Choreographic Objects

||HOST||The Royal Standard as part of the Liverpool Biennial27th October - 4th November 2012

The Royal Standard as part of the Liverpool Biennial
27th October – 4th November 2012
Sovay Berriman, Royal College of Art Alumni 2003

Choreographic Objects by William Forsythe

An object is not so possessed by its own name that one could not find another or better therefore.
– Rene Magritte

“Choreography is a curious and deceptive term. The word itself, like the processes it describes, is elusive, agile, and maddeningly unmanageable. To reduce choreography to a single definition is not to understand the most crucial of its mechanisms: to resist and reform previous conceptions of its definition.  There is no choreography, at least not as to be understood as a particular instance representing a universal or standard for the term. Each epoch, each instance of choreography, is ideally at odds with its previous defining incarnations as it strives to testify to the plasticity and wealth of our ability to re-conceive and detach ourselves from positions of certainty.

Choreography is the term that presides over a class of ideas: an idea is perhaps in this case a thought or suggestion as to a possible course of action. To prohibit or constrain the substitution or mobilization of terms within this domain is counterintuitive. The introduction and examination of the effect of terminological substitutions that reveal previously invisible facets of the practice is key to the development of procedural strategies. Choreography elicits action upon action: an environment of grammatical rule governed by exception, the contradiction of absolute proof visibly in agreement with the demonstration of its own failure. Choreography’s manifold incarnations are a perfect ecology of idea-logics; they do not insist on a single path to form-of-thought and persist in the hope of being without enduring.

A choreographic object is not a substitute for the body, but rather an alternative site for the understanding of potential instigation and organization of action to reside. Ideally, choreographic ideas in this form would draw an attentive, diverse readership that would eventually understand and, hopefully, champion the innumerable manifestations, old and new, of choreographic thinking.”

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