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



FAQ:  I said “for” the homeless, not “with” the homeless Q: Why

A: I find the least interested audiences to be the most interesting

Q: Do homeless people need art?

A: Art is surplus

Q: Ok, but why would they want it?

A: I don’t want most of the art I look at

Q: But what would a homeless person do with it?

A: Whatever they want.

Q: But they don’t own space

A: They don’t own property. All they own is space.

Q: Will they understand it?

A: These objects are nothing if not obnoxious in their demands to be perceived but meaning isn’t just an analogy to surplus value-- something to be extracted from an object. We’re talking a different kind of viewer, a different kind of sense-making... or trying to create objects that activate a certain kind of sense-making as opposed to trying to create things that make sense

Q: What makes the homeless ‘a different kind of viewer’?

A: You can’t exploit them.

Q: Why?

A: Because they have nothing.

Q: How will they know it’s even art?

A: Because it’s too deliberate to be trash and too arbitrary to be utility

Q: And you didn’t document this?

A: I documented the work immediately after it was produced in the space that it was produced, which was the glass balcony of a penthouse overlooking skid row. I wasn’t interested in aestheticizing the ‘social’ aspect of this project any more than I was interested in neutralizing the site specificity of the work once placed on the street... as if to represent it in terms of a point of view that can be shared by an audience that is not homeless.



Q: So this work is about ‘the other’?

A: If by ‘other’ you mean ‘the relentless persistence of an outside’

Q: So there’s no inherent meaning?

A: I would say there is no inherent value.

Q: What’s the point, then?

A: Space, time, form 

Q: You can’t eat those things.

A: You can’t eat money either.

Q: Why are they made of ice?

A: Because an ice sculpture is the only thing you can’t have

Q: Why not distribute food?

A: I’m an artist not a social worker.

Q: You don’t think artists have a social responsibility?

A: I think everyone has a social responsibility

Q: Do you volunteer?

A: I run a food charity off of Uber but it’s not an art project  

Q: Why not?

A: Because I haven’t contextualized it as one yet. If it were to be, it would be much like Ben Kinmont’s Sometimes a Good Sculpture is Being Able to Feed Your Family

Q: Why Uber?

A: Because it makes them less obnoxious to ride for other purposes.

Q: So you think you deserve it?

A: I don’t deserve anything but I like to feel like I do

Q: Shouldn’t altruism be selfless?

A: Nothing is but lately I think getting out of the viewer’s way is the most helpful thing an artist can do

Q: Is art dead?

A: If that were the case it’d be free

Q: Is anything free?

A: Poverty when you can choose it

Q: Isn’t that a privileged perspective?

A: Necessarily

Q: What does it mean ‘give until it feels good’?

A: Try it.



















White fragility
Paper chain made from every page of "White Fragility: Why It's So Hard for White People to Talk About Racism," by Robin Di Angelo. 192pp.
2020
The chain hung in a doorway at PH1 in los angeles for the duration of a misunderstanding before it extended to the street.

Make: NIKON
Model: E990
Orientation: 1 (Normal)
Resolution Unit: inches
Software: E990v1.1
X Resolution: 300
Y Resolution: 300
 
Make: NIKON
Model: E990
Orientation: 1 (Normal)
Resolution Unit: inches
Software: E990v1.1
X Resolution: 300
Y Resolution: 300
Other media: Sandalwood fan, cement, nail polish

Make: NIKON
Model: E990
Orientation: 1 (Normal)
Resolution Unit: inches
Software: E990v1.1
X Resolution: 300
Y Resolution: 300
Ice, aluminum, india ink