Guy Sherwin – Man with Mirror

Joan Jonas, Glass Puzzle

‘Site’, a performance by Robert Morris with Carolee Schneemann 1964.

Pina Bausch

Pina Film, Directed by Wim Wenders

Wim Wenders on Pina: ‘Pina had gone deep into research of the human soul’ – video

Wim Wenders speaks about Pina Film

“No, there was no hurricane sweeping over the stage. It was just…people. People moving in a completely new way, one that moved me in a way that I had never been moved before. After just a few moments I had a lump in my throat, and after a few wonderful minutes I lost control of my emotions and cried uncontrollably. This had never happened to me before. In life, perhaps, or sometimes at the cinema, but never when I had been watching something rehearsed and certainly not when I had been watching something choreographed. This was not theatre or pantomime or ballet, and absolutely not opera. As you know, Pina has created a completely new form of art: dance theatre.”
Wim Wenders

Pina Bausch clip dance guide, The Guardian

‘She made you feel thrilled to be human’: Fiona Shaw on Pina Bausch, The Guardian

‘In her setting of Rite she returns Stravinksy’s music to its most primitive logic by covering the stage in thick dark earth and by choreographing on a huge scale. Some 32 dancers confront each other in thudding convulsive groups, ranked across a sexual divide. As they unite in great wheeling circles then scatter into a collective frenzy of coupling Bausch makes it appear as though they are galvanised by some savage, biological imperative. As they run and fall, dirt smears their sweaty bodies. By the time the chosen maiden (Ruth Amarante) is led towards her sacrificial solo she seems to be only thing standing against her tribe and their absolute terror of extinction. Her dread and her ecstasy leave us shaking.’ Pina Bausch Wuppertal Tanztheater, The Guardian

Ursula Mayer 

The silent film Memories of Mirrors / Theatrical personalities after Mary Wigman and Madame d’Ora (2007/08) stages reenactments of well-known photographs that Madame d’Ora took of Mary Wigman’s Dance Company in the 1920s. These images are visual representations of Wigman’s philosophy; the dancer/choreographer developed her own style of modern dance that broke away from its subordination to music and was characterized by dramatic, expressive gestures. Madame d’Ora (born Dora Kallmus) discovered dance as a subject early in her photographic career and found innovative approaches to representing scenic arrange-ments and minimalist poses. The central female figure in Ursula Mayer’s film wears a se-quined dress that, with her movements and the play of light and shadow, becomes a shimmer-ing, iridescent gown. As the choreography unfolds, her initial self-reflection in a mirror is shifted to the audience, which itself becomes part of the tableau vivant as the mirror reflects the light and short-circuits the space between the dancers, the camera, the projector and the spectators.

Yvonne Rainer

Pedestrian movement. Interesting interview with Rainer

Artists Collectives

Art Club 2000

Art club 2000 Art club 2000 a

Art Club 2000 and Bruce High Quality Foundation, Frieze Article

ICA – Bernadette Corporation

Bernadette Corporation

Reena Spaulings Fine Art Gallery (run by John Kelsey of The Bernadette Corporation and a partner) ‘is a clockwork definition of critical intervention: a real business but only radical subversion gets a look in. It is named after a fictional art curator who stars in the novel Renna Spaulings, issued by Bernadette Corporation in 2004. The meaning of this multiauthored anonymous work is that culture is produced not by authors but by a time and place. It is clear how this long-lasting group has become a model to emulate.’ Art Review Article

South London GalleryModern Draperies

Stephen Kaltenbach – Modern Drapery


Philomene Pirecki – Performance at SLG draping canvas over frame with projection

Philomene Pirecki – Supplement Gallery

philomene-pirecki-EquivalenceCopper supplement_philomene_pirecki_installWhiteWallStudio

Lucy Reynolds is on a panel discussion on Sunday 6 October exploring ‘Art or Film?’ with Fiona Curran (lecturer at Kingston University)

The Cabinet of Living Cinema is a meeting of artists dedicated to creating “living cinema” experiences through live performance.

Marina Abramovic talks about being a performance artist:

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Ana Mendieta Hayward Gallery

tree of life

Doubles, mirrors, reflections
Josiah McElheny

A Short History of the Glass Mirror

Andrea Rosen Gallery

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Rauschenberg – Minutiae, 1954



Nam June Paik 

‘Transmitted Live’ at Talbot Rice Gallery 

‘Paik was ingenious at orchestrating what appears contradictory, what stands at opposite ends, believing that discovery has less to do with new things and more to do with new relationships between things that already exist: between the visual and the auditory, between the traditional and the modern and between the human and technological.’


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