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I've been trying to teach myself a little sound design or mixing, because I know I want to incorporate specific songs and mix them to create a certain experience. This piece is just practice, I know I want to incorporate bells into the soundscape of my installation as a type of cue and the hellraiser bells are a big contender. I just wanted to get my feet wet again with playing around, this piece isn't even done yet

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-floor paths leading to each room
-stacked hexagons to create a steps small stage in the center of the labyrinth, models will stand on 1 of 5 sides.
-hex of center is one lane larger than the largest hexagon of the individual rooms, rooms sit inside an equal size hex so that there are 2 lanes between the walls of the rooms, providing exit
-mirrors at the outside edge of the labyrinth, facing the area where paths split apart between 2 walls. This should make it look like the labyrinth is twice as big, extending to forever. also instead of looking out of the labyrinth, seeing a mirror is a cue to look back to the labyrinth and back at one's self

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I ALSO recently found out about the Labyrinth Society, which I've absolutely come across in research before but I didn't do a deep dive and found it's an incredible resource for classifying, finding, making, and celebrating labyrinths. AND I found out that World Labyrinth Day is the first saturday of May, this year on 5/7. My final due date for fashion reviews is 5/6, so wow. I really want stuff done by World Labyrinth Day!!

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What's new?
Check our News Updates page for current highlights and information.
Shop with AmazonSmile and support The Labyrinth Society. (Signup required. See News Updates for more information, if you are not currently a member of AmazonSmile.)

Find your local TLS Regional Representatives or become an RR yourself!

WELCOME

The Labyrinth Society, a U.S. nonprofit 501c3 organization, is an international group of labyrinth enthusiasts whose mission is to support all those who create, maintain, and use labyrinths, and to serve the global community by providing education, networking, and opportunities to experience transformation. Read more...
What is a labyrinth? Find out!
2020 Virtual Gathering Videos

On September 26th, The Labyrinth Society hosted our first ever Virtual Gathering, The Dromenon in Contemporary Times: Resilience, Reconnection, and Renewal, featuring Jean Houston and additional presenters from Costa Rica, Ireland, New Zealand, Portugal, and the US. Videos of the presentations, as well as a transcript of Jean Houston's presentation, are available on Gumroad!

Shop the Labyrinth Bazaar!

The Labyrinth Bazaar is a Facebook Buy and Sell group, hosted by The Labyrinth Society, devoted specifically to unicursal labyrinth products and services. We are thrilled to be able to support the global labyrinth community's artists, writers, builders, and other creators, and to connect you with wonderful labyrinth products and information about labyrinth-related services. Join us as buyers, sellers, or both!

Many Paths, Many Visions Podcast

Exploring the burgeoning interest in labyrinths, The Labyrinth Society presents Many Paths, Many Visions, a live podcast show highlighting guests from around the world who use labyrinths in their work, art, and personal lives. Go to the MPMV webpage to see the upcoming podcast schedule, the link to join the next podcast live, and the archive of past podcasts.

20th Anniversary Digital Publication

The Labyrinth Society's special 20th anniversary digital publication, Bountiful Harvest: Celebrating 20 Years on the Path, is available in both iBook and PDF formats. See Digital Publications under Media.

Marketplace

Our Marketplace features services and products for the labyrinth community! Browse listings by category or location and sign-up to featured on our website: LabyrinthSociety.org/market

Short Film and Full DVD Available

View a YouTube clip below or order the DVD.

Additional Resources
Learn about Regional Reps, find one, or become one!
Browse our educational and experiential resources for the labyrinth community.
Shop CafePress for Labyrinth Society Merchandise

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2003-2022 ZD-CMS driven - © Zee Designs - zeedesigns.com

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The Labyrinth Society, known affectionately as "TLS," is made up of labyrinth enthusiasts from all over the world. TLS supports all those who create, maintain and use labyrinths, and serves the global community by providing education, networking and opportunities to experience transformation.

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how have I not discovered this sooner-- AND how have I not discovered the various labyrinths within a mile of places I've lived!!

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2004-2022 ZD-CMS driven - © Zee Designs - zeedesigns.com

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The World-Wide Labyrinth Locator has been designed to be an easy-to-use database of labyrinths around the world. Information about labyrinths you can visit, including their locations, pictures, and contact details, are accessible here, along with information about the many types of labyrinths found worldwide.

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I randomly came across this artist (someone asked if he did the sets for a fashion week show, led me down a rabbit hole) Edoardo Tresoldi. He makes these large scale architectural sculptures out of wire mesh-- I think his work in incredible, but I was mostly interested because it looks similar material wise to the wire I'm using. I was already considering using chicken wire to create the large scale replicas of my twisting box-pleats, and finding this confirmed to me the visual look of the raw mesh and how that could be successful in my own presentation. The use of layering mesh and controlling lighting is also really useful in controlling the final appearance!

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ARCHETIPO Temporary installationIn collaboration with Dubai based studio Designlab Experience Private royal eventAbu Dhabi, United Arab Emirates2017 &copyRoberto Conte Archetipo is a garden where architecture and nature dance together in continuous connections and contrasts, whose peculiarities, in the Renaissance meaning, are filtered, absorbed and interpreted by the contemporary man.

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"Big Green Monster Maze" open 9/1-11/1, Stow Mass

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"Big Green Monster Maze" open 9/1-11/1, Stow Mass

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Come get lost in one of our three fabulous mazes!
No reservations are taken for any of our mazes.

Big Green Monster Maze

$11.75 for adults

$7.95 for kids

Closed for the season ​

​

Sept. 1st - Nov. 1st

10 - 4

Little Hedge Maze

$2 per person on weekdays

$4 per person on weekends and holidays

​

July - Jan.

10 - 4

Tunnel Maze

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Come get lost in one of our three fabulous mazes!No reservations are taken for any of our mazes. Big Green Monster Maze $11.75 for adults $7.95 for kids Closed for the season ​ ​ Sept. 1st - Nov. 1st 10 - 4 Little Hedge Maze $2 per person on weekdays $4 per person on weekends and holidays ​ July - Jan.

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"Beatrix Farrand's American Landscapes" Trailer

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"Beatrix Farrand's American Landscapes" Trailer

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another of the garden documentaries I watched, which was really great for understanding the design principles of public gardens. "The Gardener" first suggested to me the art-form of gardens at this scale, but Beatrix Farrand's work cemented that idea.

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Beatrix Farrand's American Landscapes, Official Trailer

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One of the gardening documentaries I watched that inspired me, with beautiful shots of the garden itself. Frank Cabot's garden contains many different styles, and he speaks so eloquently about the emotive nature of each area and the emotional journey the garden is meant to set you on, that it really resonated with me and the experience I'm trying to create

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I was recently watching some documentaries about gardens, and it made me think a lot about how a hedge maze is the basis for my labyrinth idea. I want to blend the feeling of labyrinths being used for meditation and prayer with the feeling of garden mazes representing a type of regulated emotional experience. I frequently got the note that my initial review set up felt sterile, empty, or abandoned, and while that's kinda the museum/gallery vibe it's not quite what I want. I've been struggling to articulate what it is I want in between homey and science-lab, and it's a garden.

This set me off to researching if there are any hedge mazes near me I could maybe use for a setting (the nearest one is in Stow, an hour away, and is only open 9/1-11/1). I still think it could be great to take a little road trip out there to film models in the maze. I've also been looking for labyrinths near me (which could also work as a setting, but they're much smaller and less dimensional) and there's a TON for me to explore and scout once the snow melts.

