Wayne McGregor's exhibition at Somerset House is a shimmering spectacle without the need for live dancers to tread the boards. The 55-year-old choreographer has long been on a mission to teach us about physical intelligence, seeking to harness our bodies as tools to comprehend the world and ourselves.
Here, we're presented with a series of installations that rely on collaboration between McGregor and technology and design experts. Some require visitors to use their own bodily presence to trigger responses, blurring the lines between creator, viewer, and art itself. The most intriguing example is AISoma, an artificially intelligent movement archive developed in partnership with Google, which lets you record a short dance, then extrapolate new movements from it.
The AI-generated visuals can be somewhat clunky, but there's something undeniably captivating about seeing your own body replicated as a stick figure, its movements extrapolated into a fluid dance. It may not offer any profound insights, but this fleeting fun raises interesting questions: is this what a dancer stuck for inspiration would do? Is it any more effective than Merce Cunningham's dice-rolling days?
In contrast, Random International's Future Self: 10,000 LED lights hanging from the ceiling creates an otherworldly effect. As you move through the installation, your own spectre is born – a glittering shadow that dances around you like starlight. This poetic moment feels more immersive than the AI experiment.
While there may not be enough "wow" moments to shake our very foundations, McGregor's notebook pages offer a glimpse into his creative process and artistic vision. The mirrors that follow your every move are an uncanny reminder of how we're all caught in the gaze of others.
Finally, an hour-long immersive experience in On the Other Earth – watched through 3D glasses inside a cylindrical screen – will leave you acutely aware of your own bodily sensations. Here, McGregor's dancers appear as flesh-and-blood entities rather than perfect machines, their bodies rippling with every movement.
With or without seeing the 360-degree film, Infinite Bodies is an exhibition brimming with bold ideas and genuine innovation, grappling with paradoxes like physical presence versus emotional distance. While its abstract nature might leave some viewers feeling cool but emotionally detached, it's undeniable that this is art pushing boundaries in intriguing ways.
Here, we're presented with a series of installations that rely on collaboration between McGregor and technology and design experts. Some require visitors to use their own bodily presence to trigger responses, blurring the lines between creator, viewer, and art itself. The most intriguing example is AISoma, an artificially intelligent movement archive developed in partnership with Google, which lets you record a short dance, then extrapolate new movements from it.
The AI-generated visuals can be somewhat clunky, but there's something undeniably captivating about seeing your own body replicated as a stick figure, its movements extrapolated into a fluid dance. It may not offer any profound insights, but this fleeting fun raises interesting questions: is this what a dancer stuck for inspiration would do? Is it any more effective than Merce Cunningham's dice-rolling days?
In contrast, Random International's Future Self: 10,000 LED lights hanging from the ceiling creates an otherworldly effect. As you move through the installation, your own spectre is born – a glittering shadow that dances around you like starlight. This poetic moment feels more immersive than the AI experiment.
While there may not be enough "wow" moments to shake our very foundations, McGregor's notebook pages offer a glimpse into his creative process and artistic vision. The mirrors that follow your every move are an uncanny reminder of how we're all caught in the gaze of others.
Finally, an hour-long immersive experience in On the Other Earth – watched through 3D glasses inside a cylindrical screen – will leave you acutely aware of your own bodily sensations. Here, McGregor's dancers appear as flesh-and-blood entities rather than perfect machines, their bodies rippling with every movement.
With or without seeing the 360-degree film, Infinite Bodies is an exhibition brimming with bold ideas and genuine innovation, grappling with paradoxes like physical presence versus emotional distance. While its abstract nature might leave some viewers feeling cool but emotionally detached, it's undeniable that this is art pushing boundaries in intriguing ways.