Lee Campbell 'Beyond Pollock', International Journal of Performance Arts and Digital Media

Following ‘Heckler. Politeness, Performance and Participation’ in Performativity in the Gallery : Staging Interactive Encounters 
edited by Outi Remes, Laura MacCulloch and Marika Leino, published by Peter Lang, I am very pleased to announce my
second published text this year‘Beyond Pollock’ in the current issue (Volume 10, Issue 1) of International Journal Performance Arts 
and Digital Media. 

The article is currently available at for registered users

If you are not a registered user, I have a free pass for the first fifty readers so do contact me if you would like access.
The hard copy version of the journal will be out shortly. 


This article focuses on the relationship between performance documents and visual art objects in response to a philosophical position
 concerning documentation forms held by Philip Auslander. By addressing visual art forms over what may be argued as modern technological 
approaches to documenting performance – digital video-recording and still photography – this article reports on a selection of practice-based
 research projects within the canon of Performance Art that use non-traditional forms of performance documentation to propose that bringing 
together visual art and performance-related discourses is helpful in articulating the document. Rather than focusing on a discussion concerning
 a politics of form connected to the document in terms of representation and ideas surrounding ‘truth’ (i.e. how different forms of document may
 be hierarchically placed in their attempt to represent an action that is now absent), the article concentrates on the act of producing documentation 
as a process that is both liminal and embodied. Addressing and then departing from earlier research by the author that prioritizes different levels 
of witness via the document, the main research projects address first-hand witness to gain a better understanding of how the act of documentation
can be viewed as a performative process and an opportunity for social communication. Whereas the discourse connecting visual art objects with
philosophies regarding the performance document remains under-explored, the article can be read as a benchmark for critical engagement 
in its attempt to combine performance and visual art-related concerns into two idiosyncratic but not highly disparate forms of creative practice.


audience, body, communication, document, liminality, Performance Art, performativity, visual art, witness


The author would like to thank Dr. Toni Sant, Dr Gillian Whiteley, Mel Jordan and Johanna Hällsten (Loughborough University School of The Arts), 
Michael Hall and Coralie Sheppard (Invisible Print Studio), Mike Chavez-Dawson, Robert Luzar, Carali McCall, 
Dr Birgitta Hosea and Peter Bond (Central Saint Martins) and Dr Susan Broadhurst (Brunel University).

Lee Campbell is Associate Lecturer in Performance at Central Saint Martins in London and 
has previously taught at Wimbledon School of Art, UK. In 2014 he is due to complete a full-funded research studentship for a PhD from Loughborough University School Arts.
 Since 2000 he has worked as a practicing artist and has exhibited artwork internationally in a variety of group and solo exhibitions.


Campbell, Lee, ‘HECKLER. Performance, participation and politeness : using Performance Art as a tool to explore the liminal space between art and theatre and its capacity for confrontation' in Remes, Outi, MacCulloch, Laura and Leino, Marika (eds.), Performativity in the Gallery: Staging Interactive Encounters (Oxford: Peter Lang Ltd., 2013).




at ArtsAdmin, London 
19 September, 7:30pm

Artists Lee Campbell and Mel Jordan explored the potential of the heckler as a speaker that can offer a revised understanding of social exchanges within contemporary debates on participation, linguistics, ethics and communication, by arguing that the heckler, a person who disrupts performances, speeches and public addresses should be considered as a metaphorical figurehead of impoliteness.

In a bid to further how we may vocabularise the heckler, Campbell is currently engaged in a practice-based Ph.D at Loughborough University School of the Arts, which argues for the heckler to be discussed beyond the parameters of comedy, politics and public speech. By reconstituting the heckler through the language of contemporary art practice, he advocates that the heckler’s act of interruption is an exciting, transgressive and subversive platform in which to interrogate the arena of performance-based artwork. 


Two interviews for BBC Radio Nottingham 12th and 13th July 2013 promoting Heckler at Trade, Nottingham, an symposium interrogating the heckler, organised by Loughborough University School of the Arts' Mel Jordan and Lee Campbell.

