Practitioners in different fields adopt disparage tools to produce work. Artists draw,
photograph, walk, and use chance processes, amongst other methods. Dancers and
choreographers have also drawn, used chance, and walked as well. Considering
methods as essential tools to foster creativity, this talk addresses how artists in
different fields may learn from each other’s processes of making.

Focusing specifically in installation artists and choreographers, how might
choreographic strategies be applied in visual arts? In the last five years, dance forms
have taken over visual arts venues, in a tendency to show dance within exhibition
settings (for instance, Tino Sehgal at Tate Modern and Documenta’13, Siobbhan Davies
at ICA, and Alexandra Pirici at Venice Biennale). My research enquires how this
tendency towards the choreographic impacts methodologies in visual arts, and how it
may evolve in the next few years.

Wayne McGregor sees choreography as a ‘process of physical thinking’ that operates in
the mind and the body, developed through a collaborative cognitive process. Jonathan
Burrows considers choreography as a process of choice and of arranging objects.1 Both
approaches emphasize the methodological aspect of the term, and share principles
with visual arts processes. This talk considers a translation of choreography as a
method for the visual arts, as well as an understanding of its inherent implications in contemporary artistic practice.

1 J. Burrows, A Choreographer's Handbook, p.40.