ABSTRACT
Reflecting on the historical emergence of concepts and objects, philosopher and historian of science Ian Hacking suggests that, in order to discuss the categories and operations of things, it is ‘convenient to group them together by talking about “what there is,” or ontology. Concerned with choreographic practices, as well as work from the 1960s by Yvonne Rainer, Simone Forti, and others, which employ ‘objects and things as the main activators and protagonists of dances,’ Andre Lepecki describes this zone of the Move archive. As engaging with processes wherein ‘things reveal their subjectivity, while humans reveal their thingness, to the point where it becomes hard to say who moves whom, who choreographs whom, and who is choreographed by whom.’ Investigating the means through which ‘the visual arts and dance track the transient par excellence – movement,’ this subsection of the Move archive revolves around an interest in the performer’s body in space.
