Eric Maltz

Researching time through durational performance and sonic journalism.

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Eric Maltz

experiencing time through durational performance and sonic journalism.

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Space Heater / Femenine

Out: October 9, 2022

Since the beginning of this year (2022) I’ve been experimenting with durational performances, in the spirit of the NYC minimalists and performance artists of the 70’s. The concerts have been called 8 Hours or 8 Minutes, a sort of joke referring to the perception of time, but a critique of the standard 8-hour workday/40 hour work week. To perform for such a long stretch of time on a single instrument (a Prophet 12 and Strymon Volante) is both physically and mentally demanding. It requires a shift in perspective and to get there I followed the advice of a good friend: To approach playing not as a mountain climb, but as a love affair. Leaping off the cliff from this foundational understanding, the performances are not tests of endurance, but deep inner journeys, explorations of love and awareness witnessed in a public setting. I liken it to riding a wave: a swelling of emotion which is palpable in the room, building gradually over the eight hours I perform.  

I struggled with the best way to share this experience with those who are not present in the moment and came up with the idea of releasing these durational singles. Each side consisting of a live recording of one fragment of the longer performance. Something wonderful about releasing music digitally is that we are no longer restricted by the time limitations of physical media. I am happy to take advantage of this to present my first single, sharing with you my experiments in time. 

Space Heater is a warmup. A piece which I play at the beginning of each performance. Much like LaMonte Young’s The Well Tuned Piano, it develops and grows each time it’s performed. This piece is deeply important to me, it forces me to slow down, to listen, and to settle into the performance. It almost instantly shifts my perception of time and allows me to quiet my mind. Recorded live on July 22, 2022,  at the UdK in Berlin.  


Improvisation on Julius Eastman’s Feminine is my interpretation of Julius Eastman’s composition. Incorporating several themes from the piece, I weave them into my own improvisations and motifs, creating an ambient, atmospheric tapestry. I spent the weeks leading up to my first 8-hour performance listening to the recording of Feminine from beginning to end at least once a day, it instilled in me a deep sense of joy and play. It is somehow light and serious at the same time, and I owe a very large debt to this beautiful composer. Recorded live on March 19, 2022, at Moos Space in Berlin.

durational performance, 1:1, solo synthesizer





photos by Frankie Casillo