Afterall and Arts Catalyst are pleased to announce two talks developed as part of Afterall’sExhibition Histories series and presented within Arts Catalyst’s current season ‘9 Evenings: Theatre and Engineering Revisited, 1966/2016’. Using the occasion of the 50th anniversary of the renowned 1966 events and the founding of Experiments in Art and Technology, the talks will reflect on the histories of art and technology in performance, on transdisciplinary collaboration and the influence of the 1960s on contemporary art today.
Catherine Wood, Senior Curator, International Art (Performance) at Tate, will host an evening of screenings, showing films of Robert Rauschenberg’s Open Score and Yvonne Rainer’s Carriage Discreteness, both works produced as part of ‘9 Evenings: Theatre and Engineering in 1966’. The screenings will be followed by an informal talk from Wood reading both pieces as well as the broader practice of Rauschenberg and Rainer within the context of dance.
This event builds on Wood’s ongoing interest and in-depth knowledge on both artists practice, having curated the critically acclaimed retrospective ‘Yvonne Rainer: Dance Works’ at Raven Row in 2014 and as co-curator of the forthcoming ‘Robert Rachenberg Retrospective’ at Tate Modern, opening in December 2016.
Yvonne Rainer, Carriage Discreteness, ‘9 Evenings: Theatre & Engineering’, October 1966. View of the performance, with Steve Paxton on the swing to the right. Photo ©Adelaide de Menil
Exhibition Histories – Art and Technology Talk: Catherine Wood
Thursday 20th October, 18:30–20:30
Arts Catalyst Centre for Art, Science & Technology
74-76 Cromer Street
This event has now sold out. Final tickets remaining for Jeremy Millar on Thursday 13 October are available on Eventbrite.
This event is a collaboration between Afterall and Arts Catalyst. It is part of the Exhibition Histories research and publication project, developed by Afterall and published in association with the Center for Curatorial Studies, Bard College.
The ‘9 Evenings: Theatre and Engineering Revisited 1966/2016’ programme is supported by Arts Council England, Cockayne – Grants for the Arts, The London Community Foundation, PACE, Afterall, Central Saint Martins, UAL, King’s Cross and Goldsmiths, University of London, University of Westminster, London: The Centre for Research and Education in Arts and Media (CREAM) with the Institute for Modern and Contemporary Culture (IMCC) and The Performance Studio.