by Emily Gastineau
A. On curation:
1. LVW’s method of curation is to clearly delimit space / time / format, then leave the contents up to the artist.
2. The series values regularity + presence > a singular event.
3. Artists need some venues with no gatekeeping, no censorship, no quality control.
3a. Which, in an age of outcomes and evaluation metrics, nonprofits are increasingly unable to provide.
4. Where the curator-curator cares for the work, the artist-curator leads the work.
B. On the grid:
1. The grid asks to be broken, crossed, and extended.
2. the “grid announces modern art’s will to silence, its hostility to literature, to narrative, to discourse”
VS. “a way to sidestep the trap the that grid represents”
3. “the grid is still very much visible, but it’s been softened and twisted in ways that first-generation conceptualists wouldn’t have dreamed of”
4. The institutional critique worked like this: dancers : grid :: performance : museum.
C. On choreography:
1. Once the time and space were defined, the choreography was done.
1a. The 100 functioned less as choreographers and more as dancers with agency.
1b. Choreographer > dancer with agency.
1c. Choreographer = dancer with agency.
2. With or without the rain, the still images were more important than the movement.
3. Here, improvisation = choreography.
4. Dance : football :: god : damn.
D. On the community:
1. Dance that happens in Minneapolis > support for dance that happens in Minneapolis.
2. Some of us didn’t come to blend in; all of us showed up to be counted.
3. Take every opportunity to level the playing field.
4. Widespread participation = the contemporary measure of a successfully designed structure.
4×4 = 100 Choreographers Dancing Outside
Laurie Van Wieren
Walker Open Field
July 12, 2014