Conference: Sculpture & Performance - Henry Moore Institute & Tate Liverpool

24 Mar 2010 – 26 Mar 2010

Cost of entry

The cost for the full 3 day event will be £45, or £15 to attend a single day (concessions half-price).

Henry Moore Institute

Leeds, United Kingdom


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This three day conference will explore the complex relationship between sculpture and performance over the last century, acknowledging that what sculpture means today is partially indebted to the impact of so-called ‘performance art'. Speakers will focus on and expand upon the histories of inter-connections - constructive and destructive, divisive and codependent - and examine our expanded contemporary understandings of the two. The conference is international in scope and includes papers from artists, historians of art and performance and curators, as well as live performances, with the extension of dialogues through discussion. We are pleased to confirm the following speakers: Wednesday 24 March, Henry Moore Institute, Leeds, 2-7.30pm Then and Now: Sculpture & Performance in the US Chair: Jon Wood (Henry Moore Institute) John Welchman, University of California, San Diego Space and Time, Between: Fronts of Sculpture and Performance in the work of Paul McCarthy and Mike Kelley Malgorzata Lisiewicz, University of Gdansk Fathers' and Daughters' Acting Bodies: Tony Smith and Kiki Smith Object, Agency, and Relations Chair: Peter Gorschlüter (Tate Liverpool) Aura Satz, London Consortium Sculptural Fits Pil and Galia Kollectiv, University of Kent Can Objects Perform?: Agency and Thingliness in Contemporary Sculpture and Installation Bertrand Clavez, University of Lyon Ben Patterson's ‘Drip Music': Notes on an assemblage sculpture Followed by a performance by Florian Kaplick Thursday 25 March, Henry Moore Institute, Leeds, 9.30am-7pm Actions and interventions: the Politics of Public Sculpture and Performance Chairs: Alex Parigoris (University of Leeds) and Simon Lewandowski (University of Leeds) Irene Gerogianni, University of Thessaloniki Putting the ‘form' in Performance: the case of Theodoros the Sculptor Maxa Zoller, Lecturer in Moving Image Art, London KwieKulik's Open Form Film ‘Activities on Moses': Polish Expanded Cinema? Erin Aldana, University of California, San Diego The Urban Interventions of 3Nos3: artistic action against monumental public sculpture in Sà £o Paolo Dan Watt, Loughborough University Let the Artists Die like Dogs!: Performing Objects against the World's Museum Katalin T. Nagy, Eszterházy Károly College Public Sculpture and Performance in contemporary Hungary Sculpture, Dance, and Choreography Chairs: Penelope Curtis (Tate Britain) and John Welchman (University of California, San Diego) Monty Paret, University of Utah Oskar Schlemmer's Grotesque Body: Sculpture and Performance at the Bauhaus Gary Stevens, Slade School of Art Playing a Part Stephanie Rosenthal, Hayward Gallery, Southbank Centre Choreography and Installation: The Judson Dance Theatre and Contemporary Practices Jenn Joy, New York University Promiscuous Objects: Choreography as Sculptural Practice The day will include a performance by Michael Dean and the screening of a new film work by Krysten Cunningham, both former Henry Moore Institute Research Fellows. Friday 26 March, Tate Liverpool, 12-6.30pm The afternoon will commence with a tour of the Performing Sculpture exhibition with Peter Gorschlüter and others. Sculpture & Performance in Britain: 1960s to the present Chairs: Jon Wood (Henry Moore Institute) and Brian Catling (Ruskin School of Art) Heike Roms, Aberystwyth University Enquiring into the properties of sculpture: Tom Hudson's performance pedagogy in the 1960s Pierre Saurisse, Sotheby's Institute of Art Carving Space: Gilbert & George's ‘The Singing Sculpture' Hayley Newman, Chelsea School of Art The Performance Years (Sculpture) Mel Brimfield, Artist, London This is Performance Art: Performed Sculpture and Dance Please note days one and two of the conference are in Leeds at the Henry Moore Institute with the final session on the Friday being held at Tate Liverpool. The main galleries of the Henry Moore Institute will be closed to the public for two days to accommodate the conference. The cost for the full 3 day event will be £45, or £15 to attend a single day (concessions half-price). To book a place contact Kirstie Gregory,, at the Henry Moore Institute - seating is limited. For more information about the two venues visit and

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