Abstract
This article examines some recent dance exhibitions where a strong speculative involvement of choreographers from the so-called trend of “conceptual dance” has been at stake. Both the open question of the history of dance and performance and the possibility for choreographic thinking to engage with the forms of the exhibition display became objects of experimentation in important projects and museum pieces conceived by Boris Charmatz, Xavier Le Roy, and La Ribot. In turn, the latter activated further concerns around the way dancers and choreographers address the question of heritage and its transmission; in this regard, examples of Richard Move and Jérôme Bel are also brought in the discussion. The article considers these shifts within the hypothesis of a dance museum currently engaging with a wider statement and critique about the “time-based arts” (a term first coined in the context of film, video, and new media museum conservation) and the ongoing new, time-related configurations of the exhibition space.
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