The analysis of the relationship between dance and art since the Renaissance shows that it is not a relationship but rather an instrumentalization of one over the other. The paradox is that dance and visual arts are simultaneously completely independent of each other while also being part of a fruitful relationship. This explains why the connection between Cunningham and Rauschenberg appears more evident than that between Picasso and Massine or Nijinsky and Roerich with the Russian ballets. With the younger generation of choreographers active since the late 1990s, there has been a significant evolution on this theme. However, the relationship is still not developing on the same level. So how can we invent complete relationships between dance and the plastic arts? The project by Philippe Verrièle and Laurent Pailler is a response to this question.
