Countering the Disadvantage: Stasis as an Emancipatory Minimalist Legacy in Chantal Akerman's Cinema

Abstract

This article examines stasis in Chantal Akerman's cinema by means of a genealogical study into its minimalist origins in order to make visible its political operationality in her work and, by extension, its inherent political potential. Stasis is an aesthetic effect generated through the use of repetition, seriality, and duration in temporal media that proliferated in Minimalism across artforms and was taken up by Akerman during her séjour in New York in the early 1970s. The characteristic endless temporality created by stasis in temporal media takes shape in Minimalism due in part to the movement's literalist, phenomenological orientation, which at one point caused Minimalist art to be regarded as nonideological – this while the static quality in Akerman's work appears to be constitutive of its political character. A study of her early films Hotel Monterey (1972) and Je tu il elle (1974), clearly influenced by the Minimalist scene she was immersed in, illustrates how stasis emerges analogously in Minimalist music, dance, and Akerman's cinema. Minimalism's paradigmatically phenomenological orientation and its intricate entwinement with stasis are examined in relation to Akerman's work to reveal their inherent potential for political operationality in art.