But in terms of staging this as a Massart event, which I think I need to resource-wise, I don't think I could have the same effect off-site simply because people won't travel but they will explore campus galleries. So I wonder if there's a way I can bring hedges in-- through projection? astroturf? those fake leaves they use to cover construction fencing? But would using artificial foliage kill the natural feel of the garden, making it sterile again? And what about the images I want to project onto the walls (I could stick little screens in there), or maybe I only cover the outer walls with foliage? it's definitely something to mull over

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room five: tracing path through the maze
walls: time lapse video/static image projected of ribbon winding through maze, going over and under walls
tables: 2/3 tables on every other side of the hex, waist high/higher, width of single lane. surface would be quilted maze like crossroads. low podium at center back of 2nd largest hex for model to stand on
interaction: there is ribbon tacked down at one end, spurred by video viewer is meant to wind the ribbon through the presented mazes
paths: keep access open around widest path and between each table (concerned about central front table), lead to open center area
mannequins: 2 forms at ends of tables next to low podium for model, forming a half circle. mannequins wearing drafts of ribbon draping, ribbon is connected to ribbon viewer can drape on table (maybe, unsure abt connecting)

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room three: gridding surface
walls: grid of curving lines either painted or projected, could be moving or static
table: waist high, on 3 sides of the hexagon, as wide as 2 lanes of path. low podium in center front of smallest hex for model to stand on
interaction: large paper mobius strips interlocking at center, trace a single red line on surface, meant for viewers to run finger along to discover infinite path of mobius (model will demonstrate)
paths: path along outer edge, loops back in wide circles to lead to center by going around the table
mannequins: 2 forms standing at widest part of 2nd largest hex, wearing toiles with mesh strips

room 4: making paths with parallel lines
walls: time lapse video of me making maze by using parallel lines (would reverse engineer this to look like the paths are being formed seamlessly in parallel instead of sketched)
tables: waist high, width of 1 lane of path, on five sides of the hexagon. surface would be the gridded lego base, would be bins of legos at table ends and at center. low podium for model to stand on at center back of smallest hexagon
interaction: using legos, make a maze of paths by making parallel lines. This would be started at either end and sporadically through table to give visual cues to make the paths. wall video demonstrates use of parallels
paths: path along the outer edge, loops back around interior of table, so on until reaching center.

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Room one: paper manipulations
walls: projected videos of me manipulating strips and demonstrating how to follow pictographs
tables: waist high/higher, on 3 sides of the hexagon, width of one lane of path. low podium in center for model to stand on
interaction: follow pictographs on printed hexagonal pages, using the materials set out, recreate the mobius manipulations
paths: path along outer edge, loops back to center podium
mannequins: 2 forms at ends of tables wearing paper mobius manipulations

Room two: drafting curves
walls: either painted curving parallel lines/ projected video of scrolling lines/ static image of lines
tables: large hexagon shaped table, waist high/higher, in center of room, big enough for full booklet to unfold. low podium at center back for model stand
interaction: unfolding the pages of the booklet and investigating contents and writings
paths: loops round and round the center table, no straight shot

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I like making ideas out of paper to help me see them as real objects and help me figure out scale, and this is the configuration of room for the exhibit I was picturing.

Each room would be a hexagon with walls on 5 sides, and 2 columns of the twisting box pleat standing at the ends of the sixth side, forming an entrance. This paper version acts as a base for each room, see the sketches and notes below for the setup of the individual rooms. Each room has its own unique floor plan, wall treatment, and interactive element.

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I was rewatching some thierry mugler shows to remember the ICON AND LEGEND who just recently passed, and I have a few notes
1. When looking at choreography of groups of models, these "bug ladies" are doing this type of synchronized yet slightly delayed movements of their arms so they're falling into a formation is precisely the type of coordination I'd like to incorporate for the finale number with all 5 models walking

2. One of the reasons I wanted to review some of Mugler's shows was because I remember him having multiples (like these bug lady outfits) and I was curious to see if they were evolutions of one design or reproductions of one design-- they are exactly the same, which makes sense with Mugler's theater background. These are five dancers, not necessarily five garments, he understood that multiples are required to make certain ideas understood

3. I rewatched Thierry Mugler's ss 95 show, which is often called "The Woodstock of Fashion" because everyone was there and it was such a spectacle. In rereading coverage of the event, one person said that what was magical about Mugler was his ability to create spectacle, and I realized this is the perfect word for the experience I want to create. Fashion used to have these powerful moments of spectacle and event, McQueen and Galliano used to create on the same level, but it feels like in the last ten or twenty years fashion has really lost its spunk. I want to bring that back!

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Thierry Mugler Haute Couture Spring/Summer 1997 Full Show | EXCLUSIVE | HQ

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Written description of the different facets of the project:
I've been struggling to describe everything involved in what I plan to do, and this draft was an attempt to begin to organize those thoughts

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Indira Allegra "After My Death / A Mutable Decision"

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Indira Allegra "After My Death / A Mutable Decision"

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recently introduced to Indira Allegra for their strong and clear voice speaking about their own work, and in exploring their portfolio I came across this piece. it's a great reference for the body language of indecision, which i'm trying to capture in the choreo of my first phase.

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After My Death/A Mutable Decision
Performance
5 minutes 1 second
2021

You've received the diagnosis. The money is gone. The relationship is over. You've surrendered to some loss which has happened but how do you make decisions to reconstruct your life? To feel that you are living again? "After My Death/A Mutable Decision" is an exploration of the liminal space which indecision creates as ideas take form, dissolve and find new shapes as we move through our losses.

Video by Nicholas Bruno

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After My Death/A Mutable Decision — INDIRA ALLEGRA

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Artist Portfolio

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Herzog & de Meuron. Natural History - HERZOG & DE MEURON

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Herzog & de Meuron. Natural History. Edited by: Philip Ursprung. Exh. Cat. Herzog & de Meuron. Archaeology of the Mind. Canadian Centre for Architecture, Montreal. 23 October 2002 - 6 April 2003. Baden, Lars Müller, 2002. Also published in German: Herzog & de Meuron. Naturgeschichte. Lars Müller, 2002.

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Herzog & de Meuron: Archaeology of the Mind

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Herzog & de Meuron: Archaeology of the Mind

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Herzog & de Meuron: Archaeology of the Mind

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Herzog & de Meuron: Archaeology of the Mind

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Herzog & de Meuron: Archaeology of the Mind

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Herzog & de Meuron: Archaeology of the Mind

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in trying to find out more about this book, I discovered that it was actually made to accompany an exhibit that showed these experiments and resources as objects.

this REALLY spoke to me because it's so similar to how I group and arrange my box of experiments when presenting it, and it feels eerily similar to the way I had tables full of samples at my review. It's also great to be able to see objects I've caught glimpses of in the book and the difference in how they're arranged in physical vs printed form

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Herzog & de Meuron: Archaeology of the Mind

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Herzog & de Meuron: Archaeology of the Mind presents an exhaustive display of materials from the architects’ archive and from related collections. Referencing a natural history, the exhibition includes study models, books, photographs, toys, fossils, Chinese scholars’ rocks, and significant works of…

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one of the reasons judith recommended this to me was because she was reminded of how I organize my experiments and tests, and seeing this evolution of different material tests for the Tokyo Prada building resonates with how I test different things and organize them in a similar way

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I have been SEARCHING for a pdf of this book without luck, this was the first suggestion of artistic kin. I've been trying to find photos of pages to reflect what I remember from the quick glimpse Judith gave me.

