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Moving through Choreography – Curating Choreography as an Artistic Practice

Fahlin, Marie, 1966- (author)
Stockholms konstnärliga högskola,Institutionen för dans
Lepecki, André, Professor (thesis advisor)
Department of Performance Studies at New York University.
Caprioli, Cristina (thesis advisor)
Choreographer at CCAP
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Sandell, Joanna (opponent)
Director of Södertälje konsthall
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 (creator_code:org_t)
ISBN 9789186505639
Stockholm : Stockholms konstnärliga högskola, 2021
English.
Series: X Position, 2002-603X ; 14
  • Artistic work (other academic/artistic)
Abstract Subject headings
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  • The purpose of the artistic research, Moving through Choreography – Curating Choreography as an Artistic Practice, has been to consider choreography and curating in their similarities and differences. Thus, at different phases of the working process, choreography and curating were treated as one and the same artistic practice; while, in other moments, as practices that are distinct from each other.Curating has been implemented as a ‘taking care’ principle and a relational activity impacting the production, presentation and documentation of choreography. Choreography has undergone a process of self-reincarnations, or rather, of trans-carnations, whereby the entire body of work has been scrutinized and altered. Key figure/body/agent of these trans-carnations has been the horse, or rather, the assemblage of human and horse, women and horses, here called ‘Centauring.’ Curating and choreography have been integrated to a scrutiny of the art of riding, specifically, the choreography of dressage. In dressage, the research has identified the rigor needed by the research to both steer and unleash the working process.The research has been pursued by purely artistic means, within a circumscribed field. Different perspectives and the making use of ramifications and loose ends, has proliferated into a plethora of intra-related works, objects and choreographies within which research result and artistic result coincide. The research har proceeded in consecutive phases. Each phase has developed its own specific artistic methodologies.The overarching methodology has provided for a clear navigation of undetermined directions and dramaturgies. The concept of ‘One’ has produced and collected both core outcomes and residual manifestations. The exhibitions and the exhibitor have carried, pursued and embodied the works and otherwise choreographies, throughout the research process.

Subject headings

HUMANIORA  -- Konst -- Scenkonst (hsv//swe)
HUMANITIES  -- Arts -- Performing Arts (hsv//eng)

Keyword

Choreography
curating
dressage
centaur
centauring
exhibition
exhibitor
articulation
affect
transposition
composition
transcarnation
touch
tack
aids
terminology
‘found practice’
‘found choreography’
expanded choreography
one
oneness
manège
poetry
intimacy
listening
entanglement
embodiment
discursivity
diagram
performing
preforming
Utbildning på forskarnivå i performativa och mediala praktiker
Third-Cycle Studies in Performative and Mediated Practices

Publication and Content Type

vet (subject category)
kfu (subject category)
dok (subject category)

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