24 May 2014

      A Point in the Making

      Babette Mangolte, Fleur van Muiswinkel, and Jacob Korczynski
      Het Veem Theater, Amsterdam
    2. Bookings via Het Veem Theater.

      1. Babette Mangolte, still from 'Rooftop Piece', 1973
      2. Babette Mangolte, stills from 'Roof Piece on The High Line', 2012
    3. The last day of A Point in the Making - Three Days with Babette Mangolte offers in-depth conversations with Babette Mangolte and curators Fleur van Muiswinkel and Jacob Korczynski, paired with selected screenings. The first session with van Muiswinkel looks into the documentation of performance in Mangolte's work. The second session with Korczynski focuses on the feminist aesthetics in the work of Mangolte and two of her contemporaries.

      The afternoon session with Jacob Korczynski takes place in the framework of If I Can't Dance's Performance in Residence programme. Korczynski is investigating the relationship between the subjective role of the camera in Mangolte’s film The Camera: Je or La Camera: I (1977) and the contemporaneous exploration of interrogation of text and image in Lucy Lippard’s novel I See/You Mean (1979).

      11am - 1pm
      The morning programme starts with the double screening of Babette Mangolte's registration of Trisha Browns Rooftop Piece (1973) and Roof Piece on The High Line (2012). These films, made ​​at an interval of forty years, form the basis for a discussion on the relationship between performance and documentation led by Fleur van Muiswinkel. The talk will focus on registration as part of, or in addition to, the creative process of art making, and the relation between filmmaker and artist.

      In Rooftop Piece Trisha Brown's dancers are positioned across the rooftops of Manhattan, away from the crowd. The spectators are constantly encouraged to shift their focus to other points in the scenography of roofs, chimneys and water towers. In 2012, Brown resumed the choreography on the High Line in New York. Here, the 1.5 km of the narrow High Line pathway forces the camera to keep moving in order to register every dancer positioned at different points in the urban landscape.

      Film screenings:
      Babette Mangolte, Rooftop Piece (1973), HD 3-channel, 31min
      Babette Mangolte, Roofpiece on the High Line (2012), HD video, 35min

      1pm - 2pm
      Lunch break

      2pm - 4.30pm
      In the afternoon you are invited to join Babette Mangolte and Jacob Korczynski as they come together in conversation to further articulate the questions around Korczynski's ongoing research within If I Can't Dance's Performance in Residence programme on the narrative potential of image making.

      Their discussion will be anchored by two of Mangolte's short films that that were produced in the years immediately before and after The Camera: Je or La Camera: I: (NOW) or Maintenant entre parentheses (1976) and There? Where? (1979). These two films serve to underline the two-part structure of The Camera: Je or La Camera:I, a contrast between the choreography of performers in a studio and movement through a manufactured landscape. These two films by Mangolte will be screened in dialogue with two contemporaneous works that Korczynski has identified as engaging with the stasis of the still image and the temporality of the spoken word: Ellie Epp's Trapline (1976) and Martha Haslanger's Frames and Cages and Speeches (1976-1977).

      Film screenings:
      Babette Mangolte, (NOW) or Maintenant entre parentheses (1976), 16mm, 10min

      Ellie Epp, Trapline (1976),16mm, 18min

      Babette Mangolte, There? Where? (1979), 16mm, 10min
      Martha Haslanger, Frames and Cages and Speeches (1976-1977), 16mm, 13min

      If I Can't Dance,
      I Don't Want to Be Part of
      Your Revolution