LEE CAMPBELL CURATES (2001-2023)
HOMO HUMOUR
at Brewery Tap Project Space, Folkestone, U.K in February 2023
POW! PLAY ON WORDS 5 CURATED BY LEE CAMPBELL, THE BRIDGE HOUSE THEATRE (12/06/22)
BARNEY ASHTON-BULLOCK AND MIKEY
BEN MURPHIE
HANNAH MARIA STANISLAUS
HOMO HUMOUR, OPEN EYE GALLERY, MAY 7TH 2022
Me in discussion with Greg Thorpe
Steve Reinke COREY (1994)
Lee Campbell RUFUS (2021)
Lee Campbell
LET RIP: THE BEAUTIFUL GAME (2020)
Lee Campbell
THE TALE OF BENNY HARRIS (2022)
Marcel Barelli
DANS LA NATURE (IN NATURE) (2021)
Jordan McKenzie
MONSIEUR POO-POURRI TAKES A TOUR OF HIS ESTATE,
Bethnal Green, LONDON
(2010)
John Walter
Courtship Disorder (2015)
Ernesto Sarezale
2020: LOCKDOWN EROTICA (2021)
Wrik Mead
HOW TO CLEAN YOUR CLOSET (2020)
POW! PLAY ON WORDS 4 CURATED BY LEE CAMPBELL, THE BRIDGE HOUSE THEATRE (03/04/22)
HOMO HUMOUR screens at FRISE, Hamburg including discussion with Stefan Moos
Thank you Frise Künstlerhaus for screening my curatorial project Homo Humour - queer male artist moving image in Hamburg (27/03/22) - wonderful atmosphere, great discussion with Stefan Moos and thanks to Eske Schlüters for inviting me and and making this happen, finally after lockdown. Great also seeing Stefan Canham after so many years after All For Show (another curatorial project I created 2005-7) which screened in Hamburg. Next stop for the project: Liverpool
Me in discussion with Stefan Moos
Steve Reinke COREY (1994)
Steve Reinke COREY (1994)
Steve Reinke COREY (1994)
Lee Campbell
RUFUS (2021)
Marcel Barelli
DANS LA NATURE (IN NATURE) (2021)
Marcel Barelli
DANS LA NATURE (IN NATURE) (2021)
Jordan McKenzie
MONSIEUR POO-POURRI TAKES A TOUR OF HIS ESTATE,
Bethnal Green, LONDON
(2010)
Jordan McKenzie
MONSIEUR POO-POURRI TAKES A TOUR OF HIS ESTATE,
Bethnal Green, LONDON
(2010)
Jordan McKenzie
MONSIEUR POO-POURRI TAKES A TOUR OF HIS ESTATE,
Bethnal Green, LONDON
(2010)
LOUNGING (After Teddy Pendergrass, 1981) (2018)
Hamid Waheed
I WANNA WRITE YOU LOVE SONGS (2017)
John Walter
Courtship Disorder (2015)
John Walter
Courtship Disorder (2015)
Courtship Disorder (2015)
2020: LOCKDOWN EROTICA (2021)
Wrik Mead
HOW TO CLEAN YOUR CLOSET (2020)
Wrik Mead
HOW TO CLEAN YOUR CLOSET (2020)
POW! 3 PLAY ON WORDS (LGBT HISTORY MONTH SPECIAL) FEBRUARY 2022
HOMO HUMOUR SCREENING at THE BRIDGE HOUSE THEATRE IN FEBRUARY 2022
Me, Kate Jessop and Liberty Antonia Sadler (discussion chair) at yesterday’s LGBT Film Screenings I curated with Deb Espect at The Bridge House Theatre, London. Deb curated The Funny Side of Lesbianism and I curated Homo Humour #movingimage #queerness #homosexuality #humour #film #videoart #artistfilm #gayhumour #queerhumour #gaycomedy #curator #curating #queerfilm #queerfilmmaker #queercinema #shortfilm
HOMO HUMOUR SCREENING at METAL, SOUTHEND-ON-SEA IN FEBRUARY 2022
An evening of short comedy films marking February 2022’s LGBT History Month, followed by a Q&A. Curated by Lee Campbell and Deborah Espect http://www.metalculture.com/event/homo-humour/
What a wonderful inaugural Play On Words @leecampbellcuratesplayonwords last Sunday. Thanks to all invited acts, stellar sets from Frog Morris,
Spike Zephaniah and Kate Paul
#performancepoetry #spokenwordpoetry #liveart #poetry #spokenword #poetrylondon #penge #southlondon #bridgehousetheatre #bromley
Follow Insta @leecampbellcuratesplayonwords
LEE CAMPBELL CURATES
QUEER PERFORMANCE POETRY FOR BBC RADIO KENT LGBT History Month
(FEB 2021)
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Lee Campbell Curates started in 2001 with inaugural show Beautiful Projects at Ashley Gardens gallery in Bethnal Green, London in 2002. For almost twenty years since, Lee Campbell has curated exciting, dynamic snapshots of some of the most interesting artists working in the UK including Beagles and Ramsay, Sarah Bowker-Jones, Harold Offeh, Doug Fishbone, Juneau Projects and others, with shows combining fine art practices alongside live performances.A three year project (2005-2008) ALL FOR SHOW was held at venues including