Why Sculpture, Why Here? At Starr Auditorium, Tate Modern on 5 October

The Henry Moore Institute and Iniva present a unique event, pooling their institutional specialisms to bring together artists from all over the world to interrogate the status of sculpture as a contemporary language.

11th June 2002- The Nightmare of George V 2002 Photo: Gene Pittman, Copyright Huang Yong Ping, Courtesy Walker Art Center, Minneapolis and Gladstone Gallery, New York

The Henry Moore Institute and Iniva present a unique event, pooling their institutional specialisms to bring together artists from all over the world to interrogate the status of sculpture as a contemporary language.

The internet has done much to eradicate obstacles and speed up global communication - opening up new opportunities and territories to artists. As virtual reality expands its reach, is sculpture too slow, too laborious, too physically present and outmoded to respond to a rapidly changing world in which previously known boundaries no longer exist? In a largely 2-dimensional age why should artists choose to make sculpture? Or does it still offer artists a means of expression not found in other materials?

Major practitioners Abel Barroso, Maria Magdalena Campos Pons, Dilomprizulike, Subodh Gupta, Huang Yong Ping and Mamiko Otsubo have been invited to give individual presentations about their work, exploring why they choose to make sculpture and how their choices reflect local and/or international imperatives. Some of these sculptors have consciously decided to remain in their countries of origin (be they India, Cuba or Nigeria), whilst others have moved to Europe or the USA.  In an increasingly nomadic world, major art centres such as New York or Berlin have lost their traditional status whilst nevertheless remaining powerfully magnetic. Taking place on the eve of the international jamboree that is the Frieze Art Fair, Why sculpture, why here? addresses such questions by exploring current sculptural practices in relation to place and meaning.

This will be a day long event and will cost £20 (£15 concessions) including all refreshments other than lunch. Bookings are essential and can be made via the Tate website http://www.tate.org.uk//tickets or by calling 020 7887 8888.

Image: 11th June 2002-The Nightmare of George V 2002 Photo: Gene Pittman, Copyright Huang Yong Ping, Courtesy Walker Art Center, Minneapolis and Gladstone Gallery, New York

ENDS

 

For further information and images, please contact: Sarah Cockburn, Henry Moore Institute,

tel: 0113 233 7653 or 0113 246 7467 / e-mail: sarah@henry-moore.ac.uk

Note to editors: The Henry Moore Institute is a centre dedicated to the study of sculpture and is located in the heart of Leeds.  Its programming comprises three integrated elements dedicated to sculpture: collections, exhibitions and research. The Henry Moore Institute is part of The Henry Moore Foundation.

Iniva (Institute of International Visual Arts) creates exhibitions, publications, multimedia, education and research projects designed to bring the work of artists from culturally-diverse backgrounds to the attention of the widest possible public. (www.iniva.org)

Rivington Place is inIVA and Autograph ABP's new contemporary visual arts space which opens in East London on 5 October this year. Supported by the Arts Council England Lottery Capital 2 Programme, it will be the UK's first permanent public space for culturally-diverse visual arts and photography. Barclays Bank plc is the Rivington Place founding corporate partner, contributing £1.1million towards the development. This innovative partnership reflects Barclays history of supporting positive social change and making a real and lasting difference to the diverse communities in which it operates. (www.rivingtonplace.org)