This one-day conference coincides with the Henry Moore Institute exhibitions Dennis Oppenheim: Thought Collision Factories, Jean Tinguely: Spiral and Stephen Cripps: Pyrotechnic Sculptor. All three sculptors extended the boundaries of sculpture not only by employing purpose-built mechanised objects and kinetic contraptions, but also through pyrotechnics. Each turned to fireworks, explosives, flares, fires and other kinds of combustibles and detonations to make temporary sculptural works, the sparks of which shone brightly across the landscape of contemporary sculpture in Europe and North America during the 1960s, 1970s and 1980s.
Fire, flare and smoke were all harnessed for visual, sonic, material and spatial effects, in fascinating, ambitious and imaginative ways, with associations and meanings that extend well beyond their more literal ‘dematerialising’ qualities. This conference will consider examples of pyrotechnic sculpture found across the modern and contemporary period, through original research on the deployment of kinetic sculptural form and use of activated assemblage, accounts of temporality and ephemerality, the conjunction of object and event, modes of staging, display and re-display, and the on going life of this work today.
10.30am
Reception – Registration
10.45am-1pm
Seminar Room
Welcome
Katinka Seeger (Christian-Albrechts-University of Kiel)
‘Explosion as an Artistic Tool’
Marin Sullivan (University of Leeds)
‘Purging by Fire: Alberto Burri, Arte Povera, and Postwar Italian Art’
Claire Louise Staunton (Flat Time House)
‘The Act of Burning, Exploding and Destruction in John Latham’s Sculptural Work’
1pm-2pm
Boardroom – Lunch
2pm-4.15pm
Seminar Room
Mari Dumett (The Fashion Institute of Technology, NYC)
‘The Volatile Matter of Jean Tinguley’s ‘Homage to New York”
Rozemin Keshvani (Independent Writer/Curator)
‘Five Artists – The use of Explosives and Gun Powder to produce Transient Installation and Sculptural Works’
Ursula Ströbele (College of Fine Arts, Berlin)
‘Sculpture as Performance? Pyrotechnics in the work of Anish Kapoor, Roman Signer, Cyprien Gaillard, Andreas Greiner and Armin Keplinger’
4.15pm-5pm
Boardroom – Tea/coffee
5pm-6pm
Seminar Room
Artist Michael Landy in conversation with Richard Calvocoressi
Tickets £10/£5 concessions.
Bookings can also be made via our website: http://www.henry-moore.org/hmi/events/pyrotechnic-sculpture/book-a-place-at-this-conference
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Showing posts with label Henry Moore Institute. Show all posts
Showing posts with label Henry Moore Institute. Show all posts
5 Nov 2013
29 Oct 2013
'Imaginary Exhibitions' conference at the Henry Moore Institute 6-7 November 2013
***Only £5 for students*** Book HERE
This two day conference explores imaginary exhibition projects, ranging from the utopian to the tentative, the immaterial to the highly materialised, through to those hampered by logistics or inscribed with impossibility from their inception.
This is a development of the Institute’s on-going research into 'Sculpture and its Exhibition Histories'. Through this project we address how developments in sculpture have impacted upon the spaces of exhibition, how the material conditions of the display of sculpture have played increasingly important roles in the meaning and making of sculpture as an art form, how the modes of presenting sculpture have shifted and how curatorial practice has impacted on the understanding of sculpture, and vice versa.
This conference seeks to look beyond formal records and more familiar images of sculpture and exhibitions by looking at the place of the 'imaginary exhibition' within this narrative. The motives and scales of such projects vary and instances of these 'imaginary exhibitions' are to be found internationally, across the modern and contemporary period. This turn to the ephemeral, invisible and ill-fated will draw out the eccentric and idiosyncratic in the shadows of art history, as opposed to the more usual highly-polished exhibition surface.
