Economist, geographer, art historian, performance artist? Angus Cameron’s profession may remain undefined but he sure can spin a tale of mystery and intrigue. Cameron is the appointed emissary of the Swedish artistic collaboration, Goldin+Senneby, and for the last several years has been asked by them to speak on various occassions about their project, Looking for Headless.
Presented as part of Power to the People, Headless can be described as a performative research project where the artists look for possible connections between a Bahamas-based company called Headless Ltd and the secret society known as Acéphale that was founded by French writer Georges Bataille in Paris in the late 1930s. Headless draws parallels between the dematerialised object in conceptual art and the virtual form of money traded in financial markets. While physically absent from the project’s performance, Goldin+Senneby directs the work’s execution by adopting corporate practices and language, and outsourcing its many texts, events and performances to specialists including Cameron and a case of private detectives, novelists, curators, designers, documentary film makers and more.
Through the appropriately chosen format of a PowerPoint presentation Cameron took the audience on a trip through the Headless rabbit hole, deciphering the various layers of the project and its uncanny ability to remain suspended between fact and fiction. He spoke of the project’s early presentation in London’s financial district on the day the Lehmann Brothers crash in 2008, the range of characters involved in the project’s winding and ongoing manifestations, and the coining of the phrase ‘the decapitation of money’. Stunned, overwhelmed, and enthralled by the complex and binding intersections between art and money, Cameron left this audience searching for a life raft of truth within a world of conspiracy, coincidence and creation.