Intérieur, Société des arts technologiques, Montréal, 2011.
Photo : Dominic Paquin, permission de | courtesy of kondition pluriel
Trisha Brown: So That the Audience Does Not Know Whether I Have Stopped Dancing; such is the title under which the Minneapolis Walker Art Center organized its 2008 retrospective of major postmodern artist Trisha Brown, bringing together representations of some of her most important choreography and a large selection of her visual productions. Certainly a provocative title, but also representative of the subversive aesthetics that marked a whole generation of artists whose avant-garde experimentations still resonate today.
The curatorial choice of showcasing dance and visual arts together mirrors the artist’s own approach. From the intricate weaving of her experimentations on the body in motion with her work on the image, a common thread unravels at an interdisciplinary crossroads, in the folds of the body and the image. Interdisciplinarity is a vast topic and can be read on several different levels. Here, I will call upon a few of its contemporary manifestations that seem to delineate a cross-poetics in the interchange between art forms.
This content is available with a Digital or Premium subscription only. Subscribe to read the full text and access all our Features, Off-Features, Portfolios, and Columns!
Already have a Digital or Premium subscription?
Don’t want to subscribe? Additional content is available with an Esse account. It’s free and no purchase will ever be required. Create an account or log in:
