Babette Mangolte featured in “A different way to move. Minimalismes, New York, 1960 – 1980” at the Musée d’art contemporain de Nîmes, Carré d’Art, France

A different way to move. Minimalismes, New York, 1960-1980

Carré d’Art, Musée d’art contemporain de Nîmes

April 7th – September 17th, 2017

Curated by Marcella Lista, Chief Curator of New Media at the Musée National d’Art Moderne.


To celebrate the 40th anniversary of the Centre Pompidou, Broadway 1602 artist Babette Mangolte will be featured in the Musée d’art contemporain de Nîmes as part of a wide array of art centers, museums and exhibitions in France celebrating the rich tradition of minimalist practices in visual art, performance, dance and music from the sixties and seventies in New York. Minimalismes is an exhibition focused on the interplay between object and viewer, concept and perception. Featured artist Yvonne Rainer articulates the conceptual aim of the minimalist movement, and the central focus of the Minimalismes exhibition as a whole, in her statement: “We had to find a different way to move”. Artists of this milieu employed various techniques to challenge our ideas about time and space, object and subject, and the negotiation of bodies through movement, gesture, and image. Curated by Marcella Lista, and featuring the works of Donald Judd, Carl Andre, Trisha Brown, Richard Serra, Yvonne Rainer and Babette Mangolte, among others, the retrospective will showcase the subversive efforts of minimalist, post-modern, and post-minmalist practices at the time, while also highlighting their influence on the broader arts discourse and proceeding artistic movements following it.

Babette Mangolte’s work documents dancers and performance artists throughout various stages of performance. Her photographs and films stylistically capture and highlight the dramatic gestural impact of movement, in turn accentuating the signification of the choreographic development and staging within each work. From the onset of her career, Mangolte developed a skillful eye and flair for the cinematic and theatrical quality of performance, producing the experimental narrative film What Maisie Knew (1975), and the film The Camera: Je, La Camera: I (1977), and later collaborated with the likes of Trisha Brown for the seminal dance film Watermotor (1978), for which she developed and employs a masterful dramatization of filmic time. Her “anthological” documentary style was crucial to the performance movement of this time, at once highlighting, archiving and promoting the various practices and artists of this genre in various institutional contexts, while making considerable contributions to the documentary photographic and filmic styles as a whole. In the spirit of her collaborative practice and artistic contributions, her participation in Minimalismes will pay tribute to her vast array of talents and achievements.

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