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instead of spacing out the different rooms like I did in my first sketch, I made the design more compact by using the hexagon tessellation from my 2D presentation and having the rooms share walls-- this could present an issue of fire hazard, and the walls may have to be almost sheet-like (wouldn't it be wonderful if you could see silhouettes and shadows of the garments navigating the maze), but I like the shape of this better than the first draft. I'm also considering making a doorway of sorts for each room by making folded-box-pleat columns and placing them at the apex points of the widest central hexagon

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I've been primarily working under the assumption that I'd be able to break up a space into smaller rooms, but I've had a few other ideas floating around in the back of my head in case that's not possible.

the first backup is if I'm unable to create boxed off rooms (potential fire hazard?), I can create a forest of columns to guide the audience through. Inspired by Diane Simpson, I want to make large scale versions of my box-pleat w/ a fold in the center and reverse weave embroidery-- which could be made from chicken wire and plaster cloth

the second backup is if I'm unable to find one room large enough for everything I want to do (I've been thinking about Pozen or DMC atrium), I could instead use several galleries throughout the school and create a maze through Massart, giving participants a map (and maybe making paths on the floor)

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I almost always find the "behind the scenes" or "the making of" videos to be far more inspiring than the finished piece, and seeing Es Devlin's creative process and portfolio of work was incredibly inspiring: in particular, the moment starting at 07:30 where Es walks a miniature through a model of the set was incredible, especially this idea of walking through the video of folding and manipulations into the structure those hands were building is EVERYTHING

in looking at the video presentations that have been inspiring me lately, I'm noticing this recurring pattern of circular motion, a lifting of the curtain to show process, and this sense of immersion through the camera/focal point blooming out from the center: would be interesting for camera to go through a loop of the mobius to reveal the next, or maybe to zoom in and follow path of infinite surface

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Chanel / i-D: Behind the Mirror Maze, Creating spaces with set designer Es Devlin

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We meet the women who use space as their medium. 

In between designing sets for Kanye, Adele, and Beyoncé, stage designer Es Devlin shows us her creative process as she works on her project for the Fifth Sense, an immersive installation about scent created in Peckham, Southeast London. 

We also meet other female artists around the world who use space - from architects to set builders to curators and installation artists, and consider the multi-faceted way in which space itself can be the most fascinating canvas on which to create.

Featuring Hannah Barry, Xaviera Simmons, Janina Pedan, Grace Miceli (Art Baby Collective), Pernilla Ohrstedt, Assemble

Directed by Cheryl Dunn

i-D:
Commercial Creative Director: Bunny Kinney
Associate Commercial Creative Director: Claire Arnold
Commercial Supervising Producer: Tash Tan

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yet another great source of inspiration for the video documentation of this project, especially the folding of the mirrors and imposing directional lines over the video

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Enter the Mirror Maze, Es Devlin's video sculpture, presented by The Fifth Sense

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in rewatching videos about the curation and planning of "About Time" I discovered that the set design was done by Es Devlin, and a reference was made to her "Mirror Maze" and my ears perked right up. Upon finding photos and videos of the installation I knew that this maze is exploring the same themes of self-reflection, navigating life, and creating one's self.

I've been thinking about how to incorporate mirrors since rewatching the "Madame Butterfly" show because I was reminded of how useful mirrors are for being able to show all faces of a garment, and discovering the "Mirror Maze" reminded me of the possible symbolic uses of a mirror and how it ties into my themes. I originally held off planning with mirrors because they're usually damn expensive

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Mirror Maze – An Installation by Es Devlin

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many of these are things I can partially do or could learn to do, but would prefer outside help so I can do a bit of everything without burning out

- need to work with a choreographer to actually plan out the steps in a way that can be communicated to models (and have their help developing style and movements)
-need someone who is familiar with lighting design to ensure consistent lighting and projected videos work
-need a set designer/wood worker to help me build the sets and structures (I know the school has movable walls, but if I need stages or stairs)
-need someone familiar with sound design/music production in help creating the soundscape of the presentation (I can probably relearn music editing in premiere, but when it comes to how the audio is played I think a pro would be a big help)
-may also need help with video editing (depending on how much I can reteach myself, which has been a good deal so far, I may not need this)
-need 5 models with the right measurements and an awareness of dance/choreography
-of course, will need hands to help with set up and act as possible gallery attendants

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in watching videos about the curation of "About Time" I learned that Andrew Bolton and Es Devlin's original idea was to plan a maze inside the Met BUT the fire department shut it down because it was apparently a hazard-- good to know in creating my maze inside a building!! I wonder if having multiple exits points between rooms would help? def something to look into

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I'm always disappointed to not be able to go to the Met exhibit, but I was really disappointed to not be able to see the "About Time: Fashion and Duration" exhibit because I thought time was such an interesting theme full of potential (it inspired me to try to use time as a medium in various ways when first hearing about the theme, AND it's how I learned about Orlando)-- and seeing the gallery views online was such a twist of the knife. I'm so entranced by the circular layout and the use of lines on a clock to direct viewers, and the fact that everything is also black and white is such a cherry on top. The Met primarily used pieces from their own collection for this exhibit, so there were a bunch of pieces in this show I got to see in Manus x Machina or am familiar with outside this context, which helped in understanding the theme and presentation of the show: the Met can get a little insider-baseball about fashion depending on the sponsor that year, which I love, but I wonder how much would be understood to an audience outside the world of fashion (which is useful choosing my own language for my presentation)

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Exhibition Tour—About Time: Fashion and Duration with Andrew Bolton | Met Fashion

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this video is really inspiring as a way of documenting my work through film-- the sense of motion, the use of black and white, the stark silhouettes evolving into a modern adaptation-- it's setting my brain alight

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About Time: Fashion and Duration (Extended Exhibition Preview) | Met Fashion

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Manux x Machina: Fashion in an Age of Technology

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Manux x Machina: Fashion in an Age of Technology

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I can't BELIEVE I didn't include this earlier, but Manus x Machina was the first Costume Institute exhibit I saw and it had a hugely profound impact on me and has been a big inspiration for how I thought about staging my work.

The Met does not have moving models, but the idea of creating the building within a building to give a sense of architecture, the roundness of rooms, and the projection of videos onto the wall have been very inspirational for me without fully realizing-- Andrew Bolton's comment about the space feeling like a mix of laboratory and couture atelier articulated the feeling incredibly well and really spoke to me.

This and Costume Institute exhibits in general provide great reference for lighting, spacing, height, and arrangement of complicated garments.

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"Manus x Machina: Fashion in an Age of Technology"—Gallery Views

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(Better pictures of plans for Mobius House)

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(Better pictures of plans for Mobius House)

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Universe Architecture is planning to construct a house with a 3D printer

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Universe Architecture is planning to construct a house with a 3D printer

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3D Printed Mobius Strip House by Janjaap Ruijssenaars

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3D Printed Mobius Strip House by Janjaap Ruijssenaars

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A suggestion from my fashion reviews, I'm fascinated more by the planning involved in this structure to see if I can adapt those ideas in anyway for the set of my final presentation

set building is quite out of my area of expertise (i will not go to the woodshop i'm sorry) but it would be incredible if I could make the paths of the labyrinth into a mobius in some way-- and the way they've used stairs at the points of the twist is really intriguing

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Architects have tossed around the idea of 3-D printing buildings, but Universe Architect's first one could have a twist.

Inspired by the Mobius strip, Janjaap Ruijssenaars' house design wraps around itself, twisting the interior to the exterior and back. Ruijssenaars and his collaborator, artist and mathematician Rinus Roelofs, call it the Landscape House because landscapes, too, are continuous.

Ruijssenaars started with a strip of paper, twisted into August Ferdinand Mobius' famous band. But when he expanded the paper to have a thickness, and 3-D printed it, he saw in it the shape of a building. Even the 3-D printing was a nod to continuity.

"All other materials, when making models, had a visual beginning and an end," says Ruijssenaars. "You have to cut a material and later tape it. With 3-D printing you can start at the bottom and end at the top resulting in an endless Mobius strip without a cut."

