13 Jul 2013 Free

On the occasion of the exhibition STURTEVANT LEAPS JUMPS AND BUMPS, the Serpentine Gallery presented a day of talks, performances and screenings.

Inspired by themes arising from the exhibition and questions raised by the artist’s work, participations addressed cybernetics, repetition and simulation.

This event was broadcast live on thisistomorrow.info.


12:15 – Elisa Schaar, Twists and turns of the hourglass: STURTEVANT’S repetitions

This presentation takes STURTEVANT’S exhibition LEAPS JUMPS AND BUMPS as a starting point to explore her repetitions with an emphasis on their temporal dimensions at different moments in her career.

12:45 – Fabienne Hess, Originating without originals

Through presenting her work with found digital images, Hess explores the permanence and fragility of digital memory and the task of choosing and reassembling within this dichotomy.

13:15 – Discussion

13:45 – Lunch


An introduction to the exhibition at the Serpentine Gallery

14:45 – Cécile B. Evans, Subjective Solutions

Evans discusses the complicated role ownership plays amongst those who disregard it the most. Why do artists who borrow from others have difficulty in lending back? Can we function as an open network/flow of references and still protect the profession of art and how could subjectivity help?

15:15 – Aaron Peck, Why does France have so many kings?

Peck’s lecture does not address STURTEVANT’S work directly. Rather, through a discussion of mimesis, it examines the work of New York-based novelist André Aciman and his appropriation of Eric Rohmer and Dostoyevsky, focusing on theories of adaptation and homage. In effect, the lecture talks around STURTEVANT’S work, by considering, if only obliquely, the implications of her practice on aesthetic theory.

15:45 – Discussion

16:30 – Heather Phillipson, Well, this is embarrassing.

First presented in 2011, Well, this is embarrassing. was made in the same way department stores sell off their winter jumpers. This was its point: nearly all ideas come ready-crumpled. In 2011, it was intended to resemble a talk about love: a mass of inherited information and pathways trampled through it. Like love, it is based on fragile, half-digested ideas propped up with contradictory information. It operates between thought and action. Like love, or a broken Tupperware, it opens with a crisis. It digs into what breaks hearts. It begins in the supermarket and proceeds in the imagination. HD video and live voice, 2011. Running time: 25’00”



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