Forsythe and Ikeda participate in San Sebastian 2016 with two installations

Jone San Martin closes her carte blanche with two internationally renowned artist: the American choreographer William Forsythe  and Japanese electronic music composer Ryoji Ikeda.

Both works invite the public to concentrate on their body's movement through the space.

The installations are now open through November 27th in Tabakalera's Space 1.

As a culmination of dancer and choreographer Jone San Martin's artistic proposal designed for San Sebastian 2016, for one month Tabakalera will welcome two installations from two international figures from the world of dance and music:  William Forsythe and Ryoji Ikeda. While the two artists have collaborated on previous occasions, this is the first time that they will be presenting their works dialoguing together, in the occasion of the European Capital of Culture.

Each of the Space 1's adjoining spaces at Tabakalera will present one installation: A by Ikeda, and Nowhere and Everywhere at the Same Time by Forsythe; the first, a renowned Japanese sound and visual artist, and the second, one of the most important and influential choreographers of our time. Both works invite the public to interact with the space and, perhaps unconsciously, create choreography by moving through the rooms and interacting with the sound waves superimposed by the space in A or with the 444 pendulums hanging from the ceiling of the American choreographer's installation.

These installations, which are now open through November 27th, constitute the fifth and last of Jone San Martin's contributions to San Sebastian 2016, and are sponsored by the Goethe Institut. With her proposal, the San Sebastian native hoped to present an example of the influences that she has accumulated throughout her international career to her home town.

William Forsythe: Nowhere and Everywhere at the Same Time No. 4

Nowhere and Everywhere at the Same Time is an installation originally created for a solo dancer with forty pendulums in an abandoned building on New York's historical High Line. Since then, the installation has been in continual development in contexts as different as the monumental industrial space of the Turbine Hall at London's Tate Modern Museum, or the historical military setting offered by the Arsenale of the Venice Biennale. Tabakalera will welcome the fourth edition of the installation: a grand collection of pendulums that should not, but could be touched. In total, 444 oscillating pendulums will hang from the rooms ceiling.

This edition preserves and privileges two main points of interest from Forsythe's work: the counterpoint and the unconscious choreography abilities born as a consequence of choreographed situations. Visitors are free to move among the rocking, unpredictable pendulums that make up the installation, but are asked to attempt not to touch them. This effort automatically enacts and awakens the visitor's prediction abilities, creating animated choreography born as a consequence of the intricate movements required to avoid the oscillating objects.

William Forsythe (New York, USA, 1955) is recognised as one of the world's most important choreographers. While the beginning of his career was noted for taking ballet from its usual classical repertoire to a 21st century dynamic art, his more recent work has been characterised by the exploration of the performance potential of dance, and investigating choreography as a fundamental principle of organisation.


Ryoji Ikeda: A

The title of Ryoji Ikeda's sound installation, A, makes reference to the musical note also known as 'la', which is used as a standard tone for tuning musical instruments. Nevertheless, throughout history, this standard has been fluctuating since Bach's era until its definition at the hand of the ISO (International Organization for Standardisation) in the 1970's, when the tuning note was given a frequency of 440 Hz. Händel's 1751 tuning note, for example, was 422.5 Hz, while the tuning note used in London by Steinway & Sons to tune pianos was 454.7Hz in 1879.

Ikeda has created an eight-hour composition that will be heard through four speakers installed in the room, which will simultaneously sound different frequencies of the musical note 'la'. The superposition of the different frequencies will produce a series of invisible interferences in the room that visitors will be able to feel in their ears in the form of vibrations. The sound will reverberate in a varying manner according to the movements of the individuals found in the room.

Ryoji Ikeda (Gifu, Japan, 1966), a renowned electronic music composer and visual artist, focuses his interest on the essential characteristics of sound itself, and visual characteristics such as light through mathematical precision as well as mathematical aesthetics. Ikea gained great recognition as one of the few international artists working with credibility in both sound and visual materials. Ikeda meticulously uses sound, images, materials, physical phenomenon, and mathematical notions in live, immersive performances and installations.


Practical information

William Forsythe: Nowhere and Everywhere at the Same Time - Ryoji Ikeda: A
October 26 – November 27 | Tabakalera, Space 1

Tuesday to Thursday: 12:00-20:00h
Friday: 12:00-21:00h
Saturday: 10:00-21:00h
Sundays and public holidays: 10:00-20:00h
Closed on Mondays


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