Morris Mórr synchronizes and syncopates live-visuals — in parties, concerts and music festivals in the Netherlands, Brazil and beyond

No matter the music style, Mórr creates a symbiosis with the sounds that can only exists in the present moment.

He has in his arsenal
– deep knowledge of video-audio techniques and computer programming,
– years of practice in the new media-art scene
– a background in graphic design,
– & tuned eyes and ears to make things move!

SHiNE visuals for kareem raïhani music:
evenings of sonic & visual dance, ancient & future, acoustics & electronics, tribal & urban, avant-garde & roots.
vj mórr performs regularly in the shine party in amsterdam.

 

 

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paradisolo is a monthly electronic music party at the amsterdam’s music temple, paradiso.
1 dj in a 4 hours-set. 3 cameras. 5 projections filling the space with on-the-beat black-and-white visuals.

 

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He is the resident vj at Paradisolo (monthly party in Paradiso, Amsterdam),
and performed in venues such as:

– Tivoli, Rasa, Canvas, Occii (NL), Nuvem (BR)

in festivals such as:

– Fusion (DE), Lowlands, Milkshake, Magneet (NL)

Project:
B-Movie Orchestra ‘Dr. Jekyll & Sister Hyde’ theatre tour 2016

Responsible for editing video content,
scenography & technique of projection — synchronizing & queueing multiple screens,
and performing on the stage as VJ.

team:
direction: Eva Bauknecht
conception and artistic leader: Baz Mattie
video content: Baz Mattie, vj mórr
scenography & technique: vj mórr, Jochem van Tol, Erwin van den Broek

 

Project:
All Shall be Well

All Shall Be Well is a dutch instrumental post-rock band. Since one year I started performing with them, projecting visuals along with the music.

The visuals as well as the instrumental music being played don’t convey a narrative. Instead they leave audience in an open ambient, suggesting associations, emotions, poetics.

Contrary to the club VJ’ing, these live projections are done with a defined plan and little improvisation. The solution for each song is tought in advance and rehearsed. In this case, less is more.

“Clap For Alaska”

Through this act you can testify how communicative the human image is. Like photographic portraits, the power here is due to our innate ability to identify ourselves with other people, to captive and relive their feelings.
This performance borrows another quality from photographs, that Susan Sontag pointed in her article Melancholy Objects:

“photography is the inventory of mortality. (…) photographs show people so irrefutably there and at a specific age in their lives (…) photographs state the innocence, the vulnerability of lives heading toward their own destruction. (…) the fascination that photographs exercise is a reminder of death.”

“Intro” – this is an intro act that opened some of their concerts in 2008-09.

“Walking, then running”

The starting point was a thought I once had, that anything we create is influenced by our references, by other artistic works we admire.

Because All Shall Be Well songs have no text, I decided to focus on influences that are verbal and asked the band to bring their favorite writers, books and text passages.

It’s interesting to have one song where the audience can be inspired not only on the subjective level of the music, but also through words. I also like that it’s not a single text, but fragments, so we instead of a narrative interpretation the show throw hints at them.

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