The events of time thought of as confluences of conditions of possibility, where the gesture takes center stage, brings history closer to the human scale (and this modifies the epistemological conditions with which we study the object).

I have the intuition that Dance (as a practice, form of encounter, pedagogy, concept, history and way of making-conceiving the world) has the ability to explode the History of Art, a story that has obsessively focused on the image.

A work is a materiality: a piece of matter with memory, the result of a gesture carried out by a body in a specific time and place. In this way, I can think of Art History in-with-through Dance as a series of writings and actions that are replenished and reinvented. To be an artist is to grasp a flashlight in the dark to draw circles of light: if a camera were to record the moment, it would reveal that the gesture, despite always looking the same, is not. And thus, each image, each count, each drawing, each nude, each movement register, each painted body, each stroke, all are subscribed to their own faculty.

The unrepeatable of the body is pronounced through the body.

The image announces its contract with the story.

The gestures are postulated technically poetic, technically conceptual. There is no way to disaggregate the body matter of memory, the technique of poetics, or the concept of tone.

Tension is a necessary condition for movement, which is why each piece that we can see here rewrites elasticities inherently in itself and in relation to the works with which it coexists in-with space.

Just to point out some of the active memories on the subject, we can recall, through the work of Nora Aslan, the caste paintings of the American colonial schools, where skin tones, the territory of origin and genetic exchange are compulsory in Endless options making a coven of racial difference (aesthetic?). It is a collage-pop in the manner of a tableau vivant that expands on the cataloging operation of the dermis on both occasions. Faced with such a show-palimpsest of skins, Daniel García's acrobats rewrite the existence of the strange gaze on the body. Acrobat or freak? The circus has been the space for the racial spectacularization of "the different": at the same time as it suspects, it makes use of the body's abilities to establish parameters: what is staged is what is considered "out of the ordinary". The normal, as a parameter for classifying corporeality, finds its most extreme aspect in the Holocaust. With a simple collage with a hyper-realistic aspect, Nino Cais intervenes in a series of seemingly innocent nudes. However, these are photographs-appropriations of typical positions of the Duncanian Free Dance by the group of Nazis led by (no less than) Leni Riefenstahl. Cais places stones on the bodies, to practically make a joke about nakedness as a gesture of “liberation”, thus, the stone carried by the dancer in contortion puts her posture and stability at risk. They are canonical bodies that express themselves against the flow of an incessant sea carrying, like Sisyphus, the stone of eternal condemnation. Andrés Waissman, like a pilgrim of the line, constructs a bacchanalian writing of corporeities. It is also a tide, where all the forms of sociability and relationality of the bodies have been shaped. A drawing-device to be traversed by the gaze, moved by the hands and read in the manner of a Torah. The scroll contains the mythical history of overcrowding, linking all the final trials and hells represented today, the orgiastic, the piling of anonymous corpses in mass graves of dictatorships and genocides and the contemporary-suffocating life of the big cities. Piled up bodies is also a way of choreographing. Lihuel González contrasts music with dance and dance with music, to unravel the oppositional relationship between doing and proposing posed as an impossibility. The history of the relationship between dance and music is close, not only because of the reciprocal functionalities that are offered, but also because of the ways in which they have conceived one another and their co-elaborations. The search to create a system of notation in dance in the manner of the written conventions of music can be recognized in cave paintings, in manuscripts of Medieval Dance, in the Beauchamp-Feuillet system that emerges from the court of Louis XIV, arriving (returning) in the middle of the 20th century German, with the Laban Notation. Kristen Mosel, on the other hand, has bequeathed us a measure, the measure of her body embodied through the gesture of tapping. The artist is thus rewriting Lucio Fontana's pieces halfway between painting and performance. His last great work is Argentina, it belongs to the Argentine Suite series that he made shortly before his recent death and also, in a retrospective reading, as an act of farewell to this reality.

The gesture and the musical, its potential sonority, materialized corporeities, memories of the supports of art. In all the works it is corroborated that the sound does not necessarily sound, that movement may not be seen where there is it, that the idea of ​​freedom can be oppressive, that the body is bequeathed as inert memory, that movement is not possible without vitality. And that all the variables are printed with materialities that go through their mutation, like a writing that travels from visual choreography to questioning the notion of a foreign body.

Time particles intertwine, a narrative emerges. Each work is thus a combinatorial event. What is retaken, twisted, rewritten, magnetized into a new existence. Dance as a perspective of thought opens the possibilities of history. The stone is confirmed to be in motion.

Josefina Zuain