Whilst on the subject of interactional installations involving post-its mounted in windows as part of Next Wave ’08, there’s this.
(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.)
(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?
From the UK’s Live Art Development Agency:
Disrupting borders, breaking rules, defying traditions, resisting definitions, asking awkward questions and activating audiences, Live Art breaks the rules about who is making art, how they are making it and who they are making it for.
Live Art practices have proved to be especially equipped to meet the complexity and sophistication of contemporary audiences’ values, identities and expectations. Live Art questions assumptions and defies expectations about who an audience can be, what they might be interested in, and the means by which they can be addressed.
Live Art occupies a huge range of sites and circumstances, from the institutional to artist led interventions; from actions in galleries and performances in theatres, to artists working outside of the constraints of official culture, within civic or social spheres, in challenging and unexpected sites, or at the points where live and mediated cultures converge. Some may experience Live Art in a gallery, others in a theatre, and others still as an occurrence in some unusual location or a process in which they are involved.
Live Art can also span extremities of scales – from intimate one on one encounters, to civic spectacles, to the mass participation of virtual events. Wherever they may take place or whatever shape they may be, Live Art practices are concerned with all kinds of interventions in the public sphere and all kinds of encounters with an audience.
Live Art offers immersive experiences, often disrupting distinctions between spectator and participant. Live Art asks us what it means to be here, now. In the simultaneity and interactivity of a media saturated society, Live Art is about immediacy and reality: creating spaces to explore the experience of things, the ambiguities of meaning and the responsibilities of our individual agency.
Live Art is on the frontline of enquiries into what our culture is and where it is located, who our artists are and where they come from, what an audience can be and how they can be addressed.
From website:
From drawing and durational process, through to live workshops and public performance, Maling’s work can best be described by the term ‘Live Art’. It extends through a broad range of media and is characterised by a formality of composition with a fluidity of outcome. Often appearing game-like, the roles of players and the rules of play continually evolve through individual and collective expressions of what is ‘allowed’. The results can be as simple as a broken tool or as elaborate as a sprawling narrative. It’s about the space between what could happen and what did.
Of particular note: Project George.
