Sabine Breitwieser — Choreography


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Sabine Breitwieser

Sabine Breitwieser, formerly chief curator of media and performance art at the Museum of Modern Art, New York, is director of the Museum der Moderne, Salzburg, Austria.

Choreography is understood as a sequence of movements and their composition, usually in dance, but more recently the term has been applied to the creation of scenarios in general. Choreographers take on a creative double role as authors and directors; their material consists primarily of people. In ancient Greek tragedy, choros described the demarcated dance floor and ultimately the song, dance, and commentary of those performing. In the eighteenth century, chorégraphe (French for “dance” and “writing”) described someone who recorded dance steps in writing. From dance notation emerged the task of “composing” movement—that is, mere recording became a creative act. This transition was augmented by a collective process of rehearsal, giving recording a lesser role. The notion of choreography was an important element of experimentation in modern and postmodern dance. In collaboration with visual artists such as John Cage and Robert Rauschenberg in the mid-1950s, Merce Cunningham introduced the idea that composition could be entrusted to the principle of chance and, beginning in 1991, even to a computer program. In the first half of the 1960s the artists of Judson Dance Theater, including Yvonne Rainer and Steve Paxton, and others, such as Simone Forti, swore off virtuosity and instead drew their movements from the everyday.

While organizing and controlling human figures is a fundamental principle in scenic art forms, primarily in the fields of dance and theater, that practice is not conventional in modern visual art, in which painting and sculpture appear as autonomous art forms. Conventions, however, have changed. By considering architectural space in art, artists such as El Lissitzky in Prounenraum (Proun room, 1923) made the organization of the art object in space and its encounter with the viewer a major factor in their work. One could say that artists started to choreograph their artworks like actors in a theater play in space. In Triadisches Ballett (Triadic ballet), which premiered in 1922 in Stuttgart with music by Paul Hindemith, Oskar Schlemmer had already grappled with questions of the relation of the object to space, trying to overcome the static nature of plastic works with dance. The expansion of fine art to include forms and mediums with intrinsic temporal elements—music, language, moving images, objects, and people—radically changed the concept of art. This also affected art’s relationship to audience and the site of art reception. In 1916 artists in the circle of Hugo Ball—including Hans Arp, Emmy Hennings, Marcel Janco, and Tristan Tzara—started their “cabaret” at the artist’s bar Voltaire in Zurich under the motto “Everybody is welcome.” What began as a protest movement against World War I turned into an art form with far-reaching consequences, including the international Dada movement. In 1958 the so-called Wiener Gruppe (Vienna group) of Friedrich Achleitner, H. C. Artmann, Konrad Bayer, Gerhard Rühm, and Oswald Wiener performed their 1. literarisches cabaret (First literary cabaret) at the Alte Welt (Old world) artist association in Vienna, demonstrating their idea of artistic choreography in the repressive cultural climate of the post–World War II period. These and many other historical events gave the impression of a broadening of rigid single-discipline art forms, accompanied by a departure from established art institutions. The following year, Allan Kaprow used detailed written instructions (scores) to transform visitors to his 18 Happenings in 6 Parts (1959) at New York’s Reuben Gallery into participants in an interactive environment. When asked in 1967 what he expected a museum of his time to be, Kaprow declared, “an educational institute, a computerized bank of cultural history, and an agency for action.”1 In performances disguised as museum tours, like The Public Life of Art: The Museum (1988) and Museum Highlights: A Gallery Talk (1989), Andrea Fraser used institutional markers such as sponsor boards to tell a museum’s social history.

Once conceived as a place for preserving, displaying, and mediating artifacts that represent culture, the museum has shifted its focus significantly in recent decades to orient itself toward its publics. As a provider of services, the museum now sees itself as a site of cultural experience. In this changed economy of space and time, it is no longer only the authors of art who determine the form of an artwork’s encounter with its audience. A major role in planning the choreography of an exhibition is now played by marketing strategists (What is a good lead image?), visitor services (How do I organize maximum visitor flow?), and, above all, museum management. The relatively new and strong interest in theatrical, performance-based, and improvisational art forms may be attributed in part to the fact that exhibitions designed for a wide audience bring with them a certain arbitrariness.