The building itself could start construction as early as next year in two locations, one in the Netherlands and one in Brazil. Like the model, it will be 3-D printed as well, using the D-Shape, a stereolithographic printer, which binds layers of sand in structures as big as two-story buildings. D-Shape says the artificial sandstone is stronger than concrete, but the Landscape House calls for 20-foot by 30-foot hollow sandstone segments filled with reinforced concrete.
Images: Courtesy of Universe Architecture

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Architect Designs 3-D Printed, Mobius Strip-Inspired Landscape House

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Architects have tossed around the idea of 3-D printing buildings, but Universe Architect's first one could have a twist. Inspired by the Mobius strip, Janjaap Ruijssenaars' house design wraps around itself, twisting the interior to the exterior and back. Ruijssenaars and his collaborator, artist and mathematician Rinus Roelofs, call it the Landscape House because landscapes, too, are continuous.

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I've been watching a LOT of Pina Bausch (I also watched the movie Pina about her work) to help me figure out how I want the bodies to move in this presentation. Just watching the way the dancers move their bodies helps me think more about how I move my own body, which is the first step in planning the choreography.

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Parallels: Otis by the Durutti Column, Drive that Fast by Kitchens of Distinction
Forks: The Maze by David Motion and Sally Potter, Carnival of Light by Dead Can Dance
Spirals: The Moon is Blue by Colourbox, It's My Life by Talk Talk
Intersections: Sixteen Days / Gathering Dust by This Mortal Coil
Crossroads: This is the Day by The The, Coming by David Motion, Sally Potter, and Jimmy Somerville

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I'm not really going to be able to figure this out in just my apartment, but even just prancing around is helping me think about how to enrich this presentation by considering the details of movement, and I'm pleased with the way things are growing

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I needed a rough floor plan to think about how the models would move through the space so I used my first draft as a reference but changed the choreo so each garment told an individual story

I want this to be paced to music, so I've been using my playlist, but I really would need to know the real dimensions of a space to really time this out correctly-- I've just been moving around in my apartment to see what movements are associated with different moods

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Choreography + planning notes for first draft

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Choreography + planning notes for first draft

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my first draft of how I wanted models to move and people to interact with the space, not over the moon with this idea

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This was what I was sort of originally thinking of in breaking up a space into different rooms to make a larger labyrinth-- I've thought of different floor plans for different choreographies, but this base idea of a central hexagon branching into different rooms remains consistent

Room 1: Paper Manipulations on Forms, pictographs with examples in paper, instructional videos projected on walls
Room 2: Folding 2D booklet laid out for exploration, directional lines from drafts projected on walls
Room 3: Mesh Toiles on forms, large paper mobius strips people can trace infinite path on, gridded curves projected on walls
Room 4: Long surface with legos for creating a maze (will have it partially started), projected video of time lapse maze making
Room 5: Ribbon toiles on forms, 2 surfaces with raised maze and attachable ribbon for charting a path through the maze, time lapse video of jumping walls and not following set path projected on walls

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I was told to look into the work of Pina Bausch and her dance company and it's definitely sparking a lot of thoughts. I love the fluidity of motion in this style of dance, and you can tell how their motions are controlled by their environment, which helped me understand the ways that the garments I'm creating are defining the bounds of possible movement-- which is not unintentional! I've always been interested in garments that create a feeling and body response (like constriction causing anxiety as seen in my alienated project), and so going forward I'm aware of the limits in movement of each garment and how that ties into the meaning of each look

Watching this also reminded me how much of a mood you can infuse into a presentation through movement. Just as we look at a garment and think of our own body we see dance and think of our own movement. I've decided that each model/look will move in a different way, progressing in how they interact with the paths of the labyrinth and the stations I've laid out. Since I already made a playlist for this ages ago and assigned a song or two to each while I was writing about the meaning of each look, I can use that as a reference in plotting the mood of each different stage of movement

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I'm glad they have this project documented through video in its full form, but as inspiring this idea is on paper (haha) I've got some issues with the framing of this video that'll help inform what I want to do and want to avoid

1. I know it is choreographed but the movements of the performers doesn't feel intentional, it feels slow and clunky, especially at the beginning of unrolling the mobius-- it feels like they're looking to each other for direction instead of moving surely and quickly
2.The mobius being laid out on the floor instead of suspended makes it impossible to understand the shape as a mobius, it loses the dynamic roundness of a mobius-- i feel like if they strung it up like a skein and cut into it this would better visually explain how they're changing this shape
3.The pacing is way too slow, I felt like I was waiting for the beat to drop and things to heat up for far too long, and my attention wandered away repeatedly, I think pacing to music would help resolve this issue
4.The sound of the paper rustling is an interesting issue-- it feels like an important element to this project in the twisting of words on paper, but god it rubs me the wrong way (because I'm used to hearing that paper crinkle when my shape gets fucked up) BUT perhaps a form of this sound could be used to nonverbally tell people to fold and touch the paper?
5. The strip is SO LONG that each segment goes on too long, AND there are awkward pauses as the performers look for the next part to read because they have to keep sifting through this tangled mess-- rehearsals and planning out timing of each segment would help
6.The camera feels incredibly unintentional and unsure of what to show, think about where you want cameras to be best situated to document this, keep them still on a tripod, if doing a walking tour need something more consistent than my own walking pace (what did forsythe use? can i just use like a rolling tripod?)

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Documentation Philosophy On Stage #4

Erin Manning / Brian Massumi: Twisted Nietzsche

Abstract

All movements are to be taken as gestures, as a kind of language through which the forces understand each other.
Nietzsche, Late Notebooks 56 1 [28]

All movements are signs of something happening within; and all that happens within expresses itself in such alterations of form. Thinking is not itself what happens within, but likewise just a sign language for the balancing out of the affects' power.
Nietzsche, Late Notebooks 1 [28]

Below every thought lies an affect.
Nietzsche, Late Notebooks 1 [61]

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Led by Arno Böhler, the PEEK-Projekt „Artist Philosophers. Philosophy AS Arts-Based-Research" [AR275-G21] is funded by the Austrian Science Fund ( FWF) as part of the programme for artistic development and investigation ( PEEK). Research location: University of Applied Arts Vienna. Brought about in national and international cooperation with: Jens Badura ( HdK Zürich), Laura Cull ( University of Surrey), Susanne Valerie Granzer ( Universität für Musik und darstellende Kunst Wien/Max Reinhardt Seminar), Walter Heun ( Tanzquartier Wien), Alice Lagaay ( Zeppelin Universität Friedrichshafen). Postdoc: Elisabeth Schäfer ( University of Applied Arts Vienna). The lecture series was produced in collaboration with: Institut für Philosophie Universität Wien, University of Applied Arts Vienna [Arno Böhler] and Institut für Theater- Film- und Medienwissenschaft der Universität Wien [Krassimira Kruschkova].
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Documentation Philosophy On Stage #4 All movements are to be taken as gestures, as a kind of language through which the forces understand each other. Nietzsche, Late Notebooks 56 1 [28] All movements are signs of something happening within; and all that happens within expresses itself in such alterations of form.

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Erin Manning and Brian Massumi "Twisted Nietzsche"

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Erin Manning and Brian Massumi "Twisted Nietzsche"

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I go NUTS seeing anybody work with mobius strips, and the way these two are manipulating a paper strip through cutting it in half (as seen in my forks mobius) and then reweaving it to make a web of words in very inspiring

you could also argue they've created a maze here, and describing it as "a kind of Ariadne’s thread of words" really sold it for me because it was Ariadne's thread that led Theseus through the LABYRINTH-- yet another starting point for my project!!

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In constructing a large möbius strip out of paper, Brian Massumi and Erin Manning each started cutting a continuous band from different edges of the möbius strip. Quotes from Nietzsches Late Notebooks were written on the strip following the bands. As they cut, they read the quotes.

