For the Monument series she has developed across a decade and 10 works, the peripatetic Hungarian choreographer Eszter Salamon has been thinking less of dance than of landscape—built from “movement, bodies, objects, sound, and voice.” For her recent MONUMENT 0.10: The Living Monument, 14 members of Carte Blanche, Norway’s national contemporary dance troupe, remain still more often than they move, so that “slowness creates its own music.” The several sets of costumes count as the most dramatic shift in scene: from black metallic lace—at once pharaonic and futurist—to white garments bound to the body by gnarls of rope. In each case, ornamental headgear entirely obscures the face. Without a visage by which to identify them, the mounded, upended bodies swathed in these highly allusive garments do indeed become a monument—to association itself. —Apollinaire Scherr