The trend of institutions staging events in their spaces for a mass audience at times stands diametrically opposed to the desire of artists to push the limits of experimentation and creativity. Conceiving their own choreography gives artists the opportunity to regain some control over their work and to arrange their work in space as well as its encounter with the audience according to their own visions. But what if the choreography of performers, which includes the audience, has itself become part of the experience industry? In the summer of 2011 the art collective Grand Openings installed an enormous calendar in the atrium of the Museum of Modern Art in New York, publicizing its thirteen-day program of scheduled performances titled Return of the Blogs. The program unfolded as a compendium of performance types that drew from everyday life and art, including restaging of historic works, lecture-performances, dances, songs, rock concerts, and workshops, as well as weddings (both fictional and real) and flash mob–style mass participatory events. The artists exposed themselves in their “museum workspace” to an audience hungry with expectation; in the process, they also confronted their own nonpresence and nonaction.

Translated from the German by Michael Shane Boyle.

  1. Allan Kaprow, in Allan Kaprow (Pasadena, CA: Pasadena Art Museum, 1967), 3. 

For Further Reference

El Lissitzky, Prounenraum (Proun Room), 1923.

Gottfried Schlemmer, Das Triadische Ballett, 1922.

Wiener Gruppe, 1. Literarisches Kabarett, 1958.

Allan Kaprow, 18 Happenings in 6 Parts, 1959.

Simone Forti, Dance Constructions, 1960–61, including Rollers, See-Saw, Huddle, Slant Board, Hangers, Platforms, and Accompaniment for La Monte’s 2 Sounds and La Monte’s 2 Sounds.

Andy Warhol, Dance Diagrams, 1962.

Yvonne Rainer, Trio A, 1966.

Julius Koller, works from the “Anti-Happenings” series, including Tennis, 1963–71, and Ping Pong, 1970–71.

Dan Graham, Body Press, 1970–72.

Gordon Matta-Clark, Tree Dance, 1971.

Andrea Fraser, Museum Highlights, 1989.

See Also

Collecting — Sabine Breitwieser

Act — Andrea Fraser

Relational — Andrea Fraser

Yvonne Rainer, score for “Trio B: Running,” from The Mind Is a Muscle, 1966–68. Graphite and ink on paper, 8 5/16 x 7 5/16". The Getty Research Institute. © Yvonne Rainer.

André Lepecki, reinvention of Allan Kaprow’s 18 Happenings in 6 Parts (1959), Haus der Kunst, Munich, 2006, as part of “Allan Kaprow: Life as Art.” Photo © Paula Court. Courtesy of PERFORMA, Allan Kaprow Estate, and Hauser & Wirth Zurich / London.

Simone Forti, Hangers (1961), 2011. From “First Complete Presentation of Dance Constructions,” The Box, Los Angeles. Video still: Naotaka Hiro. Courtesy of the artist and The Box.

Andrea Fraser, Museum Highlights: A Gallery Talk, 1989. Performance. Performance documentation: Kelly & Massa Photography. Courtesy of the artist. © Andrea Fraser.

Paul Chan, Waiting for Godot in New Orleans, 2007. Photo: Frank Aymami. Courtesy of Creative Time.

Andrea Fraser, Projection, 2008. Still from a 2-channel HD video projection installation. © Andrea Fraser. Courtesy of the artist and Galerie Nagel Draxler.

David Levine, Bystanders, 2015. Installation view, Gallery TPW, Toronto. Performer: William Ellis. Photo: Guntar Kravis.

VALIE EXPORT, TAPP und TASTKINO (Tap and touch cinema), 1968. © 2016 Artists Rights Society (ARS), New York / Bildrecht, Vienna. Photo © Werner Schulz.

My Barbarian (Malik Gaines, Jade Gordon, and Alexandro Segade), Broke People’s Baroque Peoples’ Theater, 2010. Courtesy of Alexandro Segade.

Richard Maxwell, Neutral Hero, 2012. The Kitchen, New York. From left: Janet Coleman, Bob Feldman, Lakpa Bhutia, Andie Springer, Jean Ann Garrish. Photo © Paula Court.

Miguel Gutierrez and Tarek Halaby in Gutierrez's Last Meadow, 2009. Dance Theater Workshop, New York, September 2009. Photo © Ian Douglas.

Mac Wellman, Muazzez, 2014. Performer: Steve Mellor. Chocolate Factory Theater, Queens, New York (a co-presentation with PS 122). Photo: Brian Rogers.

Janine Antoni, Yours Truly, 2010. Ink on paper, 5 7/8 x 8 1/2”. © Janine Antoni. Courtesy of the artist and Luhring Augustine, New York.

Yvonne Rainer, score for “Trio B: Running,” from The Mind Is a Muscle, 1966–68. Graphite and ink on paper, 8 5/16 x 7 5/16". The Getty Research Institute. © Yvonne Rainer.

