The relation of dance and the archive, of how to “capture” or “keep” this time- and body-based art form, has been a well-researched subject lately. However, the very material conditions at hand when dance enters the archive (or not) and how it is that embodied knowledge meets with the regimes of paper, drawers, and archival tectonics are yet an open terrain. Added to this are the chances and intricacies that come with the digitisation of the art form’s remains.
The series Moving (in) the Archive reflects and rethinks prominent discourses and scrutinizes them, against the grain. What happens when dance moves into the archive? Which dance forms are invited into it, and which ones tend to be “forgotten”? How would dance (still be able to) move, after the “event” is “gone"? And how is it that dance moves the conventional set-up of archival logic within the institution, made of shelfs, cardboard boxes, audiovisual preservation formats?