First section

André Lepecki from Parasite on Vimeo.

Second section

The subtitle of this conference identifies a new performative turn. There have been other performative turns: this one is ‘new’ in the sense that it is yet another one.

Necessary to say that this ‘new’ itteration is interesting that it is a choreographic or dance turn. By adding this element it would have to follow logically that this turn is doubly not new, since a choreographic turn already took place between 1958 (Alan Kapprow: The legacy of jackson pollock) and the premiere of Concrete Ballet by Lygia Pape (Brazil) and 1965 (Notes on Dance by Robbert Morris). Between this double lack of novelty a differenc emmerges in the current repetition of the turn.

QUICK SURVEY Allan Kapprow, Rauschenberg, Morris, Klein, Oiticica Invoked dance and choreography to reimagine and reimage the visual arts.

Helio Oiticica: DAnce in my experience. What was at stake in this approacht to dance. Overall condition: “Because dance is an act it follows that like all acts: It’s a producer of images. Dance provided a new discovery of the image, a reinvention.”

Allan Kapprow: Jackson Pollock - an unprecedented future of painting where it exists freed from the restrictions of the canvas. Gestures and motion takes precendence over any inscription or marking or tracing. Never movement for the movement itself: young artists of today have no longer to say that they are painters, but that they are artists. Commitment to form that led him to choreography on the way to what he would call a new concrete art, later known as the happenings. 18 happenings in 6 parts. (1959) Structure form an restructure the image by inventing and activating a rigorous choreographic device that codified everyday life assemblages.