2016–2017 Kunsthalle wien Exhibition
For the exhibition at Kunsthalle Wien Mangolte employs – in accordance to her central interest in the subjective camera – an experimental approach creating a three-dimensional score using time and space as a medium. The sequence of films and intermittent intervals of sound (either excerpts of works or voiceovers) plunged in darkness and projected on four separate screens take center-stage in the mise-en-scène of I = Eye allowing for a cinematic experience and choreography of perception. The score will be scripted to fit the exact opening hours of the institution producing an immersive choreography both of the works and their beholders as well as making a pronounced engagement with the format of an exhibition.
I = Eye will reflect on Mangolte’s own preoccupation with the perception of performance and investigations into medium-specificity, the transcription of the self on and off stage, inscribed by and for the camera. It will cover a wide range of works stemming from early cinematic and experimental films to her documentary photography of the theatre, dance, and performance of the New York scene in the 1970s with the addition of two remastered historical site-specific installations as well as recent projects.
There will be thirteen films on view as well as film stills from these films, which together will provide a broad insight into her experimental filmmaking practice. Mangolte’s films offer a visual experience that breaks with the gaze and thwarts the identification with the actors known from classical cinema. A key example for this practice is one of her earliest film, The Camera: Je or La Camera: I, which acts out the photographer’s point of view on the people she films and the city she lives in, New York. The film uses a subjective camera in order to provide an active sense of the relation between the person behind the camera and her subject, the photographer and the photographed.
The exhibition will also include the seminal photos of Trisha Brown’s 1973 Roof Piece as well as a number of diptychs made by combining different historical photographs that testify Mangolte’s interest in rethinking history and questioning time.
Babette Mangolte (US citizen, born in France 1941) discovered Cinema in 1960 with the Nouvelle Vague. In 1964 she became one of the first women accepted by “L‘École Nationale de la Photographie et de la Cinématographie” founded by Louis Lumière. Her interest in experimental work led her to visit the U.S. and the New York film scene in 1970 where she discovered dance, performance, and theater and got involved in the Soho art scene of the early 70s. Asked about the films which influenced her the most she emphasizes Dziga Vertov’s Man with a Movie Camera (1929) and Michael Snow’s Wavelength (1967): “The two films literally changed my life. The first one made me decide to become a cinematographer and the desire to see the second one made me travel to New York, which became my home and where I later made my films.”
Babette Mangolte was the cinematographer for Chantal Akerman’s Jeanne Dielman (1975) and News From Home (1976), as well as for Yvonne Rainer’s Lives of Performers (1972) and Film about a Woman who... (1973). On her collaboration with Chantal Akerman she once said: “Being feminists in the 70s didn’t mean that we were claiming: ‘We are women! We are here!’. We wanted to say that the perspective of a woman cannot be the one of a man. As women we wanted to write other kind of stories than the ones that the young men of our generation were interested in, like the Nouvelle Vague filmmakers who were reworking buddy movies and crime stories from the Hollywood era in Parisian setting.”
In 1975 Mangolte completed What Maisie Knew, her first film, which received the „Prix de la Lumiere“ at the Toulon Film Festival in 1975. Other important films by Babette Mangolte are amongst others: The Camera: Je or La Camera: I (1977), The Cold Eye (1980), The Sky on Location (1982), Visible Cities (1991) and Four Pieces by Morris (1993). One of her most recent film is Seven Easy Pieces (2007) which documents Marina Abramović’s re-enactment of seminal works from the 1970s at the Guggenheim Museum in New York.
Babette Mangolte is also a published essayist, having written texts that examine her photographer’s practice documenting performance, and in addition has published on changing technologies.
Another part of the exhibition will be devoted to Mangolte’s installations and photographs. In the installations, she invents new ways “of looking at what it means to look” using specific modalities of displaying her works.
At the Kunsthalle Wien she will present a new version of Touching consisting of photographs selected from her archive of historic photographs of theatre and performance. It is an interactive piece that invites the viewer to touch and restructure the prints on a table, to compare different sizes of the same photograph and look at it depicted on contact sheets.
A publication was released in conjunction with the exhibition.
It reflects on her practice as a photographer and filmmaker and her collaborative work with filmmakers, artists, dancers, and choreographers. She provides insights into the techniques and methods she created as well as her relationships with notable collaborators such as Marina Abramović, Chantal Akerman, Trisha Brown, and Yvonne Rainer.