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Erin Manning and Andrew Goodman "Collective Fabulations- Propositions for Social Dreaming"

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Erin Manning and Andrew Goodman "Collective Fabulations- Propositions for Social Dreaming"

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I really resonate with the way this proposition is written, especially being inspired by and using speculative fiction as a touchstone (my thesis project has base inspirations in sci-fi, horror, fantasy, and spec lit). I'll definitely want to come back to this for how to write about and use fiction as a jumping off point to address larger issues-- this is so well written that it paints a better picture of the project than the actual photo documentation

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In Ephemeral Territories (2003), Manning explored the question of home in the context of second-generation immigrant artists in Canada. Troubled by the deep relation between the concept of home and that of the nation-state, the focus was on how artists challenge the exclusive narratives of nation-state boundaries, pushing the notion of what it means to belong (to "be home") beyond the state's commitment to a dialectics of inclusion-exclusion. The questions asked in Ephemeral Territories are extended by the project here proposed by Erin Manning and Andrew Goodman.

Collective Fabulations: Propositions for Social Dreaming takes the notion of home less as a site than as a constellation for collectivities to come. What if home were less the mortar that achieves a boundary than a proposition to rethink collectivities-at-a-distance? Because it seems to us that the "errant politics" about which Manning wrote in Ephemeral Territories is even more urgently needed today when state boundaries are closing in and right-leaning governments with strong messages of xenophobia can be heard from all sides. It is in this light that our project asks: can home also be an emergent site, a site that moves beyond constituencies defined by national and religious identities? Is there a home in the errant dreams of our nightly excursions? And, must the home our dreams be restricted to human inhabitants? Can home be an interspecies fabulation?

This is the third collaborative work between textile and intermedia artists Erin Manning and Andrew Goodman. In each collaboration, our work has been focused on proposing environments that acknowledge forces beyond individual human agency, crafting the potential for new complex and trans-personal ecologies that develop and resonate across a number of registers, including the more-than human. Continuing in this vein, for this third project we will draw on Ursula Le Guin's speculative short story The Collective Dreaming of the Frin, a work about a people who share their dreams, developing a collective sensitivity to the lives they share in their sleep. Our work follows Le Guin in her suggestion that dreams do not strictly belong to the dreamer, but are orientors for an emergent connectivity that compresses space and time into a collective, social and ecologically generative act.

For Le Guin, dreams are not private property. Dreams move. Does the notion of home also move with the dream? Do dreams dream home into existence?

In order to make this activation of home as a fabulatory proposition felt, we propose to work with two duvets, each made by one of the artists. The duvets will cover two beds in two festival locations (ideally homes!) in which participants can spend the night. These duvets will incorporate fabric from our everyday lives with a focus on the textures of our own dreamscapes and experiences of home. We will not share the work on the duvets until they are completed, thereby allowing maximal difference in the composition. Once the duvets are sewn, sensors, small speakers and LEDs will be added, and a final cotton layer will be sewn on the undersides of each duvet to hide them. Participant-sleepers will be invited to spend the night, dreaming these textures into being. As they dream the sensors will interweave the rhythms of their movements and sounds and utilize these to feed generative algorithms that will then compose subtle vibrations, sounds and colours that are sent into both the duvets over a duration of several days. The dreams will become doubly 'social': shared both between participants and between participants and the larger physical environments in which they sleep. Viewers visiting one site during the day will be able to experience the connection to the dreams in the night from the other site by lying briefly in the beds.

This work seeks not only to explore the connection between human dreams, but also the more-than human and non-sentient dreaming that accompanies us as we sleep - the quality of the air, the breeze, the insects and microbes as they connect to the dreamscapes we tend to forget upon waking, their lively traces quickly erased. Our hope is that the experience of the textured sleep, the narratives this engenders, the stories that are crafted and retold and of course the generative algorithms, sensors, colours and vibrations of the bed-covers, become an active part of the ecology of the collective act of dreaming's errant politics.

Dreams, we propose, are collective fabulations that expose experience to its excess, to the more-than that lies outside daily actualisations of existence. Our project will activate speculative diagrams that map not the interority of a dreamscape (as Freud or Jung might have us do) but the collective plane where dreams trouble the notion of the self-enclosed subject, where "dreams elude their dreamers on every plane" (Le Guin 14). Perhaps here an account of home can be fabulated that carries with it a politics of the social and of the emergently collective, a home that is less an existing site than a proposition for new modes of existence.

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Collective Fabulations - Propositions for Social Dreaming — Erin Manning

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A philosopher and clothing maker suggested to me in my review notes, I'm becoming very intrigued by the way that Erin Manning documents her work, especially with the concept of "anarchive" which seems to be an archive of anarchical moments-- thinking of ways this could be useful in documenting movements, sculpting, and experimentation

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Erin Manning is a professor in the Faculty of Fine Arts at Concordia University (Montreal, Canada). She is also the founder of SenseLab ( www.senselab.ca), a laboratory that explores the intersections between art practice and philosophy through the matrix of the sensing body in movement. Current art projects are focused around the concept of minor gestures in relation to colour and movement. Art exhibitions include the Sydney and Moscow Biennales, Glasshouse (New York), Vancouver Art Museum, McCord Museum (Montreal) and House of World Cultures (Berlin) and Galateca Gallery (Bucarest). Publications include For a Pragmatics of the Useless (Duke UP, forthcoming), The Minor Gesture (Duke UP, 2016), Always More Than One: Individuation's Dance (Duke UP, 2013), Relationscapes: Movement, Art, Philosophy (Cambridge, Mass.: MIT Press, 2009) and, with Brian Massumi, Thought in the Act: Passages in the Ecology of Experience (Minnesota UP, 2014)

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Erin Manning is a professor in the Faculty of Fine Arts at Concordia University (Montreal, Canada). She is also the founder of SenseLab ( www.senselab.ca), a laboratory that explores the intersections between art practice and philosophy through the matrix of the sensing body in movement.

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Erin Manning "The Colour of Time Anarchive"

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Erin Manning "The Colour of Time Anarchive"

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Anarchive - a repertory of tracesof events. The traces are not inert, but are carriers of potential. They are reactivatable, and their reactivation helps trigger a new event which continues the creative process from which they came, but in a new iteration.

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The Colour of Time - Anarchive - Erin Manning

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Anarchive - a repertory of tracesof events. The traces are not inert, but are carriers of potential. They are reactivatable, and their reactivation helps trigger a new event which continues the creative process from which they came, but in a new iteration.

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The anarchive has a pull and it is a pull to immediacy. It wants to activate, to orient. Or, better said, it is always already activating, orienting. This makes it a collaborator in all takings-form. Thinking of it as the event's anarchic share allows us underscore its role in all experience, human and more-than-human. It also allows us to place it on the register of the immanent rather than transcendant. The anarchive is not something "we" do. It is something that catches experience in the making. It is something that catches us in our own becoming.
Materials:

9 videos of Goat Island performances; velum, cotton batting, canvas - 3 meters of each.

Procedure:

-Watch all videos (1 of each performance).

-Allow the videos to facilitate a movement of the pencil on paper. Select qualities of movement-repetition and movement-tendency from the drawings of movement and transcribe onto layered transparencies (never discounting that language too is a movement), always beginning with the diagram of the stage-space as drawn by Goat Island. Choose one sentence from each performance that captures the quality of the work and embroider it onto the 4 layers of velum. Repeat for each of the nine performances.

-Once all the drawings are made, select two strong movement-tendencies. Compose with the shapes to make a cloth sculpture. Repeat for each of the nine performances.

-Once all the sculptures are made, create a procedure for each piece based on the drawings and the sculptures.

-Locate 9 quotations from Arakawa and Gins on Architectural Procedure and create a book-like proposition for each of the works.

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The anarchive has a pull and it is a pull to immediacy. It wants to activate, to orient. Or, better said, it is always already activating, orienting. This makes it a collaborator in all takings-form. Thinking of it as the event's anarchic share allows us underscore its role in all experience, human and more-than-human.

