William Forsythe, ‘The Sense of Things’
Curated by Mirjam Varadinis, ‘The Sense of Things’ encourages the visitor to build a direct relationship with the architecture that will house some of Kunsthaus Zürich’s most vibrant and significant collections.
MUSEUM AS ‘KLANGKÖRPER’.
In Forsythe’s acoustic intervention, deconsecrated church bells of different sizes, pitches, and timbres will be activated in a contrapuntal composition that is widely distributed across the spaces of the new extension. In considering Chipperfield’s building as an immense sounding-body, Forsythe proposes that visitors individually tune the composition via their perambulations through the new museum, thereby embodying his choreographic proposition.
VISITORS IN FOCUS
Forsythe’s examination of visitor experience vis-à-vis the new architecture posits acoustics as an ever-present, but invisible facet of museum design that has significant effects upon those experiences. ‘The Sense of Things’ emphasizes the visitor’s curiosity as key to apprehending the composition’s ‘Klangfarben’, nuances which are shaped by each visitor’s unfolding, investigative relationship to the building’s natural acoustics.
A SENSE OF PURPOSE
With their new cooperation, Kunsthaus Zürich and Forsythe wish to offer the broadest possible public a place where, after tremendous social disruption, community can once again be recreated. Gathering to experience the inherent sound of a building is certainly an atypical activity but also an unexpectedly gentle way to introduce the museum as a site that will be performing a significant civic role in the near future.