“While Bodies Get Mirrored – An Exhibition about Movement, Formalism and Space” was a group show at the Migros Museum in Zurich (2010) curated by Raphael Gygax and Heike Munder, in which I showed a series of dance photographs, projections of films and TOUCHING an interactive table display with digital prints of all sizes including contact sheets of dance and performance, which the visitor of the gallery could touch and reorganize at will. The two projections were of a slide show constructed as a “film” (described in page “films”) and a large screen projection of Trisha Brown dance Water Motor, filmed by me in 1978 that is now considered a classic. In addition an old TV set was playing a film collages from sounds and images collected in the 1970s in New York City, the historical period when the dance photographs and the movement described in the installation originated.
My installation questioned how photography of movement could be seen as a process affected by the proximity of other images of movement and how analytical tools like collage of film and sound clips and the ordering of images can contribute to an analysis of the movement represented.
While Bodies Get Mirrored – An Exhibition about Movement, Formalism and Space,
Migros Museum in Zurich – Photo installation including TOUCHING plus Collage II, 6 framed photographs, a slide show projection of dance photographs and Water Motor film shown as a loop in a gallery setting.
The Catalog for the show was titled Between Zones On the Representation of the Performative and the Notation of Movement edited by Raphael Gygax and Heike Munder ISBN 978-3-03764-125-5. The book included a text written by Kristina Kohler “Nothing Looks Like Live?” The Performative on the Boundary between Dance and Film in the Work of Maya Deren and Babette Mangolte page 307-326 and another text Movement, Motion, Velocity and Stillness in Filming Dance, written by Mangolte (page