Q+A with Alex Zehetbauer
N- A lot of the work you did is located in the body. What were the challenges and discoveries that other mediums (song, video as opposed to live performance) bring to you? How did these mediums affect the presence of your body?
In terms of song: when recording music for the website, I feel the need to use multiple voices, because the physical experience of resonance is cheapened when a solo voice is recorded. Or at least I have yet to uncover the secrets to that challenge, but do hope to do so. I think I associate presence with this physical experience of resonance. It is difficult for me to feel as though I am giving something when I record my voice. This is not the case in live performance of song.
In terms of video: during this eight-month period, there were a few times I thought I wanted my forum pieces to be footage of a live performance, but looking back I feel a lot of disconnect-the body is lost in translation. It is in the unplanned footage that I feel a return to presence. These works were very informative.
TS-In your live performance you work with directing others and in your work on the website you had been directing yourself. Do you notice any change in your process or realization of the work in regard to this shift in focus? If so, how are they different?
No not really. Though I do feel forced to explain myself when working with others and this is always very helpful and transformative.
M- What do you think would be the most difficult thing for you to do to challenge you in your work? Why is that particular thing difficult?
I'm not sure I am the person to think of that thing. But, I guess to tie in previous questions: To create footage of live performance, where the body is as present in film as in life, that is a work in and of itself.
EM- Occasionally in your work (particularly, I think, when you deal with music) you write or speak in German as opposed to English. What effect does this have on you as performer? What effect do you hope it has on the audience?
The German language changes the way I am perceived. I am a more direct person when I speak German and when this is necessary I use German. Also, at times the organization of words expresses my feeling more accurately. For instance one of my forum works is titled "zukunft erreicht.” In English, the word by word translation would be "future reached.” In English the phrase sounds less truthful (and less scary) because of the difference in sentence structure. To use the phrase in a German sentence one would say "wir haven die zukunft erreicht" meaning "we have reached the future.” Thus, "zukunft erreicht" implies the invisible words before, whereas "future reached" does not. "reached the future" might, but again somehow it sounds goofy instead of ominous. I wanted an ominous title.
EF- Your work is very image-based and has such a strong aesthetic. How are those images conjured up and then how are they realized? What challenges you when creating your aesthetic in reality?
The images in my work are conjured up in my waking dreams. There is nothing to do but receive, it is full of ease. The difficulty arrives in the process of translation. However, the struggle of translation is always a gift. The mode of challenge is recreating the immense beauty of these dreams, but it also a challenge that should remain impossible.
C- Your work is very sensorial, truly striving to incorporate as many senses for the performers as well as the audience. Can you discuss your process in relation to incorporating different senses and particularly the effect of taste and touch have on you as a performer.
I constantly desire for performance to be physically enjoyable for both audience and performers, in this way incorporating the senses comes out of that desire and not so much the particular work.