Wednesday 6 November
11.30-1: Session 1: The Imaginary Spaces of 1930s sculpture
Chair: Jon Wood (Henry Moore Institute)
Annabelle Goergen-Lammers (Hamburger Kunsthalle)
‘Alberto Giacometti: Progetti Per Cose Grandi Nel Aperto’
Sophie Martin (University of Bristol)
‘‘Constructing Space’: Transcribing sculpture in Circle; International Survey of Constructive Art (1937)’
1-2: Lunch in boardroom
2-3.30: Session 2: Sculpture’s Staging and Scenography
Chair: Lisa Le Feuvre (Henry Moore Institute)
Paola Nicolin (Luigi Bocconi University)
‘The ‘Me’ You Will Never See: Maurizio Cattelan Backstage Exhibition at Guggenheim New York’
John C. Welchman (University of California, San Diego)
‘Rigging: The Imaginary as Studio-Production in the work of Paul McCarthy’
3.30-4.15: Tea in boardroom
4.15-5.45: Session 3: Exhibitions without sculptures
Chair: John C. Welchman (University of California, San Diego)
Filipa Ramos (Independent Curator)
‘I Would Prefer Not To – A Taxonomy of Artists Without Works’
Jeremy Millar (Artist/Royal College of Art)
‘Sculpture of the Space Age’
5.45-7: Wine reception and publication launches: Sculpture and the Vitrine and My Life by Anton Lesseman, with John Welchman and Paul Becker, respectively
Thursday 7 November
9.30-11: Session 4: Unrealised and invisible exhibitions
Chair: Rebecca Wade (HMF Post-Doctoral Fellow, Henry Moore Institute)
Tania Doropoulos (Royal College of Art)
‘The 1959 Situationist International Dynamic Labyrinth at the Stedelik Museum’
Dawna Schuld (Indiana University)
‘Nothing to Show for It: Art and Technology in the age of de-materialization’
11-11.30: Coffee break
11.30-1: Session 4: Invisible and unrealised exhibitions
Chair: Lisa Le Feuvre (Henry Moore Institute)
Birgit Eusterschulte (Freie Universität)
‘From a Measured Volume to Indefinite Expansion: Robert Barry’s Presentation of Inert Gas Series in California’
Penelope Curtis (Tate Britain)
On not exhibiting Robert Morris’ work
Lunch 1-2pm
2-3.30: Session 5: Photographic and digital imaginary exhibitions
Chair: Uta Kogelsberger (Newcastle University)
Magdalena Wroblewska (Kunsthistorisches Institut in Florenz, Max-Planck-Institut)
‘‘Le muse imaginaire’: between material object and its virtual representation’
Angela Bartholomew (Vrije Universiteit)
‘Marble Public and the Agency of Media(tion)’
3.30: End of conference
This two day conference explores imaginary exhibition projects, ranging from the utopian to the tentative, the immaterial to the highly materialised, through to those hampered by logistics or inscribed with impossibility from their inception.
This is a development of the Institute’s on-going research into 'Sculpture and its Exhibition Histories'. Through this project we address how developments in sculpture have impacted upon the spaces of exhibition, how the material conditions of the display of sculpture have played increasingly important roles in the meaning and making of sculpture as an art form, how the modes of presenting sculpture have shifted and how curatorial practice has impacted on the understanding of sculpture, and vice versa.
This conference seeks to look beyond formal records and more familiar images of sculpture and exhibitions by looking at the place of the 'imaginary exhibition' within this narrative. The motives and scales of such projects vary and instances of these 'imaginary exhibitions' are to be found internationally, across the modern and contemporary period. This turn to the ephemeral, invisible and ill-fated will draw out the eccentric and idiosyncratic in the shadows of art history, as opposed to the more usual highly-polished exhibition surface.
Wednesday 6 November
11.30-1: Session 1: The Imaginary Spaces of 1930s sculpture
Chair: Jon Wood (Henry Moore Institute)
Annabelle Goergen-Lammers (Hamburger Kunsthalle)
‘Alberto Giacometti: Progetti Per Cose Grandi Nel Aperto’
Sophie Martin (University of Bristol)
‘‘Constructing Space’: Transcribing sculpture in Circle; International Survey of Constructive Art (1937)’
1-2: Lunch in boardroom
2-3.30: Session 2: Sculpture’s Staging and Scenography
Chair: Lisa Le Feuvre (Henry Moore Institute)
Paola Nicolin (Luigi Bocconi University)
‘The ‘Me’ You Will Never See: Maurizio Cattelan Backstage Exhibition at Guggenheim New York’
John C. Welchman (University of California, San Diego)
‘Rigging: The Imaginary as Studio-Production in the work of Paul McCarthy’
3.30-4.15: Tea in boardroom
4.15-5.45: Session 3: Exhibitions without sculptures
Chair: John C. Welchman (University of California, San Diego)
Filipa Ramos (Independent Curator)
‘I Would Prefer Not To – A Taxonomy of Artists Without Works’
Jeremy Millar (Artist/Royal College of Art)
‘Sculpture of the Space Age’
5.45-7: Wine reception and publication launches: Sculpture and the Vitrine and My Life by Anton Lesseman, with John Welchman and Paul Becker, respectively
Thursday 7 November
9.30-11: Session 4: Unrealised and invisible exhibitions
Chair: Rebecca Wade (HMF Post-Doctoral Fellow, Henry Moore Institute)
Tania Doropoulos (Royal College of Art)
‘The 1959 Situationist International Dynamic Labyrinth at the Stedelik Museum’
Dawna Schuld (Indiana University)
‘Nothing to Show for It: Art and Technology in the age of de-materialization’
11-11.30: Coffee break
11.30-1: Session 4: Invisible and unrealised exhibitions
Chair: Lisa Le Feuvre (Henry Moore Institute)
Birgit Eusterschulte (Freie Universität)
‘From a Measured Volume to Indefinite Expansion: Robert Barry’s Presentation of Inert Gas Series in California’
Penelope Curtis (Tate Britain)
On not exhibiting Robert Morris’ work
Lunch 1-2pm
2-3.30: Session 5: Photographic and digital imaginary exhibitions
Chair: Uta Kogelsberger (Newcastle University)
Magdalena Wroblewska (Kunsthistorisches Institut in Florenz, Max-Planck-Institut)
‘‘Le muse imaginaire’: between material object and its virtual representation’
Angela Bartholomew (Vrije Universiteit)
‘Marble Public and the Agency of Media(tion)’
3.30: End of conference
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