Susan Leigh Foster, The Ballerina’s Phallic Pointe, 2011, a performed lecture in the series Susan Foster! Susan Foster! Three Performed Lectures, produced by The Pew Center for Arts & Heritage and performed at the Philadelphia Live Arts Studio, 2011. Photo: Jorge Cousineau.

Opening performance of the exhibition “Trisha Brown: So That the Audience Does Not Know Whether I Have Stopped Dancing,” Walker Art Center, Minneapolis, 2008. Brown improvises movements across a large piece of paper on the Medtronic Gallery floor, holding charcoal and pastel between her fingers and toes, drawing extemporarily. Photo: Gene Pittman for Walker Art Center, Minneapolis.

Allora & Calzadilla, Sediments Sentiments (Figures of Speech), 2007. Mixed-media installation with live performance and pre-recorded sound track, dimensions variable. © Allora & Calzadilla. Courtesy of Lisson Gallery.

Martha Rosler, Meta-Monumental Garage Sale, The Museum of Modern Art, New York, 2012. Courtesy of the artist.

Lucinda Childs, Pastime (1963), 2012, performed by Childs at Danspace as part of Platform 2012: "Judson Now." Photo © Ian Douglas.

Siobhan Davies and Helka Kaski, Manual, 2013. Photo © Alan Dimmick. Courtesy of Glasgow Life.

“Performance Now,” curated by RoseLee Goldberg. Installation view, Kraków Theatrical Reminiscences, Poland, 2014. Photo: Michal Ramus. Courtesy of Independent Curators International (ICI).

Steve Paxton, Intravenous Lecture (1970), 2012. Performed by Stephen Petronio with Nicholas Sciscione. Part of Platform 2012: “Judson Now,” curated by Judy Hussie-Taylor, Danspace, New York. Photo © Ian Douglas.

Installation view, “Dance Works I: Merce Cunningham—Robert Raschenberg,” curated by Darsie Alexander at the Walker Art Center, Minneapolis, 2011. Photo: Gene Pittman for Walker Art Center, Minneapolis.

Chief Dalcour and the Serenity Peace Birds in “Public Practice: An Anti-Violence Community Ceremony,” curated by Delaney Martin and Claire Tancons for New Orleans Airlift, October 25, 2014. Photo: Josh Brasted.

Ain Gordon and David Gordon, The Family Business, premiered 1993. Performers: David Gordon, Ain Gordon, Valda Setterfield. Photo: Andrew Lichtenstein. Courtesy of the photographer and Pick Up Performance Co(s).

Hotel Modern, Kamp, 2005. Photo: Herman Helle.

Janine Antoni, Anna Halprin, and Stephen Petronio, Rope Dance, 2015. Photo © Hugo Glendinning. Courtesy of the artists and The Fabric Workshop and Museum, Philadelphia.

Sarah Michelson, Devotion Study #1—The American Dancer, 2012 Whitney Biennial, February 26, 2012. Photo © Paula Court. Performers: Eleanor Hullihan and Nicole Mannarino.

Ralph Lemon, How Can You Stay in the House All Day and Not Go Anywhere?, 2009. Archival print from original film. © Ralph Lemon.

Pope.L, The Great White Way, 22 miles, 9 years, 1 street (Whitney version), 2001. © Pope.L. Courtesy of the artist and Mitchell-Innes & Nash, New York. Photo: Lydia Grey.

Iannis Xenakis, Terretektorh, Distribution of Musicians, 1965. Collection famille Xenakis. Courtesy of the Iannis Xenakis Archives. © Iannis Xenakis.

Lisa Bielawa, Chance Encounter, premiered 2007. Co-conceived with Susan Narucki. Photo: Corey Brennan, 2010, Rome.

Claudia La Rocco, 173-177 [or, Facebook Is Inescapable], 2013. Headlands Center for the Arts. Courtesy of José Carlos Teixeira.

Pina Bausch and the Tanztheater Wuppertal, Palermo, Palermo, Brooklyn Academy of Music, 1991. Photo: Maarten Vanden Abeele.

Tomás Saraceno, Observatory, Air-Port-City, 2008. In “Psycho Buildings: Artists Take on Architecture,” curated by Ralph Rugoff, Hayward Gallery, London. Courtesy of the artist and Tanya Bonakdar Gallery, New York.

Christian Marclay, Chalkboard, 2010, paint and chalk, 210 x 1,045 inches. Installation view, “Christian Marclay: Festival,” 2010, Whitney Museum of American Art, New York. Collection of the artist; courtesy of Paula Cooper Gallery, New York. Photo: Christian Marclay.

