Tag Archives: Chantal Akerman

CHANTAL AKERMAN — MY MOTHER LAUGHS

A new English-language translation of MY MOTHER LAUGHSChantal Akerman’s final book—is out now from The Song Cave.

“She’s constantly saying the same thing over and over again and when I say to her you already told me that, she gets mad.

I don’t have the right to speak here anymore, I’m stopped immediately.

The next time she repeats herself I say nothing, but I sigh.

She catches it or not, I don’t know.

She says nothing and continues her taxi and airport story, about a wealthy woman who was in the hospital with cancer and a man who was in the hospital because he had fallen in his apartment at 48 years old, still in his prime. Now it will never be the same again. He was still walking and eating fine.

It rains, it rains. Yet it’s summer.” — Chantal Akerman, from My Mother Laughs, translated by Corina Copp.

Book cover image, with photograph of Chantal Akerman by Babette Mangolte, courtesy and © The Song Cave, 2019; Chantal AkermanNo Home Movie, 2015, video still, courtesy and © Icarus Films; Akerman with her mother, courtesy and © The Song Cave.

NINA MENKES

“QUEEN OF DIAMONDS is my very personal portrait of the United States: an over-enlarged, profit-motivated core surrounded by mute and arid alienation. The female protagonist is both deeply estranged and psychically powerful. Her loner position is the backside of centuries of Western Heroes: she stands in the center as watcher and victim of a system which is starting to crack.” — Nina Menkes

The UCLA Film and Television program Nina Menkes, Cinematic Sorceress features a double-bill of two of Menkes’ key works—both starring her sister Tinka Menkes—including the 4K restoration of QUEEN OF DIAMONDS (1991). The filmmaker will be on hand to discuss her work.

QUEEN OF DIAMONDS shares not only the formal sophistication and structural rigor of Barbara Loden’s Wanda (1970) and Chantal Akerman’s Jeanne Dielman (1975) but also their themes: female alienation and the ways that passivity, muteness, and a refusal to engage can serve as forms of resistance to patriarchal oppression. Ironically, these same themes helped to eclipse the three works—and many others like them—for too long.” — Sarah Resnick

QUEEN OF DIAMONDS and THE BLOODY CHILD

Saturday, June 15, at 7:30 pm.

Billy Wilder Theater, Hammer Museum

10899 Wilshire Boulevard, Los Angeles.

See Bérénice Reynaud on Menkes.

From top: Tinka Menkes in Queen of Diamonds (5); Tinka Menkes in The Bloody Child (2). Images courtesy and © Nina Menkes and Arbelos Films.

CHANTAL AKERMAN — HISTOIRES D’AMÉRIQUE

Chantal Akerman’s HISTOIRES D’AMÉRIQUES—FOOD, FAMILY AND PHILOSOPHY has been restored by the Royal Cinematheque of Belgium, and will screen once this week at MOMA.

Featuring Living Theatre founder Judith Malina, and Stranger in Paradise star Eszter Balint and her father Stephan, the film looks at Jewish history and identity on the Lower East Side.

HISTOIRES D’AMÉRIQUES—FOOD, FAMILY AND PHILOSOPHY

Tuesday, January 29, at 1:30 pm.

Museum of Modern Art

11 West 53rd Street, New York City.

From top: Chantal Akerman; scene from Histoires d’Amérique (1989).

SWINGERS

Works by Chantal Akerman, Marie Angeletti, Lutz Bacher, Barbara Kruger, Josephine Pryde, Heji Shin, and Akrim Zaatari are on view through mid-December in SWINGERS at Greene Naftali.

Angeletti’s visual essay “Noir Kei Ninomiya” is in the current print issue of PARIS LA.

SWINGERS

Through December 15.

Greene Naftali, 508 West 26th Street, 8th floor, New York City.

From top:

Barbara KrugerUntitled (Project for Dazed and Confused), detail, 1996.

Marie AngelettiNew York, October, 2018, 35 mm slides.

Heji ShinDick and Snake II, 2018. C-print.

Akram ZaatariHER + HIM, 2001-2012. Ratio: 16/9, color, sound, 33 minutes.

Images courtesy the artists and Greene Naftali.

SONIA WIEDER-ATHERTON’S CHANTAL

chantal_original

This week at Redcat, cellist Sonia Wieder-Atherton – the life partner of Chantal Akerman and a strong influence on the late filmmaker’s use of music in her work – will perform her tribute piece CHANTAL?, conceived by Wieder-Atherton and Renaud Bouchard-Gonzalez.

“I wanted to play along with her, her every move, her silences, her dancing at once burlesque and deadly serious, her anxiety as she is humming little tunes. Tracking her, surprising her, surprising myself at each step.” – Wieder-Atherton

CHANTAL? incorporates a screening of Akerman’s first film, the 13-minute SAUTE MA VILLE.

 

SONIA WIEDER-ATHERTON – CHANTAL?, Monday, April 23, at 8:30 pm.

REDCAT, Disney Hall, 631 West 2nd Street, downtown Los Angeles.

redcat.org/chantal

Above: Chantal Akerman.

Below: Sonia Wieder-Atherton.

Cellist-Sonia-Wieder-Atherton-tracked-down-liturgical-melodies-in-France-and-Israel