Contemporary sculpture is populated by hybrid techno-bodies. But such connections between technology and the body reach far back into modernity. The symposium explores these lines of reference: How can sculpture be thought of and defined in relation to technological developments? How, in turn, does sculpture relate to changing concepts of the body and corporeality? What are the consequences for a theory of contemporary sculpture? These and other questions form the focus of the discussion with leading theorists from various disciplines.*
Museum Brandhorst presents the online symposium FUTURE BODIES FROM A RECENT PAST—SCULPTURE, TECHNOLOGY, AND THE BODY SINCE THE 1950S. Participants include Marta Dziewanska, Louis Chude-Sokei, N. Katherine Hayles, Namiko Kunimoto, Jeannine Tang, Ursula Ströbele, and many others.
See link below to register.
FUTURE BODIES FROM A RECENT PAST—SCULPTURE, TECHNOLOGY, AND THE BODY SINCE THE 1950S*
Museum Brandhorst
Thursday, January 21 through Saturday, January 23.
From top: Mark Leckey, UniAddDumThs, 2014–ongoing, detail from the section Man, installation view Mark Leckey: UniAddDumThs at Kunsthalle Basel, 2015, photograph by Philipp Hänger, image © Mark Leckey, courtesy of the artist and Kunsthalle Basel; Alina Szapocznikow, Untitled (Fetish VII), 1971, Ursula Hauser Collection, Switzerland, image © 2020 VG Bild-Kunst, Bonn, courtesy of the Estate of Alina Szapocznikow, Piotr Stanislawski, Galerie Loevenbruck, Paris, and Hauser & Wirth; BINA48 (Breakthrough Intelligence via Neural Architecture 48), robotic face combined with chatbot functionalities, owned by Martine Rothblatt’s Terasem Movement, modeled after Rothblatt’s wife, image © 2010 Hanson Robotics; Albert Renger-Patzsch, Marmor an der Lahn (Metamorphit), 1963, plate 55, Gestein, 1966, image © 2020 Albert Renger-Patzsch and VG Bild-Kunst, Bonn; David Smith, Forging series of sculptures in progress, Bolton Landing Dock, Lake George, New York, circa 1956, image © 2020 Estate of David Smith and VG Bild-Kunst, Bonn; Tishan Hsu, Autopsy, 1988, installation view Tishan Hsu: Liquid Circuit at the Hammer Museum, Los Angeles, 2020, private collection, image © Tishan Hsu, courtesy of the artist and the Hammer Museum; Aleksandra Domanović, production photograph of The Future Was at Her Fingertips, 2013, image © Aleksandra Domanović, courtesy of the artist.
