Aleksandra Domanović: Votives
23 March – 11 June 2017
Galleries 1, 2 and 3
A new commission of sculptures by Aleksandra Domanović investigate how technological advances impact on communication and culture.
Aleksandra Domanović, 'Votive: Hare' (2016, laser sintered PA plastic, polyurethane, Soft-Touch, aluminum and Kevlar-carbon fiber coating, Corian and foam) Private collection. Image courtesy the artist
Aleksandra Domanović, 'Votive: Hare' (2016, laser sintered PA plastic, polyurethane, Soft-Touch, aluminum and Kevlar-carbon fiber coating, Corian and foam)
Private collection. Image courtesy the artist
This spring we invite Aleksandra Domanović (b. 1981) to create new sculptures that respond to our building. An important part of our exhibition programme is our continuing series of commissions for artists researching new thinking in the field of sculpture studies.
Domanović’s work is of both the past and the future, folding the aesthetic of classical sculpture into her investigation into how developing technology relates to the societies that create it. For Domanović technology is always gendered. Her sculptures are a collision of references that reflect the circulation and reception of images in digital media.
Votives presents new sculptures made in the tradition of Greek Korai, sculptural dedications of female figures that hold offerings. Three of Domanović’s figures hold animals and fruit – taking their cue from votive statues from the Sanctuary of Hera in Samos, Greece, which are now housed in the Altes Museum in Berlin where the artist is based.
Another three sculptures reimagine the Korai in a sports context. Displayed alongside these six Votives stands a series of monolithic vertical monuments made of over 10,000 sheets of stacked A4 paper. These Paper Stacks address the reproducibility of images on the internet. Images are formed on each side of the sculptures by using the borderless function on an inkjet printer, a machine that less than a decade ago was the height of home-office technology, but now is near obsolete.
In our central gallery is the monumental votive ‘Calf Bearer’ (2017). Over four metres tall, it draws on both Domanović's recent research into molecular biology and the ancient Greek sculpture ‘Moscophoros’ – a statue of a man carrying a sacrificial calf on his shoulders. Presumed to have been built as a votive offering to the goddess Athena, it was found in fragments in the Athens Acropolis.
Votives also shows ‘Turbo Sculpture’ (2010–13), a moving image work underscoring the artist’s concern with the public life of sculpture. It interrogates the phenomenon of public sculpture in the former Yugoslavia, the artist’s country of birth, dedicated to non-national media celebrities, such as Bruce Lee, Bob Marley and Samantha Fox.
Until 23 April 2017 Aleksandra Domanović: Votives sits alongside Roy Ascott: Form has Behaviour, a focused display of ‘analogue sculptures’ that sets out to interrogate Ascott’s concerns with cybernetics and communication theories.
From 25 May 2017, this exhibition contrasts with Ghisha Koenig: Machines Restrict their Movement, which explores Koenig’s thirty-year sculptural study of industrial labour in factories in St Mary Cray in south-east England, the location of the first social housing estates built outside of London.
Henry Moore Institute
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