WHAT MAISIE KNEW
(1975)
 
(NOW) or MAINTENANT ENTRE PARENTHESES
(1976)
 
THE CAMERA : JE or LA CAMERA : I
(1977)
 
WATER MOTOR
(1978)
 
THERE? WHERE?
(1979)
 
THE COLD EYE (My Darling, Be Careful)
(1980)
 
THE SKY ON LOCATION
(1982)
 
VISIBLE CITIES
(1991)
 
FOUR PIECES BY MORRIS
(1993)
 
LES MODELES DE PICKPOCKET
(2003)
 
Seven Easy Pieces
by MARINA ABRAMOVIĆ
(2007)
 
Yvonne Rainer Ag indexical
(2007)
 
YVONNE RAINER RoS INDEXICAL
(2008)
 
Slide Show
(2010)
 
ROOF PIECE ON THE HIGH LINE
(2012)
 
PATRICIA PATTERSON PAINTINGS
(2012)
 
EDWARD KRASIƃSKI’S STUDIO
(2012)
 
 
 
 
 
 
 
 
 
 
  FOUR PIECES BY MORRIS, 1993, 16mm 94 min. Color
   
 

Choreography by Robert Morris - Film By Babette Mangolte

With: Site: Andrew Ludke, Sarah Tomlinson (Original Cast 1964 Robert Morris, Carolee Schneeman) – Arizona: Andrew Ludke (Original Cast 1963 Robert Morris) –
21:3: Speaker Michael Stella Voice Robert Morris (Original Cast 1963 Robert Morris) – Waterman Switch: Pamela Weese, Susan Blankensop, Michele Pogliani (Original Cast 1965 Lucinda Child, Yvonne Rainer, Robert Morris)

The film is a reconstitution of the seminal performance work done in the early Sixties by the sculptor Robert Morris. The filmmaker’s problematic was to create a film which, in the Nineties, can give a sense of the aesthetics of another generation without debasing it by transforming it. In particular the modernism concerns of the Sixties performance artists and dancers were centered on casual gestures and duration. Several of those preoccupation’s have been integrated in today’s dance vocabulary (like casual movement and untrained bodies), but some remain elusive, like the concept of theatrical time, which at the time was totally renewed in the performance work of the period due to John Cage’s enormous influence. Film is the medium of duration, but what we call duration is historically determined. Film spectatorship expectations greatly change in different generations. My biggest question was how to represent the sense of time of another generation. I gambled that if I could create a sense of heightened presence of the performer on screen by restructuring the sound space of the image, I could use the distended time-duration of the Sixties to my advantage and emphasize the importance of the performer’s body. The film premises rest on maintaining the concept of art as displacement / art as a frame which I thought was at the center of the impact of the performances at the time when their making revolutionizes the new dance in the New York art scene of the early Sixties. - BM 1994

Permanent Collection:
Guggenheim Museum, New York

Major Festival and shows:
Anthology Film Archives, New York City, New York, 1994
Guggenheim Museum, New York, 1994
The National Gallery, Washington, DC, 1994
Centre Georges Pompidou, Paris, France, 1995

   
  Movieclips:
   
 
Site Arizona 21.3 Waterman Switch Waterman Switch (revisited)
   
  Images:
   
 
 
© 2014 Babette Mangolte (All Rights Of Reproduction Reserved)