Floor Map
Public warm-up with Boris Charmatz
Closethe 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).
A bra-le-corps
Closethe 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).
Levee des conflits (solos, visitor’s version)
Closethe 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).
Adrenaline: a dance floor for everyone
CloseAdrénaline: A Dance Floor for Everyone, an open disco hour reminiscent of a pop-up dance club, emerged twice a day at Tate Modern’s Turbine Hall, under a shimmering giant disco ball. Led by the enticing sets of DJ Oneman and DJ Jonjo Jury, respectively, this event was undoubtedly democratic and welcoming, fulfilling the premise of a communal celebration of the act of dancing. (I write about Saturday, May 16, 2015, which featured DJ Oneman during the first Adrénaline hour [5:15 pm–6:15 pm] and DJ Jonjo Jury [6:45 pm–8:15 pm] at the second, longer section of it. On May 15, the same timetable also featured DJ Oneman’s hour first, but the later slot was DJ Nathan G. Wilkins’s set.) As arguably the least structured part of the program, it also functioned as a moment of respite for all participants, and as a reset opportunity in the midst of a variety of choreographed inter/activities.
Having participated in one day-cycle of the weekend event, and having exchanged impressions with friends in attendance, I came to the conclusion that one’s perception of If Tate Modern Was Musée de la Danse? was contingent upon one’s participation in Adrénaline. Those who stayed felt more positively toward the entire event than those who did not. In some sense, then, Adrénaline was the glue that could amalgamate the heterogeneous events programmed by Boris Charmatz. Yet, the notion of Adrénaline as a coagulator seems inherently alien to the porous nature of this dancing interval. A dialectic emerged from the ambiguity of Adrénaline’s nature as a “non-event” relative to the choreographically induced act of dancing. ...Continue Reading
Roman Photo
Closethe 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).
Title here
Closethe 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).
Museum Metaphysics: 20 Dancers for the XX Century and Dance’s Ontology in the Museum
CloseMuseum Metaphysics: 20 Dancers for the XX Century and Dance’s Ontology in the Museum As I walked through Tate Modern’s “Witty, Sexy, Gimmicky: Pop 1957–67” gallery on May 15, 2015, I encountered Frédéric Seguette removing T-shirt after T-shirt in a performance of Jerôme Bel’s Shirtology (1997). Seguette’s performance was part of Boris Charmatz’s 20 Dancers for the XX Century, a performative exhibition of selected moments in the history of twentieth-century dance; this work was previously staged at the Museum of Modern Art in 2013 and subsequently reincarnated at the Palais Garnier in Paris.
The version of 20 Dancers for the XX Century in If Tate Modern Was Musée de la Danse? featured twenty dancers, each of whom represented different traditions, choreographers, and styles of dance, from the balletic tradition of George Balanchine to the contemporary street style of krumping. Dispersed throughout Tate Modern’s permanent collection galleries, the dancers, equipped with boomboxes, were free to choose the location, or “stage,” in which to perform their movement. Some, like Seguette, situated themselves in galleries, thus juxtaposing their piece of the twentieth century with the artistic styles surrounding them; others chose to perform in more apparently neutral or transitional spaces, such as hallways.
...Continue ReadingTitle Here
Closethe 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).
Unauthorized Performance in the Turbine Hall
CloseBoris 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.”
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.”
Title Here
Closethe 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).
Title Here
Closethe 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).
Title Here
Closethe 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).
Manger
Closethe 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).
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