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Kunsthalle Wien Prize 2018: Ting-Jung Chen & Hui Ye. Keep Me Close To You 2018–2019 EXHIBITION
Olaf Nicolai. There Is No Place Before Arrival 2018 EXHIBITION
Ieva Epnere. On water, wind and faces of stone 2018 EXHIBITION
Guy Mees. The Weather is Quiet, Cool, and Soft 2018 EXHIBITION
Kunsthalle Wien Prize 2017: Marlene Maier & Olena Newkryta: Everything a Hand Can't Take 2017–2018 EXHIBITION
Florian Hecker. Hallucination, Perspective, Synthesis 2017–2018 EXHIBITION
Publishing as an Artistic Toolbox: 1989-2017 2017–2018 EXHIBITION
Marlene Creates. To the Blast Hole Pond River 2017 EXHIBITION
Marcel Odenbach. Beweis zu nichts / Proof of Nothing 2017 EXHIBITION
Marcel Odenbach. Beweis zu nichts / Proof of Nothing 2018 PUBLICATION
Kunsthalle Wien Prize 2016: Margit Busch, Andrej Polukord 2016–2017 EXHIBITION
Kunsthalle Wien Prize 2016: Margit Busch. IF—THEN—ELSE. Welcome to Transciency 2016 PUBLICATION
Kunsthalle Wien Prize 2016: Andrej Polukord. The Sarcophagus 2016 PUBLICATION
Nathalie Du Pasquier. BIG OBJECTS NOT ALWAYS SILENT 2016 EXHIBITION
Wilfrid Almendra. Light Boiled Like Liquid Soap 2016 EXHIBITION
Wilfrid Almendra. Light Boiled like Liquid Soap 2019 PUBLICATION
Kunsthalle Wien Prize 2015: Karina Mendreczky, Anastasiya Yarovenko 2015–2016 Exhibition
Kunsthalle Wien Prize 2015: Karina Mendreczky 2016 PUBLICATION
Kunsthalle Wien Prize 2015: Anastasiya Yarovenko 2016 PUBLICATION
Charlemagne Palestine. GesammttkkunnsttMeshuggahhLaandtttt 2015 Exhibition
Charlemagne Palestine. GesammttkkunnsttMeshuggahhLaandttttt 2016 PUBLICATION
Individual Stories. Collecting as Portrait and Methodology 2015 Exhibition
Individual Stories. Collecting as Portrait and Methodology 2016 PUBLICATION
Pauline Boudry & Renate Lorenz. Future Light 2015 Exhibition
Function Follows Vision, Vision Follows Reality 2015 Exhibition
Flaka Haliti. Kosovo Pavilion for the 58th Biennial 2015 EXHIBITION
Pierre Bismuth. The Curator, the Lawyer and the Psychoanalyst 2015 Exhibition
Pierre Bismuth. Things I Remember I Have Done, But Don’t Remember Why I Did Them 2017 PUBLICATION
Tony Conrad. Two Degrees of Separation / Über zwei Ecken 2015 PUBLICATION
Gareth Long & Melton Barker. Kidnappers Foil 2014–2015 Exhibition
Kunsthalle Wien Prize 2014: Leander Schönweger. The Fog Disperses 2014 Exhibition
Leander Schönweger. Die Nebel lichten sich 2014 PUBLICATION
Hannah Rickards. Grey light. Left and right back, high up, two small windows 2014–2015 EXHIBITION
Isa Genzken. I’m Isa Genzken, The Only Female Fool 2014 Exhibition
Isa Genzken. I’m Isa Genzken, the Only Female Fool 2014 PUBLICATION
Jos de Gruyter & Harald Thys. Das Wunder des Lebens (The Miracle of Life) 2014 Exhibition
Zin Taylor. The Story of Stripes and Dots 2013–2014 EXHIBITION
Zin Taylor. Lichen Voices/Stripes and Dots 2013 PUBLICATION
WWTBD – What Would Thomas Bernhard Do Festival 2013 EVENT
Act I: Beautiful from Every Point of View 2009–2010 EXHIBITION
John Kormeling. Dutch Pavilion at the Shanghai World Expo 2010 2010 EXHIBITION
Liam Gillick. German Pavilion 53. Esposizione Internazionale d'Arte La Biennale di Venezia 2009 2009 EXHIBITION
Liam Gillick. How are you going to behave? A kitchen cat speaks 2009 PUBLICATION
William Hunt. Tempting Fate, Swimming Alone 2008 EXHIBITION
Liam Gillick. Three perspectives and a short scenario 2008 EXHIBITION
Isa Genzken. Deutscher Pavillon 52. Esposizione Internazionale d'Arte La Biennale di Venezia 2009 2007 EXHIBITION
Die Frage des Tages / The Question of the Day 2007 PUBLICATION
Michael Beutler. nicht innen sondern außen – nicht drinnen, sondern draußen 2004–2005 EXHIBITION
Ars Viva 03/04. Film: Jeanne Faust and Omar Fast 2004 EXHIBITION
Adorno: The Possibility of the Impossible (Vol. II) 2003 PUBLICATION
Adorno: The Possibility of the Impossible (Vol. I) 2003 PUBLICATION
Gerard Byrne. Books, Magazines, and Newspapers 2003 PUBLICATION
Alex Morrison. Giving the Story a Treatment 2005 PUBLICATION
Stephen Prina: An Evening of 19th- and 20th- Century 2003 EXHIBITION
Marcel Odenbach. Even If The Driver May Be Different, The Truck Still Remains The Same 2002 EXHIBITION
Husain / Richter / Jensen. Lavawoche – Krustenwoche 2001 EXHIBITION
Christa Näher. Das Malwerk und das Schöne 2000–2001 EXHIBITION
Tulipomania Dotcom: A Critique of the New Economy 2000 EVENT
Stephen Prina. To the People of the City of Frankfurt 2000 EXHIBITION
Jeroen de Rijke and Willem de Rooij. After the Hunt 2000 PUBLICATION
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Dorothea von Hantelmann. Der andere Schauplatz 1999 EVENT
Benutzeroberfläche Stadt. Performanzen für den Frankfurter Kunstverein 1999 EVENT