Tickets available
Book NowThu 21 Nov, 6.30pm
| Monday | Closed |
| Tuesday | 11am–6pm |
| Wednesday | 11am–6pm |
| Thursday | 11am–9pm |
| Friday | 11am–6pm |
| Saturday | 11am–6pm |
| Sunday | 11am–6pm |
The Whitechapel Gallery is committed to making all of our events as accessible as possible for every audience member. Please contact access@whitechapelgallery.org if you would like to discuss a particular request and we will gladly discuss with you the best way to accommodate it.
– Information about access on site at the gallery is available here https://www.whitechapelgallery.org/visit/access/
– This includes information about Lift access; Borrowing wheelchairs & seating; Assistance Animals; Parking; Toilets and baby care facilities; Blind & Partially Sighted Visitors; Subtitles and transcripts; British Sign Language (BSL) and hearing induction loops; Deaf Messaging Service (DMS).
About This Event
– This event takes place in the Zilkha Auditorium at Whitechapel Gallery, located on the ground floor.
– You must purchase a ticket to attend the event. Concession tickets are available. If you require a Personal Assistant to support your attendance, we can offer them a seat free of charge, but it must be arranged in advance.
– If the ticket price affects your attendance, please email tickets@whitechapelgallery.org to be added to the guest list (no questions asked, but dependent on availability).
– This event is suitable for those over the age of 16
– We are unable to provide British Sign Language interpretation for this event
– We are unable to provide live closed captioning or CART for this event.
– This event last approximately 1.5 hours. There are no rest breaks currently scheduled during this event.
– An audio recording of the event can be obtained by emailing publicprogrammes@whitechapelgallery.org following the event.
Transport
– To the best of our knowledge, there are no planned disruptions to local transport on the date of the event.
– Our nearest train station – Aldgate East Underground (1 min) is not wheelchair accessible. The closest wheelchair accessible stations are Whitechapel (15 min), Shoreditch High Street (15 min) or Liverpool Street (15 min).
– Free parking for Blue Badge holders is available at the top of Osborn Street in the pay and display booths for an unlimited period. Spaces are available on a first come, first served basis.
Live Recording
Please note: we audio record all events for the Whitechapel Gallery Archive and possible future online publication via Soundcloud.
Join us for a gathering of artists, curators, and practitioners as we contextualize Lygia Clark’s practice and examine the ongoing legacy and influence of her work on a generation of contemporary artists and movers today.
Chaired by Director of Cecilia Brunson Projects, Alex White, and featuring contributions from artist filmmaker Michelle Williams Gamaker and artist Susan Sentler, we will survey the key points that define the ebbs and flows of Clark’s expansive practice and her work collapsing the boundaries between play, participation, therapeutic practices, embodied experiences, and how we relate to one another.
This panel accompanies our current exhibition by Lygia Clark, The I and the You.
Michelle Williams Gamaker is an artist filmmaker working with performance. She is joint-winner of Film London’s Jarman Award (2020) and winner of ASFF’s Best Experimental Film (2021, 2023). Her film Thieves (2023) toured to South London Gallery, Dundee Contemporary Arts and Bluecoat, Liverpool (2023-24). And Oberon (2023), commissioned by BFI, will be followed by Strange Evidence in 2025, which will complete Williams Gamaker’s Critical Affection trilogy. Her films are distributed by LUX, and her entire filmography will feature in BFI’s National Collection in 2025.
She is a Reader in BA Fine Art, Goldsmiths and is a British Academy Wolfson Fellow (2022-2025).
Susan Sentler (she/her) BA, MACP, is an artist rooted in the fields of dance, performance, visual arts working as educator/lecturer, maker/choreographer, researcher, director, curator, dramaturg and performer/participant. She has practiced globally for over 40 years and began teaching in higher education in 1992, meriting Senior Lecturer from Trinity Laban Conservatoire of Music and Dance in early 2000s. As performer, she danced with the original second company ‘The Ensemble’ of the Martha Graham Dance Company in the 1980s and returned to performing since 2010 with artists such as Tino Sehgal, Xavier le Roy, Dora Garcia, Josiah McElheny, Duto Hardono and Jerome Bel. Susan’s practice is trans/post-disciplinary, anchored by a honed, expanded somatic relationship to image, interested in ‘dissolving the indexical’, yielding greater potential of sensorial materiality. Since 2013, she shares research rooted in concept of ‘the fold’ with colleague Glenna Batson, the f/old as somatic\artistic practice https://thfold.net/. To date, the work has been presented at various conferences/symposiums, showcased in artistic installations, taught in educational contexts (online/hybrid/live), and continues to be disseminated in scholarly journals, chapters, blogs and podcasts. artmaking as embodied enquiry – entering the f/old, title for book publication with Intellectbooks, due for publication in December 2024 https://www.intellectbooks.com/artmaking-as-embodied-enquiry. Susan focuses on gallery/museum contexts collaborating on ‘responses’ or ‘activations’ within exhibitions as well as creating durational installations orchestrating moving/still image, objects, sound, text, and absence/presence of the performative body. Her work and practice have been workshopped, exhibited, screened, and performed in the United Kingdom, United States, Europe, Israel, Indonesia, Chile, Hong Kong and Singapore.
