Abstract
This article analyzes three artistic acts of the subversion of precariousness in the contemporary dance community in Buenos Aires. It explores the participation of dancers in political groups that demand improvement of their working conditions. It examines how Marina Sarmiento's investigation of dance history stages a precarious body as an archive that deals with aesthetic colonialism. And lastly, it discusses the emergence of an aesthetics of precariousness in Fabian Gandini's work, which brings artistic ethics to the fore. The argument proposed in this article asserts that working conditions, history, and aesthetics represent three dimensions of contemporary dance practice that operate simultaneously and determine the precariousness in the Argentinian dance community.
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