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Abstract
‘On Choreography’, prepared by Rachel Fensham, turns on an aesthetic investigation of twentieth-century dance history through the large-scale collage installations of Australian visual artist Sally Smart. Revisiting emergent concepts from articles in the 2008 Performance Research issue, it allows them to fragment, tear-up and reassemble major works from the Ballets Russes, Martha Graham and Pina Bausch as it works towards a feminist notion of radical movement.
Notes
1 Picasso between Cubism and Classicism, 1915–25. Scuderie del Quirinale, Rome, 22 September 2017 to 21 January 2018.
2 I would like to thank Sally Smart for her generous permission to reproduce these wonderful images in this special issue of PR, but also and more importantly for the very many conversations we have had about dance history, art-making, feminist and modernist cultural production. Much more could be said about the intellectual significance of her artistic project and its expert knowledges in the field of contemporary art, and I would be the first to acknowledge this re-routing through dance and choreography is only one strand of her multi-faceted, and complex art practice.
3 Heri Dono and Sally Smart, The Story of the Dragon, puppet workshop, Yogyarkarta, November 2017, and Entang Wiharso and Sally Smart, Conversation: Endless Acts in Human History, Galeri Nasional Indonesia, 2016.