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Anarchive - a repertory of traces of events. The traces are not inert, but are carriers of potential. They are reactivatable, and their reactivation helps trigger a new event which continues the creative process from which they came, but in a new iteration.

The anarchive has a pull and it is a pull to immediacy. It wants to activate, to orient. Or, better said, it is always already activating, orienting. This makes it a collaborator in all takings-form. Thinking of it as the event's anarchic share allows us underscore its role in all experience, human and more-than-human. It also allows us to place it on the register of the immanent rather than transcendant. The anarchive is not something "we" do. It is something that catches experience in the making. It is something that catches us in our own becoming.

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Diane Simpson is an artist represented by Corbett vs. Dempsey. b. 1935 Lives and works in Chicago, Illinois. VIDEO: Window Dressing from Ines Sommer on Vimeo.

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i SCREAMED seeing this because it looks so much like my patterns, Diane Simpson gets it! we speak the same language!!

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 Diane Simpson "Study for Tunic (folded)"

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 Diane Simpson "Study for Tunic (folded)"

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This is using the same visual technique as I'm using in my Forks look, and i love the fact that she titles her work "collar" or "yoke"

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Diane Simpson "Collar (connect the dots)"

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Diane Simpson "Collar (connect the dots)"

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I love that she's including and framing the patterns

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I think these pieces beautifully bridge the gap between body and building and are really inspirational in designing the possible structures of the labyrinth

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While I was looking through past exhibits at the ICA I found Diane Simpson's work, which combines architectural and clothing references with rigorous technique around construction and folding of a wide range of materials and was suuuper inspired. In terms of relevancy to this project, it helped me realize that I can use my small scale manipulations to be something larger, and this could potentially work as a wall or boundary or a column even for the labyrinth. I also realized that the forms Simpson makes create a similar sense of bodily awareness that I'm striving for here, which helps me bridge the gap in designing the more architectural elements of this set up. AND now I'm obsessed with her work

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Chicago-based artist Diane Simpson's (b. 1935, Joliet, Illinois) elegantly constructed sculptures evolve from a diverse range of materials, clothing, and architectural sources. While elements of her creations appear to effortlessly hang and fold, they are in fact the result of a rigorous approach to construction techniques, reveling in passages of pattern, joinery, and skewed angles that are by turns humorous and psychologically-charged.

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This fall, we celebrate the spirit of adventure that has always defined the ICA with a season of nonstop art and performance. The centerpiece of our 75th Anniversary season is Dance/Draw, a landmark exhibition exploring the dynamic exchange taking place between visual art and dance today.

Although dance and the visual arts have enjoyed a long relationship, it has traditionally been comprised of artists creating sets for performances. Recently, however, many visual artists have incorporated dance into their work, and some dancers have experimented with drawing.

Dance/Draw assembles work by nearly 40 artists and explores the multi-layered relationship between contemporary dance and the drawing of the past 40 years.

During the period after World War II, modern dance deviated from the strict codes of traditional ballet en pointe, adopting everyday gestures and natural, childlike play into its standard repertoire. So too contemporary drawing abandoned the confines of technical perfection and frequently left the picture frame altogether. In both dance and drawing the line, as an independent means of expression, was liberated from the historical ideal of perfect form, and instead appears as a mobile, open-ended element capable of exploring a wide range of ideas dealing with history and memory, as well as the expressive potential of the body.

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This fall, we celebrate the spirit of adventure that has always defined the ICA with a season of nonstop art and performance. The centerpiece of our 75th Anniversary season is Dance/Draw, a landmark exhibition exploring the dynamic exchange taking place between visual art and dance today.

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As there's not much visual documentation of this exhibit, I've had to rely on written reviews of the show to get a sense of what it was like and how it was set up. This description did the best job in underscoring the themes of the collected artwork and how motion and dance inform line and drawing

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This was another suggested exhibit to look into for choreographing movement, and unfortunately there isn't a ton of visual documentation as it happened about 10 years ago. I've been thinking a lot about the movements through the labyrinth being unique each time, and trying to consider how to represent that uniqueness visually. So as I think of how to choreograph movement through the space, I'm also considering the after-image it leaves and how to keep the set up free enough to allow for new paths being created each time

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Smaller pieces from "Choreographic Objects"

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Smaller pieces from "Choreographic Objects"

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What was really interesting (and very informative) about the Choreographic Objects exhibit was the smaller sections of interactivity throughout the space, like this duster to show the small shakes of a hand, or written choreography steps to show how thought and movement interact. The one I remember best and is VERY inspirational right now was a series of knots tied in tire rubber, and the instructions were to try and separate them (which was impossible), and thinking back I'm pretty sure those were mobius knots and that's what made them impossible to disentangle. I like this idea of having smaller sections of interactivity, and the impossible knots have helped me think about what this could look like-- although I did notice at this exhibit that most people will not read instructions or do an activity that makes them read, which is why I'm looking for physical and non-verbal cues for interaction

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THIS was my favorite piece in the Choreographic Objects exhibit, because of the way it really forced unconventional movement and exploring, but why I really loved it was that most people at the ICA that day weren't going into the piece, and so I got to be in there alone. Not only does the space compress you physically, making you very aware of movements and navigation, but it was so quiet in there because it was such a small space and I was alone. I could hear the people outside the space but they were muffled, and I think being alone in the space with this sense of inner and outer world heightened the perception of movement but also made me feel more excited to explore and I felt more accomplished when I navigated to the other side. I definitely want to create a sense of being within/outside the labyrinth by using walls and sectioning areas off, I wonder if having the audience enter one at a time might heighten the effect I want

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William Forsythe's "A Volume" | Institute of Contemporary Art/Boston

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"Nowhere and Everywhere at the Same Time"

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"Nowhere and Everywhere at the Same Time"

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I remember navigating this piece and feeling the thrill at having to navigate these pendulums, and I remember thinking how maze-like this was! Forsythe's narration about becoming part of the choreography as you negotiate with the movements and navigate a path really resonated with me, as that is integral to the theme of my thesis. I want people to consider their own bodies (even subconsciously) when inspecting these pieces and trying to understand the concept, and the best way to do that is to create interactions that force the viewer's body to move. Since movement, choice, and navigating paths are huge components of the language I've gathered around this project, I want people to be aware of the choices we make through life by being aware of choices they make while physically navigating a maze.

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William Forsythe's "Nowhere and Everywhere at the Same Time" | ICA/Boston

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William Forsythe: Choreographic Objects at the ICA

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William Forsythe: Choreographic Objects at the ICA

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This exhibition and artist was suggested to me at my Fibers Review, and I actually got to go to this exhibit and experience these interactive choreographies myself! This was suggested in helping me choreograph movements-- be it of models or the audience-- for my final presentation. While I don't think my final presentation will have quite so many moving parts, reflecting on this exhibit has been giving me tons of inspiration in how to organize the set up.

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The ICA presents the first comprehensive American exhibition of performative objects, video installations, and interactive sculptures of the internationally celebrated choreographer William Forsythe.

World renowned, Forsythe is counted among the foremost choreographers of our time. For over four decades he has created productions that redefine classical ballet's vocabulary, and his groundbreaking approach to choreography, staging, lighting, and dance analysis has influenced countless choreographers and artists. Since the 1990s, 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 installations, including several works developed for the ICA. Via the artist's instructions for action posted on the wall next to the works, visitors are invited to move freely through the performative exhibition and generate an infinite range of individual choreographies.

William Forsythe: Choreographic Objects coincides with Forsythe's five-year residency at the Boston Ballet, providing audiences with instrumental insight into his pioneering choreographic work across different platforms. Catch a new world premiere in Full on Forsythe March 7-17, 2019.

