William Forsythe the renowned choreographer and artist has always had a fascination for the choreographic object. He believes that choreography, though maddeningly unmanageable, elusive and agile both as a word and process, is a channel for the desire to dance. And here’s what happens in his acclaimed piece Nowhere and Everywhere at the Same Time, when it is external objects and not solely the presence of music, that compel us to dance.
Forsythe borrowed this title from a phrase used by blind resistance fighter Jacques Lusseyran, who when speaking about his inner sense of vision described it as being like a boundless canvas or screen that existed ‘nowhere and everywhere at the same time.’ It is this inner vision that Forsythe calls us to use when moving through this installation, that is currently on view at the Circus Street Market as part of the Brighton Festival till 25 May 2014.
This work consists of more than 400 moving pendulums that hang from automated grids, and sweep in synchronised arcs as visitors walk across the space. Originally created for a solo dancer as the video above depicts, this second edition is more an examination of how a free, unchoreographed, unpredictable audience reacts to the work, while making their own attempts to navigate the space and avoid these choreographed objects.
Versions of this work have also been installed in an abandoned building on New York’s historic High Line, the Turbine Hall at Tate Modern and the Arsenale of the Venice Biennale as seen below.