Robin Hely

Whatever his shortcomings as a human being, he’s undeniably an amazing artist. And his sociopathy and his genius kind of go hand in hand.

“As an artist, I have a big problem,” he said to me once. “I don’t really like art. I just love fucking with peoples’ heads.”

Yeah.

“Interventionist performance art”, he’s calling it now. Previously known as “interactive public theatre”. I still like “reality art”. Whatever it is, it’s something else.

Interesting review of “Sherrie“. Origin of the spycam. Missing Person –> Who Is Robert Henley?. Oh, and then there’s this. Changed my life, y’know.

I miss the evil bastard. He’s never dull.

(Previously.)

Harry Goldgar, Telepath

Googling on the phrase “telepathy project”, I found this. See also.

I think most people would call this psychosis, not art. But like many manifestations of delusional paranoia, it’s also recognisable as beautiful art, even if it wasn’t created with that intent.

We all live in our own dreamworld(s) – some people’s are just more divergent from the norm (and, for better or worse, a lot more interesting) than others’.

The Telepathy Project

Whilst on the subject of interactional installations involving post-its mounted in windows as part of Next Wave ’08, there’s this.

See also; also; also.

(Sidenote: Another term for ‘telepathy’ is ‘thought transference’. Both refer to a ‘paranormal’ phenomenon. But even the most hardened materialist skeptic with half a brain would concede that we all ‘transfer thoughts’ all the time, in all kinds of ways. Some very obvious and direct; some extremely subtle and amorphous.)

Hiromi Tango

(Via DF.)

Absence was a performance installation mounted in the Degraves St Subway as part of last year’s Next Wave.

Japanese born, Brisbane based artist Hiromi Tango is inhabiting Vitrine at Platform in the Campbell Arcade subway throughout the 2008 Festival. During her time there her objective is to hand-stitch collected ‘feelings and voices’ and develop a collaborative sculpture with the theme of ‘absence’. Her personal engagement with the site, situation and the community that passes will determine the final outcome of the artwork.

In 2006 and 2007, Hiromi undertook 18 months of research in Hong Kong, New Zealand, the USA, Japan and Australia, which involved meeting people, listening to their stories and recording her interactions. Hiromi also received photos, personal letters, writings, drawings, diaries and personal items from the people she met. For the past six months Hiromi has been hand-stitching these stories and objects, while considering the authors’ absence.

Absence will contribute to a more critical understanding of how artist and public engagement is defined, and how the artist can intervene into a particular space, potentially generating unexpected moments of intimacy and tension.

How much of the exchange is me and how much of it is you? Is it possible to understand each other?

During the month Vitrine was transformed into a site of incredible dialogue and culminated in Hiromi staging her own funeral.