorgnis ist. Gesellschaften und ihre kollektive Erfahrungen beinhalten unter anderem die Energie den Verlauf der menschlichen und planetaren Geschichte zu versuchen zu determinieren. Erfahrungen mit kollektiver Bewegung und Tanz und einem imaginären kollektivem Körper inspirierten diese Installationen mit Verpackungskisten. Die gegenwärtige Pandemie und geopolitische Krise verleihen den Installationen eine allzu realistische Relevanz.

Films on Authentic Movement and the MoverWitness

Films for institutions

Films for individuals

Portrait of a Mover (Video still)

Movers at Dartington (Video still) 

The Wall, detail 1 (painting on video still)

The Wall, detail 2 (painting on video still)

The Wall, detail 3 (painting on video still)
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