Move: Choreographing You invites you to become a participant – or even a dancer – in installations and sculptures by internationally renowned visual artists and choreographers. The exhibition explores the historical and current relationship between visual arts and dance by presenting seminal works and new commissions by leading artists from the last 50 years.
Janine Antoni describes her art as occupying the ‘territory between object, performance and relic’ and says, ‘for me, creativity is about unlocking memories within the body. It’s also about thinking with the body.’ Her performance works often find afterlives through the mutable medium of storytelling, where witnesses pass on their own narratives of events to other people. For Move: Choreographing You, she has devised a surreptitious intervention which plays on the physical and emotional meanings of the word ‘move’.
Born in 1964 in Freeport, Bahamas, Janine Antoni lives and works in New York, USA
In his installations and performances, Pablo Bronstein combines the languages and grammar of architecture and dance, synthesising the grandiose gestures of the Baroque with the lean aesthetics of postmodernism. His stage-set-like structures provide arenas for performance, in which dancers move or hold poses, switching between ‘artificial’ and ‘natural’ modes; between the affected nonchalance of courtly sprezzatura and the ordinary movements of modern pedestrians.
Born in 1977 in Buenos Aires, Argentina, Pablo Bronstein lives and works in London, UK
Trisha Brown began choreographing in the early 1960s, at a time when avant-garde dancers and choreographers collaborated with poets, musicians, painters and sculptors in challenging the conventions and boundaries of their disciplines. Experimenting with improvisation, apparatus and the use of everyday movements, Brown’s revolutionary ‘equipment pieces’ brought dance into the real world of functional objects and unpredictable events. Much of her early work was performed outdoors, in city squares and parking lots, on rooftops and down the sides of buildings.
Born in 1936 in Aberdeen, Washington, USA, Trisha Brown lives and works in New York
Tania Bruguera’s performances and installations examine the relationship between ideology, power and social behaviour. Explaining that her intention is ‘to address the subtlety and seductiveness of power, and our own participation in its process,’ her confrontational works demand that viewers become involuntary performers. As participants, we encounter ‘politics as sensation’, experiencing fear, vulnerability and sensory deprivation before eventually achieving awareness.
Born in 1968 in Havana, Cuba, Tania Bruguera lives and works in Havana, and in Chicago, USA
Rosemary Butcher made her choreographic debut in 1974, presented a ground-breaking concert at London’s Serpentine Gallery in 1976 and became Resident Choreographer at Riverside Studios in 1978. For the next three decades she has continued to develop her own movement language and choreographic form based around conceptual art, pure movement and a complex use of space that has influenced and inspired three generations of British choreographers, most notably Russell Maliphant and Jonathan Burrows.
Rosemary has increasingly used cross-arts collaboration within the choreographic process and has frequently chosen non-theatrical spaces to present her work. She has collaborated with many artists from visual art, film and music over the years, including Turner Prize finalist Vong Phaophanit on her work SCAN.
Subtitled a ‘pseudo-performance’, choreographer Boris Charmatz’s installation héâtre-élévision presents an hour-long spectacle experienced by one person at a time. Almost theatre and not quite television, the work consists of a dark room with a pretend grand piano onto which the visitor climbs, lying down to watch pixellated videos of absurd and disorienting dance performances. While the spectator outwardly becomes the focus of a theatrical display, they inwardly experience a kind of mental choreography.
Born in 1973 in Chambéry, France, Boris Charmatz lives and works in Rennes
Lygia Clark’s belief in art as interaction was the basis of all her sculptural work. She explained that ‘the key to my research is the participation of the public; the breaking of the barrier separating the spectator from the work, and from its “creator”’, and her art aimed to rediscover the sensual and instinctive sides of life. Her installations and ‘sensorial objects’ induce a heightened awareness of our bodies and our physical surroundings.
Born in 1920 in Belo Horizonte, Brazil, Lygia Clark died in 1988 in Rio de Janeiro
Choreographer William Forsythe stresses that his ‘Choreographic Objects’ are not so much there to be seen, as to be used. In The Fact of Matter, a thicket of dangling gymnastic rings invites Hayward Gallery visitors to stretch and swing their way across space. Outdoors, the interactive City of Abstracts becomes visible after dark. Located on Level 2 Terrace (until the end of November), this video installation captures the movements of passers-by and entices viewers into making drawings with their bodies.
Born in 1949 in New York City, USA, William Forsythe lives and works in Frankfurt and Dresden, Germany
Simone Forti’s investigations into ‘ordinary movement’ revolutionised dance in the early 1960s. Her dance constructions of 1961, such as Huddle, are based on improvisation and chance. Other dances involved simple structures to generate movement. Later, in Hangers, she created a work that she conceived as both a sculpture and a dance. The simple bodily movement depicted in her hologram Angel can only be perceived when the viewer moves around it, unconsciously performing reciprocal movements in order to see it.
