Summercamp's ProjectProject
CamLab
Try-Relational Feedback, 2011
handmade soft sculpture, borrowed bedroom, monitor, chairs, blankets, coffee table, plant, beers, magazines, tequila
From our initial discussions about a performance we realize that we would like to site ours in one of the house's bedrooms--specifically, we would perform in the bedroom with a live feed / possible two-way connection to a computer / monitor elsewhere in the house. To paint it in broad strokes (for now), the performance would be an extension of a piece we did for the 'Under the Blanet' Eternal Telethon in 2010, see image attached, consisting of a durational performance with soft relational object (no mess or liquids involved). The bed would be used as a stage on which the reclined performance would unfold. We believe the bedrooms are not typically used for exhibition space at Summercamp, so we wonder if this is at all possible? The bedroom as site is integral to this particular performance, so any feedback about this would be welcome asap...
CamLab is a collaborative project between Anna Mayer and Jemima Wyman, started at CalArts in 2005. The collaboration is a result of the artists’ combined investments in the phenomena of scopophilia, embodied knowledge, and a destabilization of a singular subjectivity. These shared investments manifest in optically-charged and ribald projects that are continuously concerned with forwarding alterity as subject matter.
CamLab uses media that historically have been employed to register the politics of the body (performance, video and photography) in an effort to extend on those traditions as well as investigate the new visual codes produced by contemporary individual consumer technology. CamLab is committed to working across these mediums in order to maximize their potential for disrupting conventional ideas of an autonomous body.
CamLab’s interest in embodying multiple perspectives is literalized through the use of hand-held camera techniques and the polymerous structure of the live performances. The most recent costumes for performance range from the laboriously crafted to the more economically designed, each one attempting to create a communal architecture to accommodate our bodies and multiple others. The references to contemporary fashion and specialized adornment remain, with the emphasis shifting towards an investigation of how participation can link bodies and forge intimacy.
CamLab’s investment in the body is supplemented by an investigation into the interrelatedness of language and embodiment. Some performances use language exclusively while others depend on non-verbal exchanges. CamLab believes that a contemporary politics of pleasure must acknowledge the contiguity of language and body in facilitating the spectrum of experience between alterity and intimacy.
CamLab
Try-Relational Feedback, 2011
handmade soft sculpture, borrowed bedroom, monitor, chairs, blankets, coffee table, plant, beers, magazines, tequila
From our initial discussions about a performance we realize that we would like to site ours in one of the house's bedrooms--specifically, we would perform in the bedroom with a live feed / possible two-way connection to a computer / monitor elsewhere in the house. To paint it in broad strokes (for now), the performance would be an extension of a piece we did for the 'Under the Blanet' Eternal Telethon in 2010, see image attached, consisting of a durational performance with soft relational object (no mess or liquids involved). The bed would be used as a stage on which the reclined performance would unfold. We believe the bedrooms are not typically used for exhibition space at Summercamp, so we wonder if this is at all possible? The bedroom as site is integral to this particular performance, so any feedback about this would be welcome asap...
CamLab is a collaborative project between Anna Mayer and Jemima Wyman, started at CalArts in 2005. The collaboration is a result of the artists’ combined investments in the phenomena of scopophilia, embodied knowledge, and a destabilization of a singular subjectivity. These shared investments manifest in optically-charged and ribald projects that are continuously concerned with forwarding alterity as subject matter.
CamLab uses media that historically have been employed to register the politics of the body (performance, video and photography) in an effort to extend on those traditions as well as investigate the new visual codes produced by contemporary individual consumer technology. CamLab is committed to working across these mediums in order to maximize their potential for disrupting conventional ideas of an autonomous body.
CamLab’s interest in embodying multiple perspectives is literalized through the use of hand-held camera techniques and the polymerous structure of the live performances. The most recent costumes for performance range from the laboriously crafted to the more economically designed, each one attempting to create a communal architecture to accommodate our bodies and multiple others. The references to contemporary fashion and specialized adornment remain, with the emphasis shifting towards an investigation of how participation can link bodies and forge intimacy.
CamLab’s investment in the body is supplemented by an investigation into the interrelatedness of language and embodiment. Some performances use language exclusively while others depend on non-verbal exchanges. CamLab believes that a contemporary politics of pleasure must acknowledge the contiguity of language and body in facilitating the spectrum of experience between alterity and intimacy.