Creative Resonance, Born from Rationality,Brought Forth a Live Synergy

Algo-r(h)i(y)thms uses the microscopic contact point of a spiderweb
To unfold a celestial map of the cosmos within space《16》 employs the subtle spaces created by head-led movements Weaving immensely complex structures through dance
Seemingly chaotic threads Are perpetually charged with the power of contemplation

When the live moment meets the presence of being,An open dialogue between artistic forms takes shape.This short film is a collaborative creation by TAO Dance Theater and Red Brick Art Museum,Alongside the exhibition of Tomás Saraceno Visuals, live performance, installation—A fusion across disciplines The energy of each individual dancer in TAO Dance Theater Resembles an infinite star chart Within Tomás Saraceno’s endlessly expanding networks And within the open, collisional field of Red Brick Art Museum,Unleashing boundless, diffusing creative possibilitiesTo converse with our times
 

---

Tomás Saraceno: Algo-r(h)i(y)thms

Tomás Saraceno’s work Algo-r(h)i(y)thms, part of the exhibition "共生" (Symbiosis), transforms the exhibition space into a 6,800-cubic-meter网状 landscape, inviting visitors to "become a spider." Within an amplified string system, viewers move through the spiderweb like spiders—watching, touching, listening—perceiving moments of existence within this interconnected, near-global network.

In Spanish, "algo" means "something." The word "rhythm" derives from the Greek "rhythmos," meaning "movement characterized by the ordered succession of strong and weak elements, or opposite or different conditions." While rhythm is both biological and inherent—an evolutionary instinct linked to human heartbeat, gait, and emotion—contemporary rhythms are often artificially imposed rather than intuitively felt. Each aggregated node in Algo-r(h)i(y)thms points to different reverberation frequencies of micro- and macro-phenomena—from the peak frequencies generated by orb-weaving spiders in courtship signals, to the frequencies of halos produced by ultra-relativistic electrons surrounding distant galactic clouds, and more.

Algo-r(h)i(y)thms extends an urgent invitation to adapt, through a language of vibration, to a symbiotic and poetic future—where all beings, organic and inorganic, coexist and mutually benefit.

 

---

16 – Commissioned by Venice Biennale

16 is choreographer Tao Ye’s fifteenth numbered series work. Inspired by the imagery of the traditional game  (dragon dance) and  (Snake), 16 dancers connect in a linear sequence. Through flowing, circling, and progressing movements, energy waves transmit back and forth from head to tail, unfolding layered dynamics of spatial flux.

In its movement exploration, 16 continues to expand the possibilities and new languages of how the body can move. It develops the circular space of 360-degree head movement, where hidden areas of the head—the forehead, nose, ears, back of the head—become pivotal points, tracing varied circular forms in space. The dancers’ bodies move like a meandering dragon, building upon the circular motion spine technique, guided by the qualities of head movement—drilling, bumping, transmitting, falling, following, twisting, and circling—to direct the limbs, continuously shifting and progressing in accordance with the body’s natural momentum.

The twisting head, the spiraling body—circular motion envelops every subtle space around the body. From start to finish, 16 creates minute spatial realms through the head, revealing an infinitely multidimensional structure. In the extreme exploration of each movement’s repetition and non-repetition, it maps a dazzling, intricate microcosm.