Victoria Campbell (b. >1989, satx) Contributing editor @ Spike Art Magazineart double. See Trick 17 [de] in German, Trick 77 in Swiss German, kikka kolmonen (Trick 3) in Finnish, 'n boer maak 'n plan in Afrikaans,[12][self-published source?] to hack it in English, desenrascanço in European Portuguese, se virar in Brazilian Portuguese, Jugaad in Urdu, Hindi, and Punjabi,[13] jua kali in Swahili,[14] diskarte in Tagalog[15] and article 15 in Congolese. For services adaptable to situation, contact  French. ︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎ NAFTA: Contemporary @ ‘Merde!’ Alyssa Davis Gallery Gala, May 26th 2022. Tickets still available! Baitball 02 Time Zone: EDT Closest City: New York


campbellcarolan.com





“LIABILITIES”
(Commissioned by Michael Portnoy, Summer 2021, New York.) 

Begin by marking out the perceived limits of the performance space— any limit, perhaps there are multiple limiting zones— using a line of tape on the floor, with the aim of establishing “signifying boundaries”. Do not explain what they mean. Rather, foster engagement (competition) in the ‘differentiated public’ (what the performance space becomes just prior to and after the audience is assembled and seated) by valorizing some forms of participation and not others. 

Allusions to potential opportunity (or what that signifies) may operate as a motivating paradigm. 

In order to perform ‘Liabilities’ effectively, each performer must be capable of holding ALL OF REALITY- i.e. EVERY HUMAN BEING IN THE ROOM (”BODY IN SPACE”; “MEATSACK”; etc.)for the duration of the piece. Do not let this piece go into overtime and do not leave anything to ambiguity & especially not while simultaneously behaving as if leaving everything to chance. 


Version A: Participants are lined up execution style with a generous amount of space before and behind the line-up. Carolan speaks from behind or out of sight. Campbell supervises the room. The two switch when the preamble concludes and Campbell will read “Fifty Statements” 

All attention should be on the speaker. All engagement should be within the bounds of gameplay (make sure no one is having a conversation in the back, on their phone, or anything that could compromise participation) and the audience should be informed of exactly how long the performance lasts (15-20 min.), exactly when it begins, and exactly when it ends.

Version B: Participants may circle around the speaker with the mic in the middle of the room. Rather than visible goal posts, measure by proximity to the center (where the MC is standing)

Keep the room present. Reinforce the spatial language of “in” and “out”; “inner and outer circle”; “out of the game” or even out of time as often as possible (especially if the preamble goes on for longer than it must.)

In a perfect world: performers are wearing either white lab coats, scrub shirts, or something demonstrably PMC (professional middle class) and are ideally holding clipboards with nothing clipped. Each manages to maintain a sense of total sobriety between sleights of artifice plus the exposure of a dubious relational aesthetic, out of which a kernel of consciousness emerges as foreign as it is intimate. 


︎︎︎Full Performance Text 





“NOBLESS OBLIGE”
N. Y. BIENNIALE (2020) 
Block prints, Chevy Malibu, birdseed, White Claw, ice cooler, speakers, soap.  

Tailgate show featuring 23 block print editions using language from the Karpman “victim triangle” exhibited in a car trunk at the New York Bienniale.

Press Release
PDF


Curated by Dean Kissick. With Jacky Flowers, Matt Hilvers, Precious Okoyomon, Amalia Ulman, Campbell Carolan, Aria Dean, Paige K.B., Sven Loven, Torey Thornton.



“NAFTA MIAMI”
Miami Basel (2018)
Montez Press Radio (2019)

After adjusting David Mamet’s “Glengarry Glen Ross”  to the present-day by staging it in an art fair booth at a speculative fair called “NAFTA”, we performed the work as a radio play using amateur actors, all of whom were industry professionals.

The Montez debut is followed by a roundtable discussion on poetic method, epic theatre, crime, collaboration & the nature of community in the art world. 

Listen
Read


Starring Samuel Ashford, Dean Kissick, Ala Dehghan, James Shaeffer, Pujan Karambeig, Micaela Carolan (understudy)



“OTHER SIDE OF HISTORY”
Columbia University, NY. 
May 1-5, 2018

For the Semicentennial of May 1968, Campbell Carolan debuted a line of bespoke aprons for the Columbia Graduate Student-Teacher Union, who that week lauched their first organized strike.

The Student-Teachers Union is represented by the United Auto Workers Union, which had branded the picketline in visions of New Deal resistonomics. We hand painted each of the 68 aprons in the course of a weekend, each with a slogan or stamp to recognize turning points in the Left-- from Budapest 1956 to the 2011 Movement of the Squares, through Genoa, through Tianemen Square, through the college campus.