The exhibition is accompanied by a richly illustrated publication featuring writers from the disciplines of both dance and art.

Timed Tickets

Timed tickets are required on weekends, February vacation week (Feb 18-21), and President's Day in order to ensure an enjoyable experience for all. Tickets will be available on site only on a first-come, first-served basis. Tickets are limited and do sell out. We recommend arriving early on weekends or visiting during the week to secure tickets.

ICA Members do not need a timed ticket, and are always guaranteed entry into the exhibition. Become a member today!

Admission is free for youth 17 and younger, but tickets are still required.
Please note: timed tickets do not guarantee that there will not be wait times for certain artworks.
Guidelines

We ask that you engage in the works in William Forsythe in a way that promotes your own safety, is mindful of others' experiences and safety, and respects the safety of the artwork. Note that all participation is voluntary and at the visitor's own risk. The ICA will not assume responsibility for any injury, loss, or damage incurred.

− Please remove coats and bags before entering interactive works of art.

− No running or jumping.

− Please follow the artist's guiding instructions, posted near the artworks, on how to participate with each piece.

Artist's instructions: PLEASE TRAVERSE THE SPACE USING ONLY THE RINGS.

− Participation time in this work may be limited to 5 minutes during timed ticketing periods and at the discretion of gallery staff. Eight visitors may participate at one time.

− Minors 12 years and under must be monitored by an accompanying adult.

− The Fact of Matter is not recommended for children younger than 6. Participation for children younger than 6 is at the discretion of accompanying adults and with close supervision only.
Nowhere and Everywhere at the Same Time, No. 3
Artist's instructions: PLEASE ENTER, AVOIDING ANY CONTACT WITH THE PENDULUMS.

− No more than 10 visitors may actively engage at one time.

− For safety reasons, wheelchairs, strollers, and children younger than 3 may not enter the work.

− If you get twisted in a pendulum, please detangle yourself carefully so the pendulum remains in place. If you need help, Visitor Assistants are available in the gallery to assist you.
Video
While recording video is not allowed in other parts of the ICA, the recording of non-video artworks and experiences is allowed within this exhibition.

Go deeper

This exhibition William Forsythe: Choreographic Objects invites visitors to interact with a variety of objects and environments in unexpected ways. Below are a few frequently asked questions.
Can I touch the work?
In most cases, yes! Participants are invited to interact with many of the artworks on view according to the artist's instructions, which are provided on labels next to the artworks. Each label also includes interpretive descriptions and a symbol indicating whether it is okay to touch the work. We kindly ask that visitors do not touch the video screens and projectors.
Can I participate physically without a dance background?
Yes! Forsythe believes choreography is for everybody, not just those with a dance background. He also believes choreography can arise anywhere, not just on the theater stage. For Forsythe, dance and choreography are different and can exist independently of each other. As he notes, "Choreography is not necessarily bound to dance, nor is dance bound to choreography, for that matter-you can just get up and dance."
What If I am not able to interact with all the works?
There is no "right way" to interact with Choreographic Objects. Each visitor will approach the works differently and, in the process of trying to solve the problems they pose, may gain a new understanding of movement or of their body. We encourage visitors of all ages and abilities to interact with the works however they wish-whether through physical interaction, observing others, or considering the range of experiences presented on tablets within the galleries. If you visit with friends or family, you might try some of the interactive works together and talk about your experiences-you may find that they vary greatly.
Are these works appropriate for kids?
Yes! Many kids will love interacting with the Choreographic Objects. In fact, children often intuitively embody the trial-and-error processes of action-based knowledge that Forsythe is exploring. We request that parents and caretakers determine if their child can participate physically and oversee and remain with children while they interact with the works. Two works have age restrictions: For The Fact of Matter, minors 12 and under must be monitored by an accompanying adult, and the work is not recommended for children younger than 6-participation for children younger than 6 is at the discretion of accompanying adults and with close supervision only. For safety reasons, children younger than 3 may not enter Nowhere and Everywhere at the Same Time.
Some of these works are difficult or impossible to do. Why?
Ideas of physical limitation, the illusion of weightlessness, the productivity of failure, and the heroism of persevering in difficult situations have been steadfast concerns of Forsythe on stage and beyond. In many Choreographic Objects, participants are compelled to consider both the body's physical capacities and its limitations as part of his investigation of action-based knowledge. For him, trial and error remains a productive means of learning. Some of the works are indeed nearly impossible; visitors are encouraged to attempt and experience the works however they wish.
Can I take video of these artworks?
Although video recording is typically against ICA policy, it is allowed within William Forsythe: Choreographic Objects, with the exception of video works. We encourage you to share your experience of the work and appreciate your considering other museum visitors by taking video in an unobtrusive manner.
Additional background
William Forsythe was born in New York in 1949, and resides in Vermont. Trained in classical ballet in Florida and New York, Forsythe joined the Stuttgart Ballett in 1973 and went on to direct the Ballett Frankfurt for twenty years. He directed the smaller, more specialized Forsythe Company, in Frankfurt and Dresden, from 2005 to 2015. His Choreographic Objects have been exhibited globally in venues such as Tate Modern's Turbine Hall, the Venice and Sydney Biennales, La Villette/Grande Halle, Paris as part of Festival d'automne, and museums such as Wexner Center for the Arts, Columbus, Ohio, Museum fur Moderne Kunst, Frankfurt, and Hayward Gallery, London. He has received numerous awards and in 2010 was honored with the Golden Lion for Lifetime Achievement at the Venice Biennale.
Printable FAQ

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The ICA presents the first comprehensive American exhibition of performative objects, video installations, and interactive sculptures of the internationally celebrated choreographer William Forsythe. World renowned, Forsythe is counted among the foremost choreographers of our time. For over four decades he has created productions that redefine classical ballet's vocabulary, and his groundbreaking approach to choreography, staging, lighting, and dance analysis has influenced countless choreographers and artists.

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In thinking back on other non-linear fashion shows with some form on installation, I remembered another favorite in the giant pile of junk in the center of McQueen's Horn of Plenty show. Mcqueen almost always used a square/circular runway and was a fan of having a centerpiece and big finale, which has been inspirational for me. I think one of the reasons for a centerpiece is to create a constant visual reminder of the theme, but I think it also serves the same purpose as the sets in Madame Butterfly: ensuring the background of every photo taken complements the collection

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Alexander McQueen ➤ Fall/Winter 2009/2010 (Full HD)

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Because I've always loved Galliano's soundscapes when he was at Dior I did some research into who was responsible for them, and discovered Jeremy Healy has been working with Galliano for decades in theming the shows-- this article provides great insight into how the soundscapes are designed

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"They've brought those handbags out again, haven't they?" says Jeremy Healy, of the recent resurgence of the John Galliano-designed Dior saddle bag. "One of my most bitter regrets is that John gave me a massive one. It was literally as big as a real saddle. And I fucking lost it. I was so upset. I was going between three countries in three days and I was really tired and I just left it in a car somewhere..."

London-born Healy is an ex-Blitz Kid, a founding member of experimental 1980s pop duo Haysi Fantayzee and, over a career spanning 30 years, one of the most influential creatives at the intersection of fashion and music. Having collaborated with everyone from Boy George, Vivienne Westwood, George Michael and Katharine Hamnett, it is his work with John Galliano - creating the soundscapes for the designer's show spectaculars at his namesake label, during his tenure at Christian Dior between 1999 and 2011, and now at Maison Margiela - that he is most noted for.

