Boris Charmatz, héâtreélévision, 2002. Performance view, Hayward Gallery, Southbank Centre, London, 2011.

WHEN HE WAS ASKED to lead the Centre Chorégraphique National de Rennes et de Bretagne in northern France in 2009, Boris Charmatz’s first move was to reject the institution’s name: Neither center, choreographic, or national seemed adequate. So he renamed it the Musée de la Danse, or, in its English rendering, the Dancing Museum. Charmatz has described this ongoing project, which has extended beyond the space in Rennes to become a conceptual frame for many aspects of his practice, as akin to wearing glasses with lenses that enable us to see dance happening everywhere. Dance is cast not so much as a facility of the body, but as a mode of perception. At a talk in London during the Hayward Gallery’s “Move: Choreographing You” exhibition in 2010, Charmatz described how such a museum might begin in the area where kids like to skateboard between the concrete pillars underneath the Southbank

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