Roundtable Discussion: Engaging Technologies / Emerging Technologies
- Online event
- Wednesday, 26 May 2021
- Live discussion with artists Alice Channer, Zachary Eastwood-Bloom and Daniel Steegman Mangrané, starting at 6pm. Part of our Fabrication Research Season.
Alice Channer, Planetary System (Kolzer DGK63") 2019, Kolzer DGK63" Horizontal System Vacuum Metallizing Carousel; Vacuum Metallised Spider Crab (Maja Brachydactyla) and Brown Crab (Cancer Pagurus) Shells on Stainless Steel Jigs Courtesy the artist and Konrad Fischer Galerie
Alice Channer, Planetary System (Kolzer DGK63") 2019, Kolzer DGK63" Horizontal System Vacuum Metallizing Carousel; Vacuum Metallised Spider Crab (Maja Brachydactyla) and Brown Crab (Cancer Pagurus) Shells on Stainless Steel Jigs
Courtesy the artist and Konrad Fischer Galerie
Join artists Alice Channer, Zachary Eastwood-Bloom and Daniel Steegman Mangrané for a live round table discussion about the use of new and emerging technologies in sculptural production.
The speakers will give presentations exploring the use of new technologies in their own sculptural practice, which will be followed by discussion and questions from the audience.
Tickets for this event are free, but booking is required. The discussion will take place on Zoom, starting at 6pm on Wednesday 26 May.
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About the speakers
Alice Channer (b. 1977, Oxford) lives and works in the edges of London. She uses sculpture, in its broadest possible definition, to stretch out, slow down and speed up industrial, post-industrial and ‘natural’ production processes. Her work is a twenty first century Process Art. The artist aims to make these processes more visible to herself and to others, and to attune us to the multiple embodiments and disembodiments involved. Using materials ranging from spider crab shells and stainless steel to limestone, pelletized and recycled plastic and pleated silk, her work traces the disappearance, mutation and possible evolution of multiple bodies in post-industrial environments. Alice Channer has exhibited widely over the last fifteen years, including institutional exhibitions at: Marta Herford, Germany; Oberösterreichische Landesmuseen, Austria; Yorkshire Sculpture Park, New Art Gallery Walsall (2021); Tate Britain, London; Towner Gallery, Eastbourne (2019); Museum Morsbroich, Germany; Whitechapel Gallery, London; Kettle’s Yard, Cambridge; La Panacée MoCo, Montpellier (2018); Aspen Art Museum, Colorado and Kunsthaus Hamburg, Germany (2017); Museum Kurhaus Kleve, Germany; Whitworth Art Gallery, Manchester (2016); Aïshti Foundation, Beirut; Public Art Fund, New York; Aspen Art Museum, Colorado (2015); Fridericianum, Kassel; Kestnergesellschaft, Hannover and Künstlerhaus Graz, Austria (2014); The Hepworth Wakefield, the 55th Venice Biennale, and Kunstverein Freiburg, Germany ( 2013); South London Gallery and Tate Britain (2012). In 2021, Channer will make her first monumental permanent public sculpture commission, Nanowires, for the Engineering Department of the University of the West of England. For this commission, the artist is working with bioengineers at the university to identify organic forms whose bodies will influence her sculpture. In 2021 she will also present a group of works as part of Liverpool Biennial 2021: The Stomach and the Port (curated by Manuela Moscoso), and a new outdoor large scale interactive sculpture as part of High Desert Test Sites 2021, USA (curated by Iwona Blazwick). Additionally, she will present an outdoor sculpture Burial as part of Sculpture In The City, London, amongst numerous other solo and group exhibitions. Alice Channer is represented by Konrad Fischer Galerie, Berlin and Düsseldorf.
Zachary Eastwood-Bloom uses sculpture, video, dance, sound, photography and drawings to explore the notion of human progress in relation to historical ideas, scientific development and digital technology, as well as the ways in which humans attempt to understand the world around them, using methods such as storytelling, religion, science, or technology. Zachary originally studied Ceramics at Edinburgh College of Art, before going to London to earn his Masters degree in Ceramics and Glass at the Royal College of Art (RCA). While studying at the RCA, he began to explore the use of digital technologies in relation to a broad range of materials. This marked a shift in Zachary's practice, in which he began using digital technologies in combination with sculpture and drawing. Most recently Zachary has been an Artist in Residence at the Scottish Ballet, where he collaborated with choreographers, musicians, and dancers to create three short film works, motion-tracking dancers and digitally generating visual effects. Each of these performances is based on stories from Classical Greek mythology. Currently Zachary is engaged in the research and development phase of two new bodies of work: one that explores the use of artificial intelligence and machine learning in sculptural aesthetics, and one that experiments with new and hybrid presentation and performance formats for motion-capture data. Zachary has exhibited widely in the UK and across Europe, including at the V&A, Royal Academy of Art, Jerwood Visual Arts, and the British Crafts Council.
Daniel Steegmann Mangrané was born in Barcelona in 1977 and since 2004 has lived in Rio de Janeiro. His research is particularly interested in biological processes and anthropological discourses, which he uses as inspiration to create works that confuse the traditional separations between culture and nature, subjects and objects, reality and dreams, visible and invisible, corporeal and incorporeal ... dissolving them into relationships of mutual transformation. In recent years Daniel Steegmann Mangrané has shown his work in museums and biennials around the world, among the most recent being the Taipei Biennial, Pirelli Hangar Bicocca, Berlin Biennial, Serralves Museum, Institut d'art Contemporain Villeurbanne, Nottingham Contemporary, CCS Bard and the São Paulo Biennial. His works are found in the permanent collections of the Tate, Museum of Modern Art in Rio de Janeiro, Inhotim, Serralves Museum, Walker Art Center, São Paulo Museum of Modern Art, MACBA Museu d’Art Contemporani in Barcelona, Collection Pinault and Castello de Rivoli, among others.
Fabrication Research Season
The practicalities of how an artist approaches making a sculpture have often been shrouded in mystery. The relationship between artists and skilled fabricators is rarely acknowledged. Exploring the blurred lines between art, craft and industry, this Research Season will make visible the ways in which sculptors in both historical and contemporary contexts have realised their vision through processes of collaboration and exchange, and will examine ways in which making sculpture has changed, particularly in light of the recent coronavirus pandemic.
This Research Season is organised in collaboration with Pangaea Sculptors’ Centre and the Universities of Leeds, York and Sheffield.
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