About
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 âperformance 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 âDrip 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 âform' in Performance: the case of Theodoros the Sculptor
Maxa Zoller, Lecturer in Moving Image Art, London
KwieKulik's Open Form Film âActivities 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 âThe 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, kirstie@henry-moore.ac.uk, at the Henry Moore Institute - seating is limited. For more information about the two venues visit www.henry-moore.ac.uk and www.tate.org.uk/liverpool.