Steven Schick at the “Peacock” in the Paul Dresher Ensemble Production of Schick Machine, 2009, by Paul Dresher, Steven Schick, and Rinde Eckert. Mondavi Center, UC Davis, Davis, CA. Photo: Cheung Chi Wai.

Ralph Lemon in An All Day Event: The End, part of Platform 2012: “Parallels.” Danspace, New York. Photo © Ian Douglas.

Installation view, “Allison Smith: Rudiments of Fife & Drum,” The Aldrich Contemporary Art Museum, Ridgefield, CT. Photo: Chad Kleitsch. Courtesy of The Aldrich Contemporary Art Museum.

David Levine, Habit, 2012. Installation view, Luminato Festival, Toronto, 2011. Photo: David Levine.

Meredith Monk, Shards (1969–73), 2012. Part of Platform 2012: “Judson Now,” curated by Judy Hussie-Taylor, Danspace, New York. Photo © Ian Douglas.

Berlin, Bonanza, 2006. A documentary project focusing on Bonanza, Colorado, population 7. © Berlin.

Gob Squad, Kitchen (You’ve Never Had It So Good), 2007. Photo © David Baltzer / / Agentur Zenit Berlin.

Kit Galloway and Sherrie Rabinowitz, Hole in Space, 1980. On screens in front of Lincoln Center and The Broadway department store in Los Angeles, passersby could see and talk to their counterparts on the opposite coast, and many “reunions” were quickly set up, in this early example of video conferencing. Courtesy of the Sherrie Rabinowitz and Kit Galloway Archives.

Hans Haacke, News, 1969/2005. Installation view, “State of the Union,” Paula Cooper Gallery, New York, 2005. © Hans Haacke / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Courtesy of the artist and Paula Cooper Gallery, New York.

Pauline Oliveros, circa 1967. Courtesy of the CCM Archive, Mills College, Oakland, CA.

The Builders Association, Elements of Oz, 2015. Photo: Gennadi Novash. Courtesy of Peak Performances @ Montclair State University.

Ain Gordon, A Disaster Begins, 2009. Veanne Cox. Here Arts Center, New York. Photo: Jason Gardner. Courtesy of the photographer and Pick Up Performance Co(s).

Hopscotch, 2015. Directed by Yuval Sharon. Produced by The Industry, Los Angeles. Photo: Dana Ross.

The Wooster Group, BRACE UP!, 1991. Directed by Elizabeth LeCompte. Anna Köhler (on monitor) and Willem Dafoe. Photo © Mary Gearhart.

Tania El Khoury, Jarideh, 2010.

Joanna Haigood and Charles Trapolin, The Monkey and the Devil, performance installation, 2011. Performers: Matthew Wickett, Sean Grimm, Jodi Lomask. Photo: Walter Kitundu.

Jarbas Lopes, Demolition Now, in “SPRING,” curated by Claire Tancons for the 7th Gwangju Biennale, Gwangju, 2008. Photo: Akiko Ota.

Lisa Bielawa, Crissy Broadcast (part of Airfield Broadcasts), San Francisco, 2013. Photo: James Block.

Erwin Wurm, One Minute Sculpture, 1997/2005. © Erwin Wurm. Courtesy of the artist and Lehmann Maupin, New York and Hong Kong.

Ethyl Eichelberger as Minnie the Maid, 1981. Photo: Peter Hujar. The Peter Hujar Archive. Courtesy of Pace MacGill and Fraenkel Galleries.

Wu Tsang with Alexandro Segade, Mishima in Mexico, 2012. Color HD video, 14:32 minutes. Courtesy of the artists, Clifton Benevento (New York), Michael Benevento (Los Angeles), and Isabella Bortolozzi (Berlin).

Young Jean Lee, Untitled Feminist Show, 2012. Baryshnikov Arts Center, New York, 2012. Hilary Clark, Regina Rocke, and Katy Pyle. Photo: Julieta Cervantes.

Romeo Castellucci, On the Concept of the Face Regarding the Son of God, 2010. Philadelphia Live Arts Festival, 2013. Photo: Kevin Monko.

Jérôme Bel, Le dernier spectacle (The last performance), 1998. Photo: Herman Sorgeloos.

Troubleyn / Jan Fabre, Mount Olympus, 2015. Performance lasts 24 hours. Photo © Wonge Bergmann for Troubleyn / Jan Fabre.

