The piece, by William Forsythe, features hundreds of delicate pendulums hanging from the roof which move in a series of timed sequences. The audience is invited to walk amongst the installation, but in being asked to avoid coming into contact with the pendulums, are forced to respond, move, and adjust their trajectories as they pass through. In doing so they become active players in the piece.
Through filming there we’ve spent some time with the installation now, and we’ve been struck by a sense of the importance of the context offered by the fantastic Circus Street Market. The movement and relentless energy of the pendulums feel almost like an echo of the long-ceased activity in this now derelict space. Much like the Kapoor piece a couple of years back, Nowhere and Everywhere at the Same Time No. 2 brings the space temporarily back to life with activity, energy and people.
Perhaps it’s the personal connection, as it’s a space which I’ve repeatedly found myself in over the years. I’ve rehearsed in the space with a bunch of tricycles for a Charlie Morrissey show (the name of which now escapes me), I’ve supported artists Paul Harrington and Graeme Gilmour to make fire drawing structures for one year’s Burning the Clocks, and overseen the building of a 15ft throne for a winter king for another. I’ve stored 80 x Oil Drums for a Generick Vapeur show, and temporarily stored countless bits of set, props and kit over the years.
By all accounts the market will finally be redeveloped this September and it’s owner, the developers Cathedral Group, have supported the presentation of this piece, along with a range of other activity there over the past few years.
The space has been empty for a long time, and perhaps it is time it was put to better use. But Nowhere and Everywhere at the Same Time No. 2 should also remind us that there is value in the empty, derelict, uninhabited, largely forgotten corners of our Cities. It’s often where the interesting stuff has room to flourish.
TB 5th May 2014
And here’s the film: