Stelarc biography of william hill

Cyprus-born performance artist

Stelarc (born Στέλιος Αρκαδίου Stelios Arcadiou in ; legally changed his name in ) is a Cyprus-born Australianperformance artist raised in the Melbourne suburb of Sunshine,^[1] whose works focus heavily on extending the capabilities of the human body.

As such, most of his pieces are centred on his concept that "the human body is obsolete". Until he held the position of principal research fellow in the Performance Arts Digital Research Unit at Nottingham Trent University in Nottingham, England.

Last Name. Wikimedia Commons has media related to Stelarc. Molestie metus imperdiet tempus ultrices massa. His interest in the human body as a medium for performance art emerged in the late s.

He is currently furthering his research at Curtin University in Western Australia.

Performances

Stelarc's idiosyncratic performances often involve robotics or other relatively modern technology integrated with his body. In 26 different performances he has suspended himself in flesh hook suspension, often with one of his robotic inventions integrated.

His last suspension performance was held in Melbourne in March

In another performance he allowed his body to be controlled remotely by electronic muscle stimulators connected to the internet. He has also performed with a robotic third arm, and a pneumatic spider-like six-legged walking machine which sits the user in the centre of the legs and allows them to control the machine through arm gestures.

In , a work by Stelarc entitled Reclining Stickman, a robot sculpture operated by the artist, featured in the Adelaide Biennial of Australian Art at the Art Gallery of South Australia (AGSA).^[2][3] However, AGSA had to temporarily close from 25 March owing to the COVID pandemic in Australia, so some of the exhibits are being shown online, along with virtual tours of the exhibition.

This is an interactive, online performance that explores the physiological and aesthetic experience of a fragmented, distributed, de-synchronized, distracted and involuntary body — wired and under surveillance. So we can experience remote bodies, and we can have these remote bodies invading, inhabiting and emanating from the architecture of our bodies, expressed by the movements and sounds prompted by remote agents. But this wasn't the case and this solution was abandoned after being tested during surgery. It also sees the body as an extended operational system- extruding its awareness and experience.

Stelarc performed with his sculpture in real time, as well as making the videorecording available.^[4]

Third ear

In , Stelarc had a cell-cultivated ear surgically attached to his left arm.^[5] His longtime collaborator, fellow Australian artist Nina Sellars, photographed this body modification for her piece Oblique: Images from Stelarc's Extra Ear Surgery.

Pieces by both artists were included in a group exhibition that received an exhibition review in scientific journal BMJ.^[6]

Works

In , MIT Press published Stelarc: The Monograph which is the first extensive study of Stelarc's prolific work. It includes images of performances and interviews with several writers including William Gibson, who recount their meetings with Stelarc.^[7] In book on Robots and Art ^[8] Stelarc reflected on his own work in a chapter titled "Encounters, Anecdotes and Insights—Prosthetics, Robotics and Art".

Awards and honors

See also

References

Further reading

External links