Yasmeen Godder, CLIMAX, 2014, performance view, Petach Tikva Museum of Art, Petach Tikva, Israel.
The Hebrew title of this exhibition (“צעדים בוני אמון”) translates into English as “Confidence-Building Measures,” a term to which the world of international relations refers as CBMs. Developed during the Cold War, CBMs are strategies designed to increase trust between hostile parties through the establishment of common ground. A similar drive to reduce tension between warring factions-with others, with the environment, or within the self-is the basis for this ambitious show. Including thirteen artists and choreographers working from the early twentieth century to the present, “Set in Motion” surveys work that deals with the body as social agent and dance as social action.
The exhibition’s centerpiece is a new commission by Israeli choreographer Yasmeen Godder, CLIMAX, 2014. The three-hour tour-de-force-the only live performance in the exhibition-includes seven dancers enacting a tension-filled, stripped-down group tango that incorporates props from Godder’s previous performances. From this center, the exhibition expands figuratively and literally into other galleries, incorporating a wide, almost unwieldy range of leitmotifs from the metaphysical to the political.
A glimpse into the history of modern dance is provided through video documentation of German Expressionist dancer Mary Wigman, as well as a digital screening of Babette Mangolte‘s photographs of performances by Yvonne Rainer, Trisha Brown, and Steve Paxton. Homage takes a twist with Mike Kelley‘s Test Room Containing Multiple Stimuli Known to Elicit Curiosity and Manipulatory Responses, 1999, a videotaped dance based on primate psychological experiments choreographed in the manner ofMartha Graham. The convergence between amateur dance and popular culture is explored in Dan Graham‘s Rock My Religion, 1983-84 and Tracey Emin‘s Why I Never Became a Dancer, 1995, as well as in a brief excerpt from the first season of HBO’s Girls, in which Lena Dunham‘s character Hannah rocks out in her bedroom. Israeli artist Nevet Yitzhak‘s shrine-like installation explores the similarities between the traditional Ivory Coast dance Mapouka and today’s twerking trend, while Alona Harpaz films the continuation of Israeli folk dance tradition in Kfar Saba‘s sports arena. Actions in Israeli-Palestinian border zones are encapsulated in Arkadi Zaides‘s Capture Practice, 2014. Zaides isolates and reperforms actions filmed by Palestinians of Israeli soldiers in the Occupied Territories. By detaching these movements from their everyday exchanges, he reveals their inherent violence.