Choreographer
There are numerous crossroads between the dance unfolding within the space of an art collection and the very own pieces of this assembling, crossroads that make a sort of mutual colonization of artistic discourses. Flowing along a choreographic score, they are willing to lose some of their own authority earned in the act of creation, giving in to the resilience of alienation and to the profoundness of re-idealizations.At Storck Museum and in every hall of the Museum of Art Collections, the stylistic diversity of the artistic pieces melts into the dance living in these spaces. The borders between those differences that mark a certain "classic" feature of the artistic discourses and the recent modernity of the choreographic language have faded away. Those two strings are no longer separated from the enchanting ability of performance timing. All semantic fields of artistic works, soundtracks and dancing altogether, combine in a choreographic performance directed within the light of an art collection, upgrading gesture to the prime role of a language operator. Relying on energetic and ideated message transfer, the works of an art collection cancel something of the ephemeral gestures along their spectacular voyages, deferring movement to eternity. They induce a reality of the body and its history, finally outlining a possible game of alta persona. In the presence of dancing, the fine art works function as a legitimate status of the other, bearing sometimes echoes of the Other. This always employs a variety of reading layers. Thus, all works of art turn into the very object of that artistic manifestation – a process of becoming in the frame of gestures and every gesture acts as a new step in the becoming. In its own turn, music seals the time of the work of art and of the gesture, assuming the role of a choreographic drama, the role of its energetic values and of its artistic discourse. Music and dance together relocate time in the space of an artistic piece, concluding to a here and beyond of the actual time. Going down the stream of a Deleuzian frame of thinking, one could say that everything leads to "a confusing point between reality and the imaginary." Regardless of the spectacular structure of choreography, the art collection always gives it peripheral dimensions. Matter glides into gesture, the gesture and the substance of the artistic work fusion. Voids and non-voids, in the sense of alternation and chiasmus between real and virtual, they all come into play inside the choreographic performance given by fine arts. The course of highlighting propositions, where the expression borrows fuguelike accents, makes the dancing and the art collection blend into a possible "che," which Fr. Jullien calls "one of the most extraordinary locations due to its high concentration of energy…where its exchanges are most profound."When dancing is enriched by the magic of words for an artistic discourse, framing theatre and dancing together, the performance singles out differently the diversity of its structural elements, their connections, the intensity of their presence. Dance, words, music and fine arts gather up in collections such as "Slătineanu," "Avakian," only to name a few, in a presentation of multiple forms, feeding on the metaphysics, evolving along several tunes, counting on a complementary relationship, on a mutual consuming act. Only in this case, dancing offers each artistic piece its magic of the moment.
by Raluca Ianegic
