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On Scale. A lecture by Lisa Le Feuvre

Michael Dean, Health (Working Title), 2012. Installation view, Henry Moore Institute, Leeds. Ph. Gerry Hardman-Jones

Introduced by Paolo Castelli

Friday, June 27th, 2014, at 11.30am
Sala del Mito, Galleria Nazionale d'Arte Moderna, viale delle Belle Arti 131, Rome

On Friday, June 27th at the Galleria nazionale d’arte moderna, Rome, Lisa Le Feuvre, Head of Sculpture Studies at Henry Moore Institute, Leeds, will discuss sculpture through the relationship between the work and the body of the spectator.
Sculpture is subject to gravity and revealed in light. Taking up space, sculpture deploys mass and volume calling into its service surrounding spaces. It demands a direct encounter, calling on a lived relationship between the human body and the artwork. The most traditional sculpture is to be walked around as it occupies space. Less traditional sculpture asks to be touched, moved, listened to. In all cases, sculpture pulls of the human body. This relationship is built on scale. The monumental looms above us, the miniscule demands a bending of the torso and peering of the eyes.
This lecture studies scale through three exhibitions presented at the Henry Moore Institute: D’Arcy Wentworth Thompson’s On Growth and Form, Ian Kiaer: Tooth House, Robert Filliou: The Institute of Endless Possibilities and Michael Dean: Government. The talk closes with a discussion on the work of Lygia Clark: Organic Planes, a small scale exhibition under research for autumn 2014 and takes as its guide D’Arcy Wentworth Thompson’s 1917 publication On Growth and Form, a mathematical and poetic study of scale.
The talk is part of the public programme of To continue. Notes towards a Sculpture Cycle, a project by Nomas Foundation, and is organised in collaboration with the Galleria nazionale d’arte moderna.

To continue. Notes towards a Sculpture Cycle is a research based project, developed through three exhibitions, lectures and itineraries, curated by Cecilia Canziani and Ilaria Gianni with the collaboration of Michela Tornielli and Stefano Vittorini.