The Unsustainable Series ATTEMPT TO WALK WITHOUT RHYTHM Instructions propose to those enacting them, a process of self-assessment or self-regard vis a vis the work, no matter how simple, onerous or absurd the task.
On occasion, as the preposterous cognitive and physical demands of some of the instructions escalate, it may become evident that not all works offer the individuals who engage with them the same degree of realization.
This moment of encountering the horizon of the choreographic enactment is an opportunity for an individual to dialogue with numerous facets of the self, and also an opportunity to consider the condition of others who may or may not share the same position vis a vis the demand.
I would like to propose that this might be an interesting moment to consider our faculty for hope; a kind of trust in challenges to elicit an appeal to our imagination, asking it to consider an unanticipated, individual condition of work that reinforces our faith in the breadth of human capacities.
— William Forsythe
Graphics - smile.
Visual Communication – Roland Wulftange
Studio Director Choreographic Objects - Julian Gabriel Richter
Host: Ob/Scene, Korea National Contemporary Dance Company, Seoul Arts Center
Organizer: Ob/Scene, Korea National Contemporary Dance Company
William Forsythe has searched for threads of reflection upon movement ever since his debut as a choreographer in 1976. The series of investigations spanning from stage direction to exhibitions that he launched after the termination of his twenty-year term as the artistic director of the Ballet Frankfurt can be condensed in the notion of “choreographic objects.” Stemming all the way from his early experiments as a ballet dancer to disperse the centroid of movement, his endeavors to diversify the epicenter of “dance” have come to embrace external objects including language and rework the physical, psychological, and conceptual conditions for prompting movement, emancipating dance from the expressive representations and “inner” motives that governed “modern dance.” His choreographic methods, in short, are designed to interrogate the root of dance at points where body and space conjoin, his definition of choreography being the acknowledges the body as wholly designed to persistently read every signal from its environment.