The first broadcast was at 7:55am on 12th July 2013 between presenter Andy Whittakler and Lee Campbell, Bruce Asbestos (Trade director) and Steve Fossey.
The second broadcast (4 mins 25secs in) was at 11.15 on 13th July 2013 between Lee Campbell and presenter Frances Finn

Dániel Z. Kádár: The ‘Impoliteness’ of the Heckler - A Mimetic-Relational Perspective
    David Mabb: Protest Paintings
   Ian Bruff: The materiality of the body and the viscerality of protest
    Sarah Sparkes: The Disembodied Heckler
    Lee Campbell and Claire Makhlouf Carter: Contract, Collaboration and Confrontation
   Welcome and Introduction Mel Jordan

HECKLER:Tactics to heckle, hiss, howl and holler. A symposium of performative presentations and provocations entitled organised by Loughborough University School of the Arts Lee Campbell and Mel Jordan in association with Trade, Nottingham.

Keynote Speakers: Peter Bond, Ian Bruff, Daniel Z. Kadar
Other contributors include: Robin Bale, Andrew Brown, Lee Campbell and Claire Makhlouf Carter, Corinne Felgate, Ben Fitton, Mel Jordan, Kypros Kyprianou, David Mabb, Tim Miles, Sarah Sparkes

Keynote speakers:
Daniel Z. Kadar, Professor of English Language and Linguistics, Director, Centre for Intercultural Politeness Research, University of Huddersfield. Provisional paper title: The heckler's 'impoliteness': A mimetic-relational perspective.
Peter Bond (Senior Lecturer, Performance theory and practice, Central Saint Martins College of Art & Design). Provisional paper title: Off-side.
Dr. Ian Bruff (Political Scientist, Lecturer in International Relations at Loughborough University’s Department for Politics, History and International Relations).

Audience booking link -

Speaker Abstracts and Biographies here:

Trade, 1 Thoresby Street, Nottingham, United Kingdom, NG1 1AJ.

Saturday 13 July 2013
12.30 - 18.30


  21 June 2013, 9:00am to 22 June 2013, Manchester Metropolitan University,Creative Arts New Building.

I presented a collaborative paper with Dr Claire Makhlouf Carter on Friday 21 June 2013.

Collaboration is an issue at the centre of practice research. It is understood differently in different practices, whether in music, dance, drama, fine art, installation art, digital media or other performance arts. Practice research might incorporate practice-led or prac

Keynote addresses include: Mine Dogantan Dack (Middlesex University), with a presentation entitled “Why collaborate?: Towards a philosophy and politics of creative collaboration”, and Anthony Gritten (Royal Academy of Music), with a presentation entitled “Trust in Collaboration, from Policy to Practice”.

Hosted by: Practice Research Unit (Kingston University)  MIRIAD (Manchester Metropolitan University), in association with PARCNorthWest, Institute for Performance Research (MMU Cheshire), Centre for Music Performance Research, Royal Northern College of Music.

Kazimierz Wielki University, BYDGOSZCZ, POLAND  23-24 MAY 2013

Lee Campbell and Mel Jordan  
Oh heckler, where ART thou? 
 The figure of the heckler and the relationship between rudeness and contemporary audience participatory art practice


Ewa Bogdanowska-Jakubowska - University of Silesia,
Derek Bousfield -Manchester Metropolitan University
Dániel Kádár - Huddersfield University
Małgorzata Marcjanik - University of Warsaw
Marek Łaziński - University of Warsaw
Ljiljana Šaric - University of Oslo

The aim of the conference was is to provide an interdisciplinary platform for discussion over linguistic and nonlinguistic impolite behaviour across languages and cultures. The focus of the conference will be pragmatic and sociolinguistic  aspects of impolite behaviour analysed both in terms of verbal and nonverbal communication, however we also welcomed presentations across a wide variety of topics stemming from neighbouring fields of research, such as social studies, political studies, psychology, intercultural communication, media studies, etc.

