Dance as Border Between Arts: A Critical Reassessment

This article, published in artpress in July 2001, argues that contemporary dance has repositioned itself as a frontier between artistic disciplines, rejecting the collaborative ideal of the 1990s. It critiques Michael Fried's 1967 condemnation of theatricality in visual arts, asserting that dance now occupies the space between art forms. Key works discussed include Boris Charmatz's 'Les Disparates' (1994), which features a sculpture by Toni Grand ignored by the dancer; Emmanuelle Huyhn's 'Distribution en cours' (2000), where the choreographer disappears behind Christian Rizzo's mobile installation; Gilles Jobin's 'The Mœbius Strip' (2001), emphasizing horizontal surfaces and paper grids; and La Ribot's 'Still Distinguished' (2000), where spectators share the stage. The text traces a shift from vertical representation to horizontal presentation, citing influences from Merce Cunningham and John Cage to Jackson Pollock. Performances are scheduled at Montpellier Danse 01 (Mathilde Monnier, Emmanuelle Huyhn), Zurich and Hamburg (Gilles Jobin), and Frankfurt and Montreal (La Ribot).