Born in 1935 in Florence, Italy, Simone Forti lives and works in Los Angeles, USA
In Dan Graham’s Present Continuous Past(s) the visitor becomes both performer and spectator simultaneously. The installation consists of a room containing a two-way mirror, a video camera and a monitor. The mirror reflects present time, the camera records the mirror’s continuous reflection, and the monitor plays back the recording after an eight-second delay, thus presenting, in Graham’s words, ‘an infinite regress of time continuums within time continuums (always separated by 8-second intervals) within time continuums’.
Born in 1942 in Urbana, Illinois, USA, Dan Graham lives and works in New York
Anna Halprin’s pioneering San Francisco Dancers’ Workshop, founded in 1955, quickly became a magnet for people interested in unorthodox approaches to dance; students included Trisha Brown, Yvonne Rainer and Simone Forti. Ten years later, Halprin presented her first ‘collective creation’, Parades & Changes, which she describes as being about ‘the process of undressing, finding your place in space’, and creating a ‘ceremony of trust’ between performers and audience. The work has now been recreated by French choreographer Anne Collod, in dialogue with Anna Halprin and original composer Morton Subotnick. With support from Cultures France.
Born in 1920 in Wilmette, Illinois, USA, Anna Halprin lives and works in Kentfield, California
Inspired by local resident Suat Ling Chua’s daily hula-hoop workout on a New York roof, Christian Jankowski’s Rooftop Routine (2007) pays homage to Trisha Brown’s Roof Piece, which took place in 1973 on 12 different rooftops in downtown New York. For his own work, Jankowski asked Suat Ling Chua to collaborate in a one-off performance, involving a chain of volunteer hula-hoopers on 25 rooftops in New York’s Chinatown. The result, recorded on video, is a communal dance which celebrates city life.
Born in 1968 in Göttingen, Germany, Christian Jankowski lives and works in Berlin
Isaac Julien’s multi-screen film installations create cinematic experiences in which art, architecture, dance, sound and movement intermix. His new work, TEN THOUSAND WAVES, is an extended meditation on migration, physical and cultural dislocation and unfinished journeys. It weaves together three separate stories which are presented as a montage of moving images oscillating between nine free-hanging screens. Viewers enter an immersive and frequently disorienting environment in which they are compelled to make their own experiential journeys, both in physical and psychological terms.
Born in 1960 in London, UK, Isaac Julien lives and works in London
Allan Kaprow / Rosemary Butcher
Dancer and choreographer Rosemary Butcher has re-invented Allan Kaprow’s first ‘happening’, presented in New York in 1959. For the original 18 Happenings in 6 Parts, Kaprow created an environment in which the audience itself was choreographed: directed to particular places at specific times, in order to witness events such as a woman squeezing oranges, an artist lighting matches and painting, and an orchestra of toy instruments.
Allan Kaprow was born in 1927 in Atlantic City, USA. He died in California in 2006.
Born in 1947 in Bristol, UK, Rosemary Butcher lives and works in England
Mike Kelley describes Adaptation: Test Room Containing Multiple Stimuli Known to Elicit Curiosity and Manipulatory Responses as a structure containing ‘sculptural elements derived from the playroom objects used in experiments with primate affection conducted in the 1960s. These objects have been enlarged to human scale and arranged in such a way as to evoke the abstract stage sets designed by sculptor Isamu Noguchi for the American choreographer Martha Graham.’ A life-size projection documents a related dance work made in collaboration with choreographer Anita Pace.
Born in 1954 in Detroit, USA, Mike Kelley lives and works in Los Angeles
Michael Kliën’s Choreography for Blackboards is a time-based ‘performance installation’ to be performed on monolithic blackboards placed in galleries and museums. While it recalls sculptor Joseph Beuys’s ritualistic ‘Actions’ and the ‘Blackboard drawings’ created in the 1970s during his lectures at educational institutions and museums, in Kliën’s work locally chosen participants follow exact, rehearsed procedures, developing and exchanging insights and individual expressions and forming ‘a concentrated collective dance of minds’.
Born in 1973 in Vienna Austria, Michael Kliën lives and works in Limerick, Republic of Ireland
Thomas Lehmen’s Schrottplatz (‘scrapyard’) is about the nature of understanding. In this solo work, during which he demonstrates his choreographic ideas, Lehmen explains objects to other objects – an electric cable is explained to a tomato; a football gets to learn about a work of art; a newspaper is explained to a tin of sardines. He also talks about human beings; their place in the world, and what they do and do not comprehend.
Born in 1963 in Oberhausen, Germany, Thomas Lehmen lives and works in Berlin
In 1971, American sculptor Robert Morris produced the Tate Gallery’s first ever fully participatory exhibition. Organised as a sequence of spaces in which ‘objects to handle gave way to things to balance on and then to climb on or in’, Morris intended that his ‘Participatory Objects’ would turn spectators into participants, giving them an opportunity to ‘become aware of their bodies under different conditions’. Like contemporary dancers, they would experience ‘gravity, effort, fatigue’.
Born in 1931 in Kansas City, USA, Robert Morris lives and works in New York
In the 1970s, Bruce Nauman constructed corridor sculptures in which the viewer becomes the performer. In Green Light Corridor the passageway is saturated with green fluorescent light and is so narrow that it can only be entered sideways. Speaking about a related work, Nauman remarks: ‘It’s very easy to describe how the piece looks, but the experience of walking inside it is something else altogether which can’t be described. And the pieces increasingly have to do with physical or physiological responses.’