- disagreement
- rudeness
- ignorance
- aggravation
- offence
- verbal aggression
- sarcasm
- mock politeness
- humour and impoliteness
- using taboo words
- swearing and expletives, etc.

Lee Campbell and Claire Carter: 
Performance, Participation and Politeness.
Download my paper 'Confrontations, Collaborations, Humours and Hecklers' which was part of a collaborative presentation as artwork with Claire Makhlouf Carter from

Cambridge University Centre for the Arts, Social Sciences, and Humanities (CRASSH) one-day conference, Tuesday April 16th 2013, 10am-10pm

‘Performance: a paradigm shift?’
Music, theatre, literature, film, painting, sculpture – what these and other cultural phenomena have in common is the capacity to simultaneously exist as an object (fixed, a    record) and an experience (time-specific and body-specific). ‘Performance’ can be seen as the negotiation of these ontologies. The idea that ‘texts’ have fixed or stable ‘meanings’ has been effectively challenged in the last century by an increasing privileging of the receiving context. But this move has traditionally been discussed in terms of singular, stable, unitary readers and viewers, and individual acts of reception. Performance as a hermeneutic approach repositions the intelligibility of works of art as a function of their multiple and mixed audiences, or the implicitly public nature of their messaging, however privately created and consumed. In the case of re-perfomance, the recognisable work (or ‘classic’) can be seen less as a ‘text’ which travels through time than as a space of opportunity for engagement with a present, i.e. as enacting a live meeting point for audiences: implied and embodied, individual and multiple, past and present.

The conference proposes performance as a useful conceptual tool for grasping what different acts of cultural communication have in common. It asks how what is going on the modern art gallery, for example, is related to what is going on in literary studies, or music, and how they may be responding to similar environmental prompts…performance invites us to ask not what things are, but how we know and think about them - and how 'we' are already part of their gesture. It is a paradigm shift which derives from and reinforces the need to challenge existing definitions and boundaries. By discussing these and other issues from the perspective of the both the present and the past, the conference will take advantage of other periods and cultures in which concepts of art, theatre, dance, music, literature and the public may be completely different from our modern (post-1880s) categories and the logocentric distinctions and values they enshrine.

Lee Campbell and Claire Carter:
BAD DOCUMENT: The document as antagonist. 

As a 30 minute conversation, we will take the figure of the heckler as a person who undoes comfortable differentiations between polite/rude, social/antisocial, speaker/listener, performer/spectator etc and reflect upon a recent collaborative performance-based arts project, in which we set up an artistic situation which interrogated the live performance, performance document as witness, and the characteristics of a heckler.

During our conversation, we will refer to the document as heckler and will address how our use of a contract and a factual analysis operated as performative documents. Through an understanding of the performative as related to ‘action’ in response to John Langham Austin’s ideas surrounding the speech act, we will describe how the actions between us generated moments of confrontation throughout the project. Our contract set out conditions to be performed and was seen by both of us as having a multi-function; as legal agreement, artwork, and performative document. Claire ultimately referred to our contract as a heckle as the reality of using the contract as a working performative document had a difficult yet exciting and challenging antagonistic quality. Similarly, the factual analyses which we wrote to state our own versions of the project’s events also generated problems. 

Tweets by drpaulhurley

2013-04-12 19:35:12
Gaps in factual analysis when they also function as reflective documents - Burden explicitly excludes personal. Burden of proof.
2013-04-12 18:14:23
Non-heckling in set up project as heckle. A double bluff CMC? Heckling opened up as an invitation. Physically destroying documents
2013-04-12 18:13:17
CMC: Participation contracts. LC: Burdenesque factual analysis of meetings and preparation for presentation heist.
2013-04-12 18:12:51
CMC: 12m long live document of medical graphs (pulse, breath, perspiration, etc.) undertaken during viva voce exam.
2013-04-12 18:11:53
LC: Modes of writing as heckling academic writing.
2013-04-12 18:11:36
LC: 'On your marks' - acts of drawing and marking as gestures of hospitality, conviviality. Actions become artworks in own right
2013-04-12 16:34:31
Lee Campbell and Claire Makhlouf Carter on antagonism, heckling, and art happy slapping.
on Friday 12th April 2013 at Arnolfini, Bristol, UK
as part of Performing Documents conference

