Departing from the questions: «What a body can do in the museum?» and «How it distributes and mediates different forms of knowledge within an institution of the experience economy?», the contribution shifts to what choreography can do in the museum. Choreographing relations as a mode of assembling and creating a public sphere seems one crucial element. The author examines three choreographic works under the aspects of the public monument, embodied heritage and the need to contextualize. She asks how the latter can be achieved beyond the logocentric use of language, which puts dance in the subordinated position of a silent art, and finishes with a claim for the institutions as sites of long-term practicing which could create specific conditions for dance and its needs beyond a merely product-oriented system.
