William Forsythe: Choreographic Objects | Gagosian Quarterly

Celebrated choreographer William Forsythe has been expanding the boundaries of dance for over four decades and beginning in 1989, he began work on his "Choreographic Objects," a series of sculptural installations.
These physical, object-based extensions of his choreographic practice have become an integral aspect of his work. On view now at Gagosian Le Bourget in Paris, the exhibition "William Forsythe: Choreographic Objects" continues this experimentation with three works: "Black Flags," "Alignigung 2," and "Towards the Diagnostic Gaze (Paris)." For the occasion, filmmaker Ulrike Stumpp created a video documenting these works. The video also includes an in-depth interview with Forsythe on the concepts and techniques underlying the exhibition: on.gagosian.com...
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Video © Gagosian. Artwork © William Forsythe. Directed by Ulrike Stumpp; Edit and Post Production by Stefan Knauer. Interview by Louise Neri. Camera: Ulrike Stumpp, Dennis Westenberger, Stefan Knauer

[@caelum02]

comes really impressive to me. I reached this video while seeking for abstraction of features in choreography - collision, continous deformation, rigidness of object, ... and found out this thrilling work has achieved it in some way. Not human choreography but is its metaphor and abstraction at the same time. Great work!

[@benm9396]

Beautiful

[@deadlyoneable]

I thought this was going to be a joke. I kept waiting for it.

[@ralu9457]

a whole load of BS

[@RichardKing4U]

Well Gagosian have pulled it off yet again. What are they smoking these daze ? First, why not get a sexy girl to wave a flag? Or two or three sexy girls to wave two or three flags. I'd like that. Oh, no that's of no interest to the likes of YOU Mr Forsythe. No, you've got to go and buy two extremely expensive industrial robots so you can sell them to some barmy curator in some crackpot museum and charge zillions. A few sexy birds might be a million times more interesting to most of us red blooded heterosexuals. But no ! YOU think robots are better ! Then we see a couple of healthy young men who look like they've upto something of a sexual nature. And that's putting it mildly. I say that cos they couldn't be in closer contact with each other if they tried. But naturally, you want us to look at these two guys rolling around and then you give us your patronising spiel about it's choreography. It's not choreography as we know it Jim (Apologies to Mr. Spock of Star Trek) You could have made it a bit more entertaining had you given them the feather duster from the next bit of your "show" and watched what they did with that. Now you didn't think of that did you ? No, never entered your head did it ? No, and you're so bloody clever Mr. Forsythe And finally you've got the balls, the cheek the audacity the brass neck to talk about a feather duster and try to make what you're saying sound like you're telling us something we don't know. It's a feather duster. It's a f*****g feather duster for god's sake. No doubt you imagine that you'll clean up with your feather duster and be laughing your head off all the way to the bank How much are all these masterpieces on sale for ? Did you sell anything at all. I'd really like to know What has all this contributed to your country ? or to the world ? Nowt ! You are insulting the public's intelligence. Go and get a proper job. And if you're so fond of robots, you might get lucky and find a car factory that'll take you on. They actually get the robots to produce a car which as you know is a million times better than getting it to wave a dirty black flag around in the middle of an empty room. Try talking this glib patronising rubbish to any of the workers in the car factory and see how far you get before somebody gets annoyed with your nonsense. I doubt you'd last a week Both you and your anthropomorphic presence, I've spelt that last word wrong. It should be pretense Chris Newton - Artist, Writer & Hypnotist - WWW.100Temptations.com - Here you'll see art.

[@p.o.662]

lmao wtf

[@louiswil.]

you have to buy them in your mind, choreographing a distinct counterpoint to the relationships of the space. In this choreographic object YOU are the choreography, inviting the choreographic objects into your contextual memory base and anthropomorphizing their generic vernaculars to meet the criteria of your mental capabilities and orientations.