Platform for (un)Solicited Research and Advice

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RESPONSE TO BRIEF #7

Platform for (un)Solicited Research and Advice
(Lauren Alexander, Lado Darakhvelidze, Jimini Hignett, Anna Hoetjes, Jeroen Marttin, Eva Olthof, Julio Pastor and Patrícia Sousa)

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VISIT

Jimini Hignett

Jimini Hignett

Beware of beautiful surroundings. You may be overcome by a sense of melancholy which lurks in the spectacle of such beauty. The melancholy of its impossibility. The beauty of the individual parts, the trees, the grass – her seductive softness, which actually isn’t soft at all but prickly, full of ants and thorns, only the idea of softness – these stir up a longing for a memory in which the grass really is soft, really is green. The sadness has something to do with the impossibility of that memory.

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SHAMELESS SELF-PROMOTION (MOSTLY)

Jimini Hignett

Official Invitation (scribble-down letters!) / Photo by Timothy Greathouse

Media-Savvy

Coined ‘The Royal Drag’ by the SOHO-news, Topo Grajeda & Jimini Hignett’s wedding performance planned to challenge Charles and Di’s monopoly of prime-time news on July 29th 1981, was a wonderful combination of art and media-savvy. Performing in New York in the early 80’s under the name ‘Christians from Outer Space’, Topo and Jimini topped their usual aim of having their name appear in the local listings each week – performing at off-off-Broadway locations on the Lower East Side and on the sidewalks midtown – with this cross-dressed version of the Royal knot-tying making onto the Channel-7 news. More »

THE WAY IT IS

Jimini Hignett

Embedded in this short clip from the story of Adam and Eve, as told by my homeless collaborator, Barbara, are a number of key elements, More »

I SHOULD BE ON A BICYCLE TO COPENHAGEN INSTEAD OF A PLANE TO MURICA…

Jimini Hignett

JHBrief1

“…the big international circus goes on. The opening days of the Venice Biennale are now written-up as much in terms of parties and celebrities as the art. In 2007, the five–yearly Documenta in Kassel, Germany, and the once-a-decade Munster Sculpture Project followed Venice, and became part of an unseemly Grand Tour, which also took in the Basel art fair. Such migrations across Europe haven’t been seen since the 30 years war.” (i)

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The Platform