Tag Archives: N. Katherine Hayles

FUTURE BODIES FROM A RECENT PAST

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.

N. KATHERINE HAYLES — THE POSTHUMAN

Artificial intelligence, genetic engineering, and the accelerated evolution of the species as seen through the recent films of Alex GarlandEx Machina and Annihilation—are the topics of a Wednesday talk at Redcat by literature professor N. Katherine Hayles, the author of How We Became Posthuman.

On Saturday, Hayles will give the closing presentation of the day-long Algorithms, Infrastructures, Art and Curation (AIAC) seminar at the City Council Chambers in West Hollywood.

AIAC explores “explores aesthetic and political issues related to algorithms and infrastructures in art and curation, ranging from finance to climate change, from human exclusion zones to bitcoin and blockchain, from search algorithms to theories of natural selection and more.”*

N. KATHERINE HAYLES

Wednesday, January 23, at 8:30 pm.

Redcat

631 West 2nd Street, downtown Los Angeles.

N. KATHERINE HAYLES—

MEDIA AND/AS THE ENVIRONMENT*

Saturday, January 26.

AIAC seminar starts at 10 am.

Hayles speaks at 6 pm.

West Hollywood Library

City Council Chambers

625 North San Vicente Boulevard, West Hollywood.

From top: Alicia Vikander and director Alex Garland rehearsing a scene in Ex Machina (2014), image credit A24Annihilation (2018), image credit Paramount Pictures.