About the event
(It was performed as pre-event before their participation in Aichi Triennale 2010.)
Premiere: 2007 @ Panasonic Center Tokyo, Ariake Studio
Duration 75min.
Dancer：9
First presented as an installation work at Metropolitan Museum of Photography in 2005, the project 'NO DIRECTION, everyday' has evolved through the performances in various formats at Echigo-Tsumaari Triennale and in Fukuoka city in 2006. 'No Direction.' is the culmination of the project as well as a new piece from the directors'
collective Nibroll created after 2 years.
We lose our direction and our ways and wander around.Discord, friction and conflicts.
The work sharply describes the present form of discommunication and a hope about our values-inconsistent and countless but possibly connected with one another.
Asahi Shin bun Evening Edition Mar.19. 2007
The audience seat is set on a slope in a studio which originally was empty, and the audience must sit on cushions that are placed on the floor. The four dots which show them where to sit are drawn out continuously on the stage floor as well, and the boundaries between the stage and audience seat become thin. It is as if the audience too has been thrown into this void as part of this performance.
On the gigantic, softly curved wall surface, Keisuke Takahashi's images are projected, and metamorphose in ways that enchant the eye.
Pandas and plants, digitally processed images of people, multiplying abstract patterns, and animation of the urban crowd appear and disappear like a kaleidoscopically. Skank, who is in charge of the sound, creates diverse sound from techno to rock, noise and pop – countervailing and inducing the images. As far as I know, the two have done their best work ever. As the carefully, chronologically structured sound and music progress vigorously, the dancers develop a unique action which can be characterized as children playing and fighting, rather than "dancing". They are no longer subjects with a will, and have become encoded bodies.
Yanaihara has placed the codes astonishingly well in the rippling sound and music, and moves them unconstrained. She too, has choreographed fulfillingly, and can be said to have
represented a culmination of Nibroll's work.
Tatsuro Ishii, dance critic
