Paris based Ryoji Ikeda will be starting San Francisco’s Artistic year with the presentation of a diptych project at Gray Area and Minnesota Street Project. The project is presented by Ars Citizen who also curated last year’s Sophie Calle’s exhibition in San Francisco.
Ryoji Ikeda (b. 1966 in Gifu, Japan) is one of the most renowned artists working at the intersection of art and sciences. Over the last twenty years, he has developed a body of work that includes large-scale audiovisual performances and installations, presented either in night clubs or in art institutions like museums.
‘supercodex [live set]’, audio-visual concert, Gray Area, January 9, 7pm
Ars Citizen partnered with Gray Area to present the San Francisco premiere of ‘supercodex [live set]’, Ikeda’s celebrated most recent audio-visual concert. supercodex [live set] takes its title from Ikeda’s eponymous 2013 album, the final instalment in his pioneering ‘datamatics’ trilogy focusing on quantum information. ‘supercodex [live set]’ is described as the result of a complex research exploring the potential to perceive the invisible multi–substance of data that permeates our world, and more importantly, the nuances existing between “data of sound” and “sound of data”. Using raw data and physical laws to generate music and digital imagery projections, the stage show becomes an immersive experience expanding through mesmerizing layers of beats and pulsations to include all the audience.
Tickets: $40 – $50 (on sale here)
‘A [4ch version]’, site-specific exhibition, Ars Citizen temporary space, Minnesota Street Project Gallery 200 (2nd fl.), January 9–21
The sound-installation A with its site-related versions may be perceived as Ikeda’s most radical work. It returns to his roots as a composer while charting new territories in sound creation and definition. The title A stands for the concert pitch also called “La”. “A” lies at the origin of music. It is the origin of all sonic creations, and by extension, of the cosmos and of elements. Before “A=440Hz” was defined as the standard concert pitch, there were many different historical standards that still vary depending on orchestras or countries. Specifically adapted to Gallery 200 of Minnesota Street Project, A [4ch version] will transform the space into a sensitive environment filled with invisible patterns of complex sound fabrics formed through the historical concert pitch A. It will lead the visitors into a physical and mental space where they can, in the artist’s words, “walk through and move around the invisible sound ocean of the history of standardizing of music.”