This collection surveys the choreographic turn in the artistic imagination from the s onwards, and in doing so outlines the philosophies of movement instrumental to the development of experimental dance. By introducing and discussing the concepts of embodiment and corporeality, choreopolitics, and the notion of dance in an expanded field, Dance establishes the aesthetics and politics of dance as a major impetus in contemporary culture. It offers testimonies and writings by influential visual artists whose work has taken inspiration from dance and choreography. Dance—because of its ephemerality, corporeality, precariousness, scoring, and performativity—is arguably the art form that most clearly engages the politics of aesthetics in contemporary culture. Its corporeality can embody critiques of representation inscribed in bodies and subjects. Its precariousness underlines the fragility of contemporary states of being.

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Paper, glue, scissors. For three years she created soft sculptures, the Trepantes Climbers , but in her research led to a whole series of Objetos sensoriais Sensorial objects , eventually to be joined under the title Nostalgia do corpo Nostalgia of the body. These objects became the catalysts of participatory propositions involving precarious, cheap, or quotidian materials elastic bands, plastic bags, onion or orange sacks, pebbles, water, rubber tubes, etc.

Crucially, they had to be linked to actions, perceptions, and sensations, often shared among two or more participants — actions to which there were not really scores, but simply generic suggestions. The result, a mute dance of hands and arms, produces a discovery of the moment as immanent, intersubjective, and corporeal.

A third emerges, unexpectedly free and liberating. For Clark these were always deeply intersubjective practices. Penetration, ovulation, germination, expulsion. Now the body is the house. It is a community experience. From now on, it is man who assures his own eroticism. He becomes the object of his own sensations. There is no regression since it is the opening of man toward the world. He connects itself to others in a shared body. Ovo mortalha Biologic architecture: egg shroud, in use probably in Paris in the early s.

Nylon, plastic. These bags functioned as connective tissues, extended skin, as participants unfolding and entering into these surfaces become so many limbs and organs of a fantastical construction that was always renewed at each new experiment. Read the second section here and the third and final section here. Los Angeles: Museum of Contemporary Art, , p. Brett, letter to Lygia Clark, December 11,


André Lepecki

Photo: Frank Aymami. Courtesy of Creative Time. Andrea Fraser, Projection, Still from a 2-channel HD video projection installation. Courtesy of the artist and Galerie Nagel Draxler.


André Lepecki


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