Siobhan Davies Studios, Roof Studio, London. Photo: Peter Cook.

Emily Roysdon, Sense and Sense (a project with MPA), Sergels torg, Stockholm, Sweden, 2010. Courtesy of the artist.

David Lang’s home studio. Photo © Jorge Colombo.

Marcel Duchamp, Bicycle Wheel, 1964 (replica of 1913 original). Wheel and painted wood. Philadelphia Museum of Art. Gift of the Galleria Schwarz d’Arte, Milan, 1964. © Succession Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York, 2016.

Historical interpreters from Freetown Living History Museum, as part of Allison Smith’s 2008 project The Donkey, The Jackass, and The Mule, with the Indianapolis Museum of Art. Photo: Allison Smith and Michelle Pemberton.

Rimini Protokoll, Situation Rooms, 2013. Photo © Ruhrtriennale / Jörg Baumann.

Jeanine Oleson and Ellen Lesperance, We Like New York and New York Likes Us, 2004. A “wry look back” at Joseph Beuys’s performance with a coyote, I Like America and America Likes Me, René Block Gallery, New York, 1974. Courtesy of the artists.

Christine Hill, Volksboutique Organizational Ventures, 2001. Mixed-media installation, Kunstverein Wolfsburg, Germany. Courtesy of Ronald Feldman Fine Arts, New York.

Andrea Fraser, Museum Highlights: A Gallery Talk, 1989. Performance. Performance documentation: Kelly & Massa Photography. Courtesy of the artist. © Andrea Fraser.

Theaster Gates, Dorchester Projects, Chicago, 2012. © Theaster Gates. Photo © Sara Pooley. Courtesy of White Cube.

John Cage, two pages from 4'33" (original version, in proportional notation), 1952/1953. Ink on paper, 11 x 8 1/2" each sheet. Acquired by The Museum of Modern Art through the generosity of Henry Kravis in honor of Marie-Josée Kravis. © 1993 Henmar Press Inc. All rights reserved. Used by permission of C. F. Peters Corporation. Photo © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY.

Yoko Ono, Painting For The Wind, summer 1961. First published in Yoko Ono: Grapefruit (Tokyo: Wunternaum Press, July 4, 1964). © Yoko Ono.

Rosemary Lee, Square Dances, 2011, commissioned by Dance Umbrella. Square Dances took place in four central London squares throughout a day, with different casts in each: 10 children in Woburn Square, 100 women in Gordon Square, 35 men in Brunswick Gardens, 25 dance students in Queen Square. Each performance involved bells, ranging from a huge church bell that struck every minute; to a handmade musical instrument using bells within its barrel structure, created and composed by Terry Mann; to tiny hand bells for the dancers. Photo: Hugo Glendinning.

Dictaphone Group, This Sea is Mine, 2012.

Joanna Haigood and Wayne Campbell, Ghost Architecture, 2004. An aerial dance installation centering on the architectural and social history of the site. Yerba Buena Center for the Arts, San Francisco.

Ann Hamilton, the event of a thread, 2012–13. Park Avenue Armory, New York. Curated by Kristy Edmunds. Photo © Ian Douglas.

Robert Wilson and Marina Abramović, The Life and Death of Marina Abramović, premiered 2011. Park Avenue Armory, New York, 2013. Foreground: Willem Dafoe. Photo: Joan Marcus. Courtesy of Park Avenue Armory.

Richard Maxwell, Neutral Hero, 2012. The Kitchen, New York. From left: Janet Coleman, Bob Feldman, Lakpa Bhutia, Andie Springer, Jean Ann Garrish. Photo © Paula Court.

Ann Liv Young, The Bagwell in Me, 2008. Photo: Scott Newman, Revel in New York.

Xavier Le Roy, “Retrospective,” 2012–. Fundació Antoni Tàpies, Barcelona, 2012. Photo: Lluís Bover. © Fundació Antoni Tàpies.

Ethyl Eichelberger as Minnie the Maid, 1981. Photo: Peter Hujar. The Peter Hujar Archive. Courtesy of Pace MacGill and Fraenkel Galleries.

David Levine, Habit, 2012. Installation view, Luminato Festival, Toronto, 2011. Photo: David Levine.

Rimini Protokoll, 100% Yogyakarta, 2015. Teater Garasi, Yogyakarta, Java, Indonesia. © Goethe-Institut Indonesien / KDIP Viscom.

Bebe Miller Company, A History, 2012. Angie Hauser and Darrell Jones. Photo: Michael Mazzola.