Lee Campbell and Claire Carter
Performing Research Creative Exchanges: Central School of Speech and Drama,  London, January 2013

Lee Campbell Dialogues in Performance I : Collaboration.  Central Saint Martins, November, 2012


Video documentation:


Here are a selection of my solo performances as part of the residency.

COPY CATS! Five Years gallery publication
Lee Campbell invited artists Mark Harvey, Alexander Costello, Mike Chavez-Dawson, Duncan McAfee, Sarah Bowker-Jones, Alex Baker and Mike Ryder to create new artworks for a publication as part of FIVE YEARS, London recent THIS IS NOT A SCHOOL programme.

A paper which is part of Brunel University's online journal BST
go to PAPERS and then Lee Campbell 'Visual Recorders'

SCHOOL OF LAUGHTER at Space Station Sixty Five, Kennington, London

Hoopla! A solo performance with Claire Calmon using word alliteration with the Olympics as a theme.

In July I participated in The Inquisition: Summer Lodge 2012, Nottingham Trent University.

13 Apr — 13 May 2012
de Appel Boys' School, Eerste Jacob van Campenstraat 59, 1072 BD Amsterdam

"– quite apart from making us laugh – it [humour] has been employed to activate repressed impulses, embody alienation or displacement, disrupt convention, and to explore power relations in terms of gender, sexuality, class, taste or racial and cultural identities." 
- Jennifer Higgie -
De Appel Curatorial Programme 2011-2012 preseneted Three Artists Walk into a Bar..., a series of works and interventions that took place outside of the premises of the exhibition space, channelled through discussion, dialogue, and public gatherings at the Appel Boys’ School and on the website of the project, Using the quality of humour to test the potential of art as a critical instrument for the analysis of social, political and cultural issues, this project aimed to build a community of peers, professionals and a variety of publics. The commitment to humour, stemmed from a belief in its social quality; in its capacity to bring subversive voices and unexpected perspectives to mainstream awareness.
A programme of lectures and workshops by internationally renowned practictioners from the field of art, theory and comedy. by Joost de Bloois, Lee Campbell, Simon Critchley, Dora Garcia, Giselinde Kuipers, VOINA, amongst others

TaPRA Working Group DOCUMENTING PERFORMANCE Interim event at the University of Hull, Scarborough, March 24th 2012

The symposium entitled Interdiscipinary Approaches to Documenting Performance saw Prof Barry Smith as keynote speaker and included a range of papers from presenters across the UK. Details from Dr Toni Sant.

was a two day symposium interrogating the deployment of humour within contemporary art practices from 2nd-4th March 2012 at Mostyn, Llandudno, North Wales, UK organised by Lee Campbell, PhD researcher, Loughborough University School of the Arts, UK in cooperation with Mostyn and Loughborough University School of the Arts, in conjunction with Politicized Practice Research Group to coincide with ‘Ha Ha Road’, Mostyn, 03 Dec - 11 Mar 2012.


Speakers included Gillian Whiteley (aka bricolagekitchen); Gary Stevens and Dave Ball, curator of Ha Ha Road, Mostyn.

Some of the WITH HUMOROUS INTENDERS.. L to R Dave Ball, Frog Morris, Dean Kelland, Lee Campbell, Alison O'Connor, Waldermar Pranckiewicz.
'ON YOUR MARKS' residency July 2011 with Lucy O'Donnell
Video recording of performance at Parfitt Gallery, Croydon
available here
'Painting The Performance' at The Centre for Creative Collaboration January 2011
'Lost For Words' Part II as part of Political Performance symposium, Belgrade 2011
'Lost For Words' solo performance at Testing Grounds, South Hill Park, UK 2011