Fieldworks: Dialogues between Art and Anthropology – Part 9: Presentations and Plenary

Session 6 from this Tate Modern conference features Mathew Dalziel & Louise Scullio, Neil Cummings & Maraysia Lewandowski, with plenary moderator Dominic Willsdon

Artists Neil Cummings and Marysia Lewandowska think about, intervene in, and work alongside many of the organizations that choreograph the exchange of values between art and its public. Their presentation will consider symbolic and financial economies, particularly with reference to their collaboration with Marilyn Strathern on the notion of the gift. A text ‘borrowed’ from her appeared in their book Capital which accompanied the project of the same name at Tate Modern and the Bank of England Museum in 2001. In 2002 Cummings & Lewandowska participated in an exhibition The Gift by ICI New York touring to several American museums and completed a large scale commission, Free Trade, to coincide with the reopening of the Manchester Art Gallery.

Matthew Dalziel and Louise Scullion have been working since 1993 in video, photography, sculpture, sound and installation, and have exhibited widely in Europe and the USA. Often focussing on remote locations, one of their central themes is the relationship between human beings and the natural environment. Their film Another Place is composed of video portraits of the inhabitants of St. Combs, a small village in the north-east of Scotland where the artists have been living, as outsiders, for several years. The film was first conceived for the Lisbon Expo in 1997, and later reworked for the Glasgow Gallery of Modern Art in 2000. Dalziel and Scullion are Research Fellows at the University of Dundee, School of Fine Art. An exhibition of their work opens on 26 September 2003 at the National Museum of Photography, Film & Television.

Fieldworks: Dialogues between Art and Anthropology – Part 10: Presentations and Plenary

Session 7a from this Tate Modern conference features presentations from Mara Verna, Pablo Assumpcão, Massimo Canevacci, with moderator Will Rea

Mara Verna is a Canadian artist who works in France and South Africa. For the past two years she has been working on a project inspired by Sarah Baartman, an indigenous South African dubbed ‘The Hottentot Venus’ who was exhibited as a curiosity to European audiences in circuses, bars and universities. Because of her unusually large buttocks and genitals, she became a source of stereotypes about race and African sexuality. Mara Verna’s exhibition Rien n’a été perdu at La Centrale in Montreal (Feb-Mar 2003), incorporates video, drawings, collages, and prints, but no images of the Hottentot Venus, in order to underscore her ultimate humanity and refrain from recapitulating caricatured images of Baartman produced during her lifetime.

Fieldworks: Dialogues between Art and Anthropology – Part 11: Presentations and Plenary

Session 7B from this Tate Modern conference features Maria del Rosario Ferro, Monika Buscher, James Faris, with moderator Jonathan Benthall

Fieldworks: Dialogues between Art and Anthropology – Part 12: Presentations and Plenary

Session 8 from this Tate Modern conference features presentations from Eran Tsafrir, Anna Grimshaw, Amanda Ravetz & Stephen Watts, Sylvia Caiuby Novaes, with moderator Jonathan Benthall

Fieldworks: Dialogues between Art and Anthropology – Part 13: Presentations and Plenary

Session 9 from this Tate Modern conference features presentations from Rimer Cardillo, Lucy Lippard, with moderator George E. Marcus

Lucy Lippard is an activist and a pioneer of radical cultural criticism in the US from the 1960s to the present. A selection of Lippard’s feminist essays on art have been published as The Pink Glass Swan (1995), and her seminal anthology Six Years: The Dematerialization of the Art Object from 1966 to 1972 continues to influence new art practice. Among other publications, Overlay: Contemporary Art and The Art of Prehistory (1983) investigated the intersections of art, anthropology and archaeology, and her most recent book On the Beaten Track: Tourism, Art, and Place (1999) unpacks the cultural voyeurism implicit in the act of ‘going sight-seeing.’ Rimer Cardillo studied art at the University of Uruguay, and in Berlin and Leipzig. He is now Professor at the State University of New York, New Paltz. With a very strong background in printmaking, Cardillo has developed a large and powerful body of work that includes prints, sculptures and installations. In 1998 The Bronx Museum of the Arts exhibited a ten-year survey of his work. He represented Uruguay at the 2001 Venice Biennial. His work features in many public collections around the world, among them Cabinet des Estampes, Bibliothèque nationale de France, Museo de Arte Contemporáneo, Caracas, Museum of Modern Art, New York, Prints Cabinet of Berlin, Museo de Artes Visuales, Montevideo.

This is day 3 of video recordings from this Tate Modern conference. Watch other video recordings from this three-day event: