Camp As Paradigm
26.09 – 16.11.2024
Camp and its predicates:
refugee, concentration, extermination,
theater, fat, Jesus, boot
The complete domination of the subject
Camp in the most general sense, occupation of space (what you do with tents);
Camp as homosexual aesthetic affect, an inversion of value;
The camp as the place outside the juridical order, the state of exception
Sam Lipp’s exhibition in Canada with Bonny Poon, “Camp as Paradigm”, containing four paintings in oil on primed steel depicting mugshots of sexy Parisian lowlifes (artists, vagabonds, anarchists) from the 1890’s, via their listings for commercial licensing on g*ttyimages [“Artist: Alphonse Bertillon” (French criminologist, inventor of the mugshot, giver of false testimony)].
Mugshot as first encounter:
Primitive accumulation of the biometric
In a darkened room adjoining the gallery, a video plays on a monitor before an unmade bed, a cut-up of The P*ssion of the Christ singin’ “Do what you want with my body” (Copyrights of Man).
Camp and its setting: the tent
The total collapse of the artwork (following the human body) [INCOMMENSURATE] into currency.
The integral cohesion between image capture and a carceral framework
A trace of the camp infests every flawless selfie
.Toward the commons
29 years. Day laborer. Anarchist. Vagabond. 2024
Oil on steel, spray paint, screws.
29 x 23 in
30 years. Miner or gas worker. Anarchist. 2024
Oil on steel, spray paint, screws.
29 x 23 in
Oil on steel, spray paint, screws.
29 x 23 in
19 years. Clothes tailor. Anarchist. 2024
Oil on steel, spray paint, screws.
29 x 23 in
Copyrights of Man, 2024
Digital video.
3:44
Ed of 3 + 1 AP