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The End of Choreography is a commissioned video (2013, https://vimeo.com/80257439), a lecture presentation (2015) and a performative essay (2016). As a PaR project concerned with choreography in the expanded field, these multiple manifestations problematize the notion of the artwork, questioning what impact context has on the reading and the meaning of a work. In this provocation I mix images with written text, use references from different disciplines and historical eras, quote well-known international theorists and philosophers alongside local choreographers and dance practitioners. I also refer to pieces I have seen, read about and participated in. Thus, I create a variety of contexts and reference points, questioning the meaning, value and purpose of choreography at the beginning of the twenty-first century. For this written version of The End of Choreography I collaborated with a graphic designer to present the work in a different medium, exploring the potentialities of translating the video onto the page as a textual document. Rather than presenting a closed argument, my aim is to trigger a debate about the current state of affairs in the field, whether this be the end, or future, of choreography.
These Associations (2012) by British-German artist Tino Sehgal was commissioned as the thirteenth, and final, artwork of the Unilever Series. It took place in Tate Modern’s Turbine Hall between July and October 2012. As one of the people involved in the project and as a practice-based researcher, I am in a curious critical position: both deeply involved and immersed in the work, yet also striving to retain a degree of critical distance. From a methodological position I have the double privilege of ‘having been there’, not only as an observer, a spectator, a visitor, a viewer or an on-looker of the work but also as a participant in the work. In this article I take full advantage of the inside/outside perspective, proposing that it is possible to speak critically from within the art object.
This paper was mainly written while I was a visiting researcher at the Bank of Finland's Institute for Economies in Transition (BOFIT) and I am especially grateful for the perfect working environment. I thank the participants at the BOFIT seminar for comments and suggestions I also would like to thank LICOS (Centre for Economies in Transition) at the K.U. Leuven/Belgium for providing the data.
This document is the author's post-print version, incorporating any revisions agreed during the peer-review process. Some differences between the published version and this version may remain and you are advised to consult the published version if you wish to cite from it.
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