Wednesday, October 29, 2014

When contemporary work is made, at what point does time require it to belong to the past rather than the present?

As a temporal medium, dance must be performed to remain in existence. But whilst the work remains relatively unchanged, time enters the relationship, shifting and influencing perceptions and performance.

Over the weekend I saw a retrospective of Trisha Brown repertoire, with works spanning from 1983 to 2011. As a postmodern choreographer, she gave herself 'permission to invent'. To invent indicates newness; searching for unknown answers. I wonder what she thinks of her older works now, works that have shaped the language of contemporary dance performed to audiences that have become familiar with her form. No longer contemporary works, but holding such value as moments in time.

Fashion has a similar temporality to dance. It is bound to a time and season. Created and worn displaying parallels with created and performed. It is when there is permission to invent and freedom to move fluidly through the references time provides that true newness is discovered. Raf Simons for Dior has done just this. Susie wrote a beautiful summary over here.

Dior | Spring/ Summer 2015
Malgosia Bela by Josh Olins | Shape Shifters, WSJ, June 2013


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