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from Yvonne Rainer: Space, Body, Language (Kunsthaus, Bregenz; Museum Ludwig, Cologne)
Artists included: Yvonne Rainer, Natalie Bookchin, Gregg Bordowitz, Anne Teresa De Keersmaeker, Ralph Lemon, Simon Leung, Jimmy Robert, Meg Stuart Embodiment Abstracted: The Influence of Yvonne Rainer gathers together recent works by artists who take up Yvonne Rainer’s experimental approach to the body as a material in the 1960s and explore its political implications with fresh eyes. Rainer's dance in the 1960s showed us what was possible when ordinary movement was made the material of a work of art. These artists mobilize Rainer’s abstracted version of ordinary movement to create situations or tell stories in which the particular ways bodies perform tasks or give in to gravity, or simply the paths through space that their daily lives require, become as much or more significant than markers of cultural identity or difference. The juxtaposition of these varied practices allows the different valences of a broad-reaching conversation about one of contemporary art’s most important ancestors to be heard. Curated by Elise Archias
Yvonne Rainer's transition from choreography to filmmaking in the 1970s coincided with the widespread social and political impact of the women's movement. Through a close analysis of her second feature-length film, this essay argues that Film About a Woman Who … (1974) can be understood as a complex reflection on the widely influential feminist idea “the personal is the political.” Rather than seeing Rainer's turn to the personal and emotional as the antithesis of a materialist political analysis—as Marxist influenced critics have tended to—I draw upon Raymond Williams's concept of “structures of feeling” as a way of discerning emergent social change through figurations of lived experience. This analysis identifies moments of rupture in the film's narrative structure where questions of queerness and racial difference emerge to complicate the film's focus on (white, heterosexual) female identity. Moreover, Rainer's engagement with the emotional or personal has typically been seen as related only to her work's content and as such these references have been set in opposition to formal experimentation, whereas Williams's notion of the “structures of feeling” is addressed to transformations at the level of aesthetic form. By focusing on film form, this essay displaces the commonly held opposition of “structure” and “feeling” that continues to give shape to critical analyses of post—minimalist and post—conceptualist work of this period.
Brolga: an Australian journal about Dance
Homage and critique in contemporary dance; or a reverie on the lasting legacy of Yvonne Rainer's NO manifesto2010 •
1992 •
Valie Export and Peter Weibel collaborated in experimental films and performances. They problematized gender-related attitudes. The article presents works realized between 1968 and 1988 with a special focus on the multimedial performance "Stimmen aus dem Innenraum" (1988) and its anagrammaticism. In: Artefactum Nr.46/December 1992-February 1993, p.17-20.
Threading abstracted concepts of space--including filmic, montaged space--through the domestic spaces investigated in Semiotics of the Kitchen and Lives of Performers, the author rethinks the ways that spatialized concepts of interiority were reworked through the feminist, Brechtian politics of representation in the mid-1970s.
Exhibition Frida Kahlo, Retrospective, 30. 4.- 9. 8. 2010, Martin Gropius-Bau and Kunstforum Wien, 1.9- 5.12.2010.
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