The focus of this study is on the question of how the painting body directly inscribed itself into abstract paintings of the 1950s. Did this approach, from 1952 to 1959, lead to the emergence of a similarly conceived idea of painting in various places? Going beyond an analysis of the networks surrounding G飆z, Shiraga, Pollock, and Mathieu, the study establishes for the first time a constructive intersection: The confrontation of painting processes with a history of choreography. This approach makes the circulation of embodied concepts across linguistic boundaries tangible. The publication subjects the "universal language of abstraction," notions of innovation, and norms of masculinity to a critical revision and contributes to studies on the performativity of the image.
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