Afterall and Arts Catalyst are pleased to announce two talks developed as part of Afterall’s research strand in Exhibition Histories 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 legendary 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.
For the second talk Catherine Wood, Senior Curator, International Art (Performance) at Tate, will host an evening of screenings, showing films of Robert Rauschenberg’s Open Scoreand Yvonne Rainer’s Carriage Discreteness, both works produced as part of 9 Evenings: Theater 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.
The first talk will be Exhibition Histories - Art and Technology Talk: Jeremy Millar on Thursday 13 October.
This 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, 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.
All programme listings are on the Arts Catalyst website.
Image: Yvonne Rainer, Carriage Discreteness, 9 Evenings: Theatre & Engineering October 1966. View of the performance, with Steve Paxton on the swing to the right.
Photo credit: Adelaide de Menil