Ryoji Ikeda

“Let the invisible be heard.” The expression is well suited to the frontier on which Ryoji Ikeda constructs his work. Concerts, installations and recordings: all of his productions integrate sound, acoustics and imagery. First and foremostly a composer, a key figure of electronic music and art, he devoted himself to the physical properties of sound, for instance, by materialising waves, ultrasounds and frequencies using light rays. Using a maximum of computer resources and digital tools, but also mathematics, Ikeda creates worlds that are both graphic and aural, with an ultra-minimalist aesthetic, in order to explore the phenomena of human perception.

Born in 1966 in Japan, he began his career as a DJ in 1990, before making a name for himself, in 1995, as an artist of visible waveforms and avant-garde composer of ultrasound frequencies, exploring the interference between reality and an unknown dimension. His albums (+/-, 0 °C or Matrix) offer music full of sinusoidal waves, electronic sounds and white noise. His artistic propositions, installations or concerts consist of elements that are as much sound-based as they are graphic, such as Datamatics (2006), which combine animated images, sculptures, sounds and new media.

His protean work has led him to collaborate with artist and musician Carsten Nicolai, choreographer William Forsythe, artist and photographer Hiroshi Sugimoto, architect Toyo Ito and the artists’ collective Dumb Type.





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