Students wore the aprons as they marched down the promenade with our clothing rack, and-- perhaps looking for a grassroots to stand on-- so did a number of visiting city congressmen. 


Documentation

Garments in the collection of the Columbia University Library.  



“HAMSTERMACHINE”
13th St. Repertory Theatre, NY (2016) 
for Conflict Situations/Situational Conflict, an ACT-UP Benefit curated by Nick Faust


A comedic sketch improvised with a paper shredder. 

Plot

Soloway and Chey are women of privilege, and understandably frustrated when it comes to where the hell their power went. As educated as she is exhausted, each woman has but one desire: getting through. To the other, to “it”-- whatever lies on the other side of the pay gap, or turning 30.

They’ve been on hold with Chuck Schumer for a long time. It’s unclear exactly how long, though: neither woman seems to be capable of the kind of empiricism these realities seem to demand from them constantly. Days? Weeks? Generations? At the same time, their bodies are capable of giving life and also taking it, hot yoga, great feats of strength. Nobody wants to blame the victim, but the gaslight, she there burns bright. The psychological intensity of the action onstage is that of moths to a willing flame. 

Taking place against the political crises of early 2017, the play borrows its dialogue from the political terminologies offered up by the (women-led) online communities of the Alt-Right (/rRedPillWomen) . The scripted performance bridges a dangerous new patriarchal consciousness with the mainstream, liberal mindset of the girl next door-- or portends to, should they not mix up their lines. The script covers the entire surface of the folding table (one is drinking out of a Brown U. coffee cup); to prevent confusion, each time a page is complete the paper will be shredded onstage. (This makes the audience very uncomfortable.) 

The play’s title, as well as its dramatic method,  point back to Heiner Meuller’s seminal play, HAMLETMACHINE, a post-Brechtian epic that sees historical crisis restaged as a crisis of masculine identity. Here, the term “hamster” stands to reference the derogatory term used on reddit for a woman who thinks too much (”She’s hamstering again”.) In 1979, Hamlet “lugs his overweight brain like a hunchback”; in 2017, “her head is a cage with a wheel in it.” In both cases, “it’s the worst time of year for a revolution.”(1) 


“ALT-D” 
Future Development, NY. (2016)
Curated by Alli Miller. With Autumn Ahn, Laura Hunt.




Hey guys,

Here’s your dinner. We know you brought your expectations. But don’t worry, we aren’t going to make any assumptions. Or come to any conclusions. That’s why this is a dry event- we already know you’re fluid.

In the wake of President Elect Trump, we decided to do a dinner for the mens community. Then we realized, there wasn’t one. What we found was a community of non-cis, non-binary, non-gender identifying bodies that would prefer not to when it comes to the question of masculinity. Men don’t exist! Only myn! A community of bodies that refuses the question of either/or, instead preferring both and neither one. Picky mouths.

When we speak to something, we bring it into existence. This must be why our colleagues and co-creators-- upon having received our proposal to do a mens dinner-- lovingly, critically, implored: “...don’t speak to men! Speak to singularities. Speak to everyone. Anyone but men,” they begged us. 

At this point we might as well bring politics to the table, too. We lost the erection: the liberal tower has collapsed, the little man of the old regime stands: he’s nuke ready and viagra pumped, a representative of the people.

At the end of the day, your pronouns are your choice, but that doesn’t change your politicians. Man represents man, and the man in power is in power because of his ability to represent a people of enlightened white men-- a people a priori of anyone else but them. 

Forgive us for invoking such a gendered binary.
The difference we have in common is this: we’ve never been adequately represented, and your representation is inadequate.

Well, here’s your meal you guys! We’re still not really sure who we’re representing here, but hey, unstable times call for un- stable politics. So whoever you are, identities, bodies, friends, lovers, singularities-- this is for you!

From your kitchen to our table,

The guys

Documentation




“SOFT SKILL”
Red Bull Studio, New York

Commissioned by Ryder Ripps for the exhibition “Alone Together” and PWRPLANT 

”...In the brand narrative of our time, we are all Single’s profiles, theorized and fabricated hybrids of clients and servers; in short, we are already Coupled. The Couple is our ontology; it gives us our markets. The Couple is a condensed image of both your dream date and your “type.” In the the tradition of racist, male-dominant capitalism, the tradition of reproduction of the self from the reflections of the other — the relation between Individual and Single and the Couple and the Relationship has been a brand campaign.”

Press release for ‘Soft Skills: Mastering Online Performance’, a near word-for-word switch-up of Donna Haraway’s ‘Cyborg Manifesto’ in which