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Sculpture & Performance - Conference Henry Moore Institute in collaboration with Tate Liverpool 24-26 March 2010 This 3 day conference will explore the complex relationship between sculpture and performance over the last century and into the present. Much research has been carried out on performance and live art more generally in recent decades, but this conference intends to look at the subject through our understandings of sculpture today. It will explore why sculptors turn to performance and performers to sculpture - why one needs the other - and will look at how this relationship is often either a constructive or destructive one. We are familiar with the idea - much circulated in the 1960s - that live performance offered a critical rejection of sculpture, contesting the values of figurative representation and commemoration, but there is a much richer terrain of dialogue and exchange to be considered both before and after this influential decade. Indeed the expansion of what sculpture has come to mean today is partially indebted to the impact of ‘performance art’. This conference aims to reflect this, looking at the longer histories of their inter-connections. Wednesday 24 March, 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 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 Thursday 25 March, Henry Moore Institute 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 São 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 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 Friday 26 March, Tate Liverpool 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 The conference will include live artistic performances and a tour of Tate Liverpool’s current Performing Sculpture exhibition. 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 for this conference, please contact Kirstie Gregory, [log in to unmask], seating is limited. For more information please visit the Research section of the Henry Moore Institute website. Kirstie Gregory Research Programme Assistant Henry Moore Institute 74 The Headrow Leeds LS1 3AH 0113 246 7467 www.henry-moore.org