Filmmaker and choreographer Yvonne Rainer is being celebrated with a retrospective of her work at the ICA in London. Rainer, who is best known for her experimental and boundary-pushing films, began her career as a choreographer in the 1960s, pioneering the deconstruction of modern dance. In her manifesto “No Manifesto,” published in 1965, she rejected the conventions of modern dance and prioritized the ordinary over narrative structure and emotional projection. However, Rainer later disavowed the manifesto, stating that it was never meant to govern her decisions.
Feeling that dance alone couldn’t fully express what she wanted to communicate, Rainer turned to filmmaking and created more than a dozen unconventional films over three decades. Rainer’s films were characterized by their ruptures, strange juxtapositions, and dissonant soundtracks. They explored themes of identity, memory, emotion, and politics, often incorporating elements of melodrama, documentary, and personal memoir. Her final feature film, “Murder and Murder” (1996), delved into a midlife lesbian love affair and its complexities.
Rainer’s rebellious streak and inclination towards disruption can be traced back to her childhood in San Francisco, where she grew up with politically radical parents. She sought to separate herself from their conservative expectations and found her artistic voice through her relationship with abstract expressionist painter Al Held. Moving to New York, Rainer immersed herself in the art scene, tried acting (unsuccessfully), and eventually turned to dance.
In the early 1960s, Rainer helped found the Judson Dance Theater, an experimental collective that rejected convention and embraced the movements of the mundane and everyday. This desire to deconstruct the ordinary informed Rainer’s filmmaking style as well. Her films became more personal and political and continued to challenge the medium with overlapping storylines and fragmented narratives.
However, Rainer’s films became increasingly difficult to finance, leading her to return to choreography. She recently staged a composition titled “Hellzapoppin’: What About the Bees?” which explored racism in the US using movement based on a 1941 musical comedy.
As Rainer approaches 90, she remains focused on the future, including the possibility of revisiting her most famous solo work, Trio A. She reflects on her past work with a matter-of-fact attitude, stating that she doesn’t prescribe meaning to her work or seek fame. The retrospective of Rainer’s work at the ICA will run until August 27, with Rainer herself appearing for a Q&A on August 17.