See expo zéro by Tamara Tomic-Vajagic

See "Museum Metaphysics: 20 Dancers for the XX Century and Dance’s Ontology in the Museum" by Nicole Zee.

the way in which dance might inhabit the museum or cohabitate with works of plastic art. The project uses the museum context to reimagine what dance might be. Charmatz’s approach—his acceptance of experience and memory as part of these twentieth-century dances, rather than strict adherence to set choreography—poses a challenge to the typical paradigm of dance presentation and performance. Dance is often theorized through a type-token framework: the type, or choreography, is an enduring dancework that can be re-performed, while dance is the token, the individual, fleeting performance of a type (see Graham McFee’s The Philosophical Aesthetics of Dance: Identity, Performance, and Understanding [Binsted, Hampshire, UK: Dance Books, 2011] for a detailed analysis of the type-token framework).

Boris Charmatz’s If Tate Modern Was Musée de la danse? (May 15–16, 2015) transformed Tate Modern’s Turbine Hall into a space for the display of movement. (Previous inhabitations of Turbine Hall have had similar aims. An indicative list might be found in the series of installations that made up Tate’s Unilever Series [2000–8].) Dancers performed choreography at scheduled moments, and a twice-daily disco—titled Adrénaline: A Dance Floor for Everyone—invited the museum audience to dance together. During the two days of programming, ebbing and flowing groups of onlookers surrounded the dancers (both “professional” and “amateur”) in the Turbine Hall. The upper levels of the building, too, offered places from which to gaze down upon these events. Given that the vast hall functions not only as a space for art but also as one of the building’s main entrances, and houses cloakrooms, toilets, and ticket offices, this bird’s eye view of it exposed a field of constant motion.

As I watched this movement in the Turbine Hall from the perspective of Level Three above, I noticed that alongside the “authorized” or planned performances, people also danced uninvited. On the day I attended, to my observation, these uninvited dancers usually were children. Performing solos, duos, and in little ensembles, they danced in the open stretches and at the peripheries of the hall, creating spontaneous choreographies.
They ran, tumbled, and generally let loose through the expanse. Sometimes interested in the authorized dances, but often not, these unofficial performers made a place for their “work” in the Turbine Hall, enacting Tate’s institutional idea that this environment exists, according to its website, as a “place for people.” ...Continue Reading

See "Museum Metaphysics: 20 Dancers for the XX Century and Dance’s Ontology in the Museum" by Nicole Zee.

the way in which dance might inhabit the museum or cohabitate with works of plastic art. The project uses the museum context to reimagine what dance might be. Charmatz’s approach—his acceptance of experience and memory as part of these twentieth-century dances, rather than strict adherence to set choreography—poses a challenge to the typical paradigm of dance presentation and performance. Dance is often theorized through a type-token framework: the type, or choreography, is an enduring dancework that can be re-performed, while dance is the token, the individual, fleeting performance of a type (see Graham McFee’s The Philosophical Aesthetics of Dance: Identity, Performance, and Understanding [Binsted, Hampshire, UK: Dance Books, 2011] for a detailed analysis of the type-token framework).

See "Museum Metaphysics: 20 Dancers for the XX Century and Dance’s Ontology in the Museum" by Nicole Zee.