William Forsythe

Since the 1980s, parallel to his stage productions, Forsythe has developed installations, sculptures and films that he calls Choreographic Objects. Blurring the lines between performance, sculpture, and installation, his Choreographic Objects invite the viewer to engage with the fundamental ideas of choreography. These site-responsive, interactive works are designed to stimulate movement from visitors through interactions with kinetic sculptures, video projections and architectural environments. The exhibition features large-scale installation titled Nowhere and Everywhere at the Same Time No. 3, including video work Lectures from Improvisation Technologies. 

In this third version of the work each of the pendulums can be separately controlled. The interactive installation consists of plumbs hanging on strings and moving in the space of the room. Choreographed by Forsythe, the movement of the weights is programmed in such a way as to produce a kinetic and acoustic counterpoint that divides the room into many unpredictable, changing parts. Filled with unpredictable complexity, the space addresses the state of the visitors’ perceptions and reflexes and leads them into a light and surprising choreography of perpetual avoidance. 

"Choreographic Objects are discreet systems that require activation, through either conscious or unconscious competence. The objects are not intended to generate their meaning exclusively through visual means but instead serve as lived examples of specific physical circumstances that isolate fundamental classes of motion activation and organization. A number of the objects demand reflexive, instinctive reactions to the challenging complexities of their organizing environments. Others require the conscious summoning of multiple, complex tactics to comply with the environments simple rules. The objects may provide feedback to the person engaged with them about their ability to manifest a body image that is more, or less accurate. In all cases, physical engagement is the means to understanding the class of actions to which each choreographic system refers. This is the first principle and original proposition of the Choreographic Objects themselves." (William Forsythe)