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Choreography is historically understood as the art of making dances and combines movement protocols with bodies in motion and their material contexts into animated composite forms. The recent ‘choreographic turn’ in contemporary art has started importing such forms into the mainframe of contemporary art, and in the process has radically expanded the training contexts, exhibition practices and collection habits formerly reserved for visual arts practices.

This import has substantially enriched the vocabulary of artistic forms, production formats, and the discussions they stimulate. It has also brought heightened attention to the ways in which artistic forms behave in time, how they render bodies and their surroundings through and as movement, and how a broad range of material registers are composited in them.

Through this and across a broad range of practices and discourses, contemporary art’s engagement with the choreographic has stimulated a rich re-assessment of the intersection of material and dynamic dimensions, of the ways bodies behave in relation to each other and their surroundings and contexts, and of the transmission formats enabled in embodied forms of knowledge production.   

Working with members and invited guests from choreography and (post-)dance, the unit tests choreographic modes, production formats and language games to engage the materiality of composite productions, the (dis-)articulation of movement, and the dispersed animacies they afford.