Babette Mangolte: DANCE/ART/FILM
Los Angeles Filmforum presents
Babette Mangolte: DANCE/ART/FILM
Friday, March 15, 2019, 8:00pm
At the Echo Park Film Center, 1200 N Alvarado, Los Angeles 90026
Babette Mangolte in person!
Artist Babette Mangolte returns in person for a second night of films that further explore the range of her artistic output. Since the 1970s Mangolte has filmed and photographed dance and performance, in many cases producing documents that have become primary in the recollection and retelling of these works. She has recorded the choreographies of Trisha Brown, Yvonne Rainer, Steve Paxton, Simone Forti, Lucinda Childs, and others. With Chantal Akerman, Mangolte filmed Pina Bausch in One Day Pina Asked… (1984). Mangolte’s work captures the process and performance of dance, the dailiness of practice, and the rigor and poetry of the form.
Tonight, Mangolte presents two films on dance in which art is a central figure. Nancy Graves’s remarkable set appears in Lateral Pass, a choreography by Trisha Brown. Steve Paxton improvises in response to sculpture in Steve Paxton at Dia:Beacon. The remaining films in the program examine artists working in other mediums. Je, Nous, I or Eye, Usis an essay in which the photographer and her subjectivity is the subject. Here, Mangolte reexamines footage from her 1977 film The Camera: Je or La Camera: I. Edward Krasiński’s Studio is a portrait of a studio and the two artists who shared it, Henryk Staźewski and Edward Krasiński.
Curated by Kate Brown. Individual film notes by Babette Mangolte.
Tickets: $10 general; $6 for students/seniors; free for Filmforum members. Available in advance from Brown Paper Tickets at https://mangolte.bpt.me or at the door.
For more information: www.lafilmforum.org or 323-377-7238.
Babette Mangolte (American, born in France) is an internationally known experimental filmmaker and photographer who has lived in New York City since 1970. Her body of work includes films, photographs, installation, and writing. Mangolte’s photographic archive documents the experimental theater, dance, and performance scene of the 1970s and 1980s. In 2017, the Sternberg Press published a book of her writing on art and photography, Babette Mangolte Selected Writings, 1998-2015.
Among Mangolte’s recent film work, Seven Easy Pieces by Marina Abramović premiered at the Berlin Film Festival in 2007. Two films on the choreographies of Yvonne Rainer, AG Indexical, 2007, and RoS Indexical, were completed in 2008. Mangolte’s film of Trisha Brown’s choreography Roof Piece, performed on the Highline in 2011, was completed in 2012. In the same year, she finished Patricia Patterson Paintings using material shot in 1988 and 1991. Edward Krasiński’s Studio premiered at the Berlin Film Festival in 2013. In 2014, Mangolte made the short films Steve Paxton at Dia:Beacon and Je, Nous, I or Eye, Us. She is currently editing a new feature shot in Brussels in April 2015.
Working with photographs, films, and text in installation, Mangolte creates architectural spaces that propose various modes of interactivity for the spectator. Recent installations include: Presence (Berlin Biennale, 2008), Rushes (Cologne, 2009) and How to look… 2010 (Whitney Biennial, 2010). In 2013 she exhibited: Éloge du Vert, an installation about the color green at VOX, in Montreal; TOUCHING III, an installation on photography and the viewer, at Inhotim in Belo Horizonte, Brazil; and finally, an installation at the Whitney Museum of American Art in New York for Rituals of Rented Island: Object Theater, Loft Performance, and the New Psychodrama–Manhattan, 1970-1980, a performance show curated by Jay Sanders.
In addition to her own extensive body of work, Mangolte is lauded for her contribution as cinematographer on films by Chantal Akerman (The Room, 1972; Hotel Monterey, 1972; Jeanne Dielman, 23, quai du Commerce, 1080, Bruxelles, 1975; News From Home, 1977; Un Jour Pina a demandé, 1984), Yvonne Rainer (Lives of Performers, 1971; Film About a Woman Who, 1973), Jean-Pierre Gorin (Routine Pleasures, 1986; My Crazy Life, 1991), Michael Snow (Rameau’s Nephew, 1973), and others.
Los Angeles Filmforum screenings are supported by the Academy of Motion Picture Arts and Sciences, the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission and the Department of Cultural Affairs, City of Los Angeles. We also depend on our members, ticket buyers, and individual donors.
Los Angeles Filmforum is the city’s longest-running organization dedicated to weekly screenings of experimental film, documentaries, video art, and experimental animation. 2019 is our 44th year.
Staging Lateral Pass
2013, digital, color, sound, 31 minutes
Choreography by Trisha Brown, Set and Costume by Nancy Graves, Music by Peter Zummo
Dancers: Trisha Brown, Lance Gries, Iréne Hultman, Carolyn Lucas, Diane Madden, Stephen Petronio, Lisa Schmidt, Vicky Shick, Randy Warshaw
Shot at the Walker Art Center, August 14 – September 2, 1985
Exhibited at Museum Ludwig, Aachen, Germany for the retrospective Nancy Graves Project, 2014
The film chronicles the work of choreographer and dancers on the stage in Minneapolis preceding the premiere of Trisha Brown’s Lateral Pass in 1985. Involving a complex set and colorful costumes by Nancy Graves, choreography by Trisha Brown, and improvised music by Peter Zummo, the film follows the dynamic between dancers, choreographer and the stage apparatus.
Steve Paxton at Dia:Beacon
2014, digital, color, sound, 8 minutes
Steve Paxton improvises his reactions to works by Robert Irwin, Fred Sandback, Richard Serra, Carl Andre, Dan Flavin and John Chamberlain exhibited at DIA:BEACON. Music inspired by David Tudor. Music quotation by Max Neuhaus. Sound recording by Julie Martin. Direction of production by Kelly Kivland. Shot September 23 and 24, 2014.
Je, Nous, I or Eye, Us
2014, 16mm transferred to digital, color, sound, 7 minutes
Je, Nous, I or Eye, Us is a mini essay that responds to a question posed in the 1970s while I was making my film The Camera Je, La Camera: I. The new film uses footage that was shot at the time of The Camera: Je but never used, and adds a series of titles about a photographer’s subjectivity then and now. The film was made for a curatorial project of Jacob Korczynski initiated by “If I can’t dance… I do not want to be part of your revolution” from Amsterdam and shepherded by Tanja Baudoin. Special Thanks for technical help to Lev Kalman.
Edward Krasiński’s Studio
2012, digital, color, sound, 30 minutes
This 30-minute film evokes a day in the life of Polish artist Edward Krasiński. In the 1960s Krasiński was invited by the Constructivist abstract painter Henryk Stażewski to share his studio in Warsaw. After Stanewski’s death, Krasiński crated in situ the minute objects that became both a shrine to his friend and a homage to his own installation work. Shot in Warsaw, Poland in 2011.