Healy first met Galliano in 1984, just after the designer presented his graduate collection at Central Saint Martins. His girlfriend was modelling in the show, and Healy was completely unbothered by the thought of attending ("I was just so not interested," he says). But after some gentle persuasion, the musician was coaxed into accepting an invite. "It was a two-and-a-half minute show," he remembers. "My girlfriend came onto the runway and she had wooden clogs on, plants and trees in her hair, and dead mackerel. All the models did. And they threw the fish at the audience. I was just like, 'fucking hell, what is this?'" Healy was so intrigued that he went backstage to meet Mr Galliano. "He came up to me and said 'I know you, I know what you do, will you work with me?'"

This meeting marked the beginning of a fruitful professional and personal partnership. Healy and Galliano were both raised in south London and found common ground in their fascination with the blending of 'high' and 'low' culture. At Dior, Galliano revolutionised the codes of the French maison, blending them with contemporary and global pop-cultural references, which were mirrored in Healy's eclectic mixes. "We would often combine Britney Spears with classical music for example," says Healy. "It was trying to channel the clothes aurally. John and I always believed you could find ideas everywhere - from the street to the art gallery and everything in between."

Naturally, Healy has many stories to tell. "I remember when we did Haute Couture A/W00 Steven Spielberg came to the show because he was wanting John to do the costumes for one of his films," he says. "We mixed the vocals of You're Uninvited by Alanis Morissette with the sounds of sex moans and whips being cracked. Steven was so disgusted by the music that he walked out!" Here, shared exclusively with AnOther, five more stories behind his epic Haute Couture soundscapes for Galliano's Dior.

Autumn/Winter 1999

"This was the second show we did at Dior. We were so bloody nervous! We wanted to mix film soundtracks with heavy beats and I remember there was a slight military theme. So we started out by using clips from the film Full Metal Jacket. We also included Phat Planet by Leftfield and mixed it with When You Believe by Mariah Carey and Whitney Houston. There was Beautiful Stranger by Madonna mixed with industrial, techno and trance songs - I even included the Nokia ring tone as an interlude."

Autumn/Winter 2002

"This came from an idea that we had wanted to realise years before but never had the budget to do it. At Dior, we did! So, for this show, I hired the London Community Gospel Choir to perform live along with the mix I did for the show. I remember I was rehearsing with them in London and then we had to fly all the singers out to Paris. There were so many of them it was really expensive to do, but it was absolutely incredible. The choir did a rendition of Madonna's Like A Prayer. I remember John was so proud of what we'd all achieved."

Spring/Summer 2004

"John had been to Egypt and had created a collection inspired by the country's ancient history. This was one of the most OTT shows he ever did. The models were wearing gold armour and the silhouettes were huge. The models moved like Sphynx cats. I did a cut-up of Baby Boy by Beyoncé and Sean Paul and we just used the instrumental and isolated vocals and mixed it with Philip Glass to open the show. I also included You Got the Love by The Source featuring Candi Staton. John had said: 'I want the soundtrack to sound like gold - to shimmer and shine.' And so that's what I tried to do."

Autumn/Winter 2004

"The story behind this one is that John came up with this idea of rock'n'roll kings and queens. He wanted to create a royal family, wearing clothes that were blown up to a mad scale. For the soundtrack we got all these early 1950s records - like Little Richard's The Girl Can't Help It and Tutti Frutti and we mixed it with Michael Nyman, which was very regal and orchestral of course. My mum came to that show - she was about 80 at the time - and she loved it."

Spring/Summer 2007

"This was quite a different show to any we had done before. There was so much music in this because it was a very long and very slow paced and emotive show. I remember the set was a load of sort of individual film sets and the girls were taking about 10 minutes each to walk into each scene from the runway. So the music had to be very ambient to carry it through. It started with Madame Butterfly by Malcolm McLaren and we also included Song to the Siren by This Mortal Coil and more of Elizabeth Fraser's vocals, mixed into Drive by The Cars and Immortality by Céline Dion featuring The Bee Gees. Then there was Maria Callas singing Puccini's O Mio Babbino Caro and Songbird by Fleetwood Mac."

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The Story Behind the Soundtracks of John Galliano's 00s Dior Couture Shows

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"They've brought those handbags out again, haven't they?" says Jeremy Healy, of the recent resurgence of the John Galliano-designed Dior saddle bag. "One of my most bitter regrets is that John gave me a massive one. It was literally as big as a real saddle. And I fucking lost it.

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Another old favorite, this show has been really inspiring in the physical set up. Multiple film sets were combined and styled to create different stages for the models to pose at as they progress down the runway, appearing at the beginning by standing on a rotating stage with dividing walls. This has been super inspirational in the way the runway is staged, the attendants standing by to help models up and down, the pacing of the music being slower with multiple stages giving the audience enough time to really absorb the details and understand the story. Also GOD i want a central spinning platform because of this

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Christian Dior Haute Couture Spring Summer 2007 - backstage & full show

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I've been looking over fashion shows that have inspired me a lot, and this collection and presentation have been a favorite for a long time, but I'm finding it's relevant again for the sound scapes and the creating of a mood, as well as the way the actors and models interact on the runway. I'm a sucker for Galliano, especially the way he strives to create a mood and physical sense of excitement during his time at Dior. Really hurts my heart to see how poorly the themes of these two collections have aged, but the presentation style remains spot on (and this is hands down my favorite soundscape by Jeremy Healy)

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Christian Dior Haute Couture Spring/Summer 2003 Full Show | EXCLUSIVE | HQ

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-don't rely on natural lighting, ensure the lighting is intentional in highlighting the details and creating the right mood
-no folding tables!! either use solid blocks/podiums or be sure to cover the table to hide the legs
-the floor labyrinth worked well as non-verbal cue to follow, need to find more of those for encouraging interaction at each station
-need much more time to create the floor design, at least double what I had for this space (so at least 6 hours), and even more for a larger space and more complicated design
-if anything is on a form, it needs to be on a spinning platform so people can see the full shape around the body (people will accept a front as enough when theres so much more)
-I definitely need more hands to help with this if the presentation is growing into a larger space, without a team the amount of time required for set up increases exponentially. Would also need gallery attendants for a larger presentation, and have no idea where to find people reliable enough for that unless I paid them, which I can't afford

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To show the current state of the collection I lined up the five looks I have, from paper to mesh to partially completed. The lighting in this space was really inconsistent (it was sunset) so the details of the pieces with surface design are obscured

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(could only see half of design)

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Station 4 (Pictographs and folding booklet)

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Station 4 (Pictographs and folding booklet)

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To show the 2D development of this project (and show the work I've put into this booklet) I laid out my sketchbook, enlarged versions of my full lineup and moodboard, as well as the folding booklet and enlarged versions of the pictographs. The booklet could be interacted with by folding and unfolding pages to reveal more complexity, and pictographs could be followed to create paper mobius strips that correspond to each look.

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To show the colorblocking I'll be using I laid out the basted shell of crossroads next to the pieces I'm in the process of quilting with a few prepped bases.

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To show the complicated drafting process in its evolution I laid out my patterns for crossroads so viewers could see how directional lines become grids, grids are filled to make mazes, and those shapes are cut from batting and held in place with fusible

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I wanted to show the process of experimentation that helped me to figure out my surface design, and participants were able to freely explore the samples

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While I'm really proud of how this turned out and how I was able to accomplish creating a sense of physical awareness in the participants in this space, I know that when I can complete this vision to my own standard it'll be even better. This was my first time planning and executing something like this, and I definitely learned a lot in terms of what I'll improve!

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(was unable to complete the full design due to time constraints, but still used this as measurement reference which was hugely helpful)

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Expanding the presentation of Life's Labyrinth

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Expanding the presentation of Life's Labyrinth

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Setting up for my reviews as if I were exhibiting this project in a gallery went so well that I want to invest more time into growing and perfecting this presentation. I'll have documentation of how this first draft of an install went, references and inspiration, and sketches and planning for the next phase.

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review set up sketch (after choosing space)

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review set up sketch (after choosing space)