spaces are dedicated to the performance works of Arthur Wicks from 1972 to
note that more detailed images of the various performance works will be posted
at a later date
a pre-emptive excursion into the arena of information overload
1972 to 1976.
First work performed on the south coast of New South Wales,
at Durras beach; 1976.
Second work performed at the Broome St & West Broadway intersection, New
York City, 1977.
Performed & installed intermittently till 1979.
First performed as a video work on Durras Beach, betwen low
& high tide, & then re-enacted at Glenelg, Adelaide, 1980.
An interior performance using "Measuring Stick" as its benchmark,
1980 and 1981.
from Low Tide to High Tide"
Performed on Durras Beach as a video work for Pierre Restany, later shown
at the Pompidou Centre "Equinox 80", Paris; winter equinox 1980.
Series of performances/ installations along the San Andreas
faultline from Salton Sea (south) to Reyes Point (north), California, 1981.
First performance at the First Sculpture
Triennial Melbourne, 1981.
Initial work 1981, to witness & record the Winter Solstice from the rooftop
of the Art Gallery of New South Wales. This did not take place at that time,
but later performances were enacted on the roof of art institutions in Hamburg,
Berlin, Auckland, & later at the AGNSW (2002); 1981 to 2002.
Performed in Hamburg as part of the Performance Woche - a excursion
into European tribalism; repeated as
a video work in the same space, 1983.
Performed on the bank of the Tagus river at Almada, Portugal for Alternativa
3 performance festival, 1983.
First performed at the Technical University, Berlin, 1984. Repeated at Anzart,
Auckland,1985. Repeated irregularly since then.
Construction of human powered machines used in performance works.
First was the rowing boat; "Survival Boat
for the 21st Century", used in performance for Perspecta 85, Sydney,
and Sculpture 85, Melbourne in unexpected situations and conditions; 1985
was the helicopter; "Solstice Voyeur's Observatory", 1987 to 1989.
Third, the Armoured Car used in "the Battlefield"
(ADFA 1990) and "Peace Car through Europe" (1990), and in other
performance works; 1990 to 1992
Fourth, the large wheeled rocking chair used
in the performance "Free Fall: Slow Motion" (1994), Sydney and in
Brisbane for the work "Degrees of Freedom: Friction" (Volt, 1996).
"the Escape of the Solstice Voyeur", 1987 to 1992.
"the Battlefield" at Australian Defence Force Academy (ADFA) Assembly
Hall, 1990; a war game, pre-dating the First Gulf War by 6 months.
Comment from a member of the audience 10 years later;
"many performance works I've long forgotten, but this one I can vividly
available for the ADFA work.
"the Interval" and "Auto da
Fe", in combination with the previous 2 theatrical works presented as
the Trilogy at The Performance Space,
Sydney, as a contribution to the Sydney Biennale, 1992.
"On War and Peace: a Virtual Encounter", developed as an interactive
website for the Canberra National Sculpture Forum; 1995
"Spoken under Duress", for this same Sculpture Forum at the National
Gallery of Australia, Canberra, 1995; a performance work that linked this
interactive site projected with live performance.
First developed in 1997 as a series of casts based on the artist's body and
later developed as surrogate performers in the developing motorised and interactive
Further developed as remote-controlled humanoids, used in the work “Degrees
of Freedom: Escape Velocity” (Volt, Brisbane, 1998).
Interactive and Motorised Sculptures
Included here in the performance gallery, as they have developed into fully
articulated replicates, as a substitute for the physical presence of the human
Antipodeans Marking out their Territory", (1992/2002) is a pre-cursor.
"the Boatman's Unscheduled Crossing"
"Surface Tension", 2004,
"the Artist Trapped in Artaud's Cage", 2002 to 2007,
"Free Fall: Slow Motion 2", 2008
more details and images from this section at a later