Born in 1941 in Fort Wayne, Indiana, USA, Bruce Nauman lives and works in New Mexico
The OpenEnded Group with Wayne McGregor
The OpenEnded Group is a digital art collective which creates works for stage, screen, galleries and public spaces. Their new work, Stairwell, is a collaboration with dancer and choreographer Wayne McGregor. Installed in the gallery’s stairwell, where McGregor was originally filmed dancing, this series of stereoscopic projections presents floating imagery which strives to cast the dancer’s figure as a solid sculptural form for each moment of his movement. The OpenEnded Group comprises Marc Downie, Shelley Eshkar and Paul Kaiser.
Born in 1970 in Stockport, UK, Wayne McGregor lives and works in London
João Penalva’s original aim in creating Widow Simone (Entr’acte, 20 years) (1996), was to learn the famous ‘Clog Dance’ from the ballet La Fille mal gardée, to be coached in the role by another dancer, and eventually to perform it himself. Besides exposing issues of ‘ownership’ and transmission of movement, the installation chronicles Penalva’s physical struggles: ‘I was, at 47, pretending to dance as young dancers do. I played myself 20 years ago.’
Born in 1949, in Lisbon, Portugal, João Penalva lives and works in London, UK
In 1960, after training in modern dance, Yvonne Rainer began to choreograph her own work. She developed a form of pared-down dance that incorporated repetitive movement and everyday props and was devoid of any emotion or drama. Trio A, which was first presented in 1966, consists of a series of unpredictable movements without structure, props, narrative or music, performed by people of all shapes and sizes, wearing workmanlike clothes.
Born in 1934 in San Francisco, USA, Yvonne Rainer lives and works in Los Angeles and New York
La Ribot’s Walk the Chair is a randomly roving installation. The title of the work is an instruction to the visitor: pick up a chair, and walk it wherever you like within the gallery. You can then sit on it to watch a performance or a video, to read or think. Each of the 50 folding chairs that comprise the work has a different quotation inscribed on it; words from artists, choreographers, philosophers and ordinary people, mostly about movement.
Born in 1962 in Madrid, Spain, La Ribot lives and works in Geneva, Switzerland
Xavier Le Roy & Mårten Spångberg
Choreographer Xavier Le Roy and writer and critic Mårten Spångberg have devised Production, an intervention realised with the participation of a team of resident dancers. These dancer-participants, having been trained and directed by Le Roy and Spångberg, may rehearse movements of their choice from iconic works of post-modern dance. Alternatively, they may initiate encounters with visitors, triggering conversations and opening up discussions – about dance, about the exhibition, or about the role of choregraphy.
Born in 1963 in Juvisy sur Orge, France, Xavier Le Roy lives and works in Berlin
Born in 1968 in Sweden, Mårten Spångberg lives and works in Stockholm
Franz Erhard Walther
In the early 1960s, the sculptor Franz Erhard Walther defined art as a phenomenon that only takes on form through the actions of the viewer. This radically new concept was demonstrated in his 1. Werksatz (First Work Set), a series of fabric elements, or ‘instruments’, that were meant to be used: through being worn, or moved about, they place the user/wearer in a specific position. Each instrument dictates how the body behaves, either in isolation from other bodies, or together with fellow participants.
Born in 1939 in Fulda, Germany, Franz Erhard Walther lives and works in Fulda.
Franz West explains that ‘my works aren’t things that one just looks at, but things that the viewer in is invited to handle’, and goes on to say, ‘it doesn’t matter what the art looks like, but how it’s used’. He started making his portable, wearable, interactive Paßstücke (‘adaptives’ or ‘fitting pieces’) in the early 1970s. These abstract, unwieldy forms coerce the user into striking extraordinary and often ridiculous poses.
Born in 1947 in Vienna, Austria, Franz West lives and works in Vienna
In her performance work Raise the Roof, each of Nevin Aladağ’s dancers moves independently of the others, isolated from them spatially and by the fact that they all wear headphones. The individual performers dance to music which neither the other dancers nor the audience can hear. For the spectators, the only audible sound is the amplified noise of the dancers’ stiletto heels ripping into the tarred surface of the roof.
Born in 1972 in Van, Turkey, Nevin Aladağ lives and works in Berlin, Germany.
Performed continuously for four hours each day over one weekend in November, Siobhan Davies’s Minutes is a series of short, detailed, powerful and often humorous dance episodes which the spectator can view from every possible perspective. It was originally presented as one part of The Collection, which brought together dance artists, filmmakers and visual artists at the Victoria Miro Gallery in London in 2009.
Born in 1950 in London, UK, Siobhan Davies lives and works in London.
|Duration||13 October 2010 - 09 January 2011|
|Times||Open daily 10am - 6pm, late nights Thursday and Friday until 8pm.|
|Address||Southbank Centre London SE1 8XX, ,|
|Contact||020 7960 4200 / / www.southbankcentre.co.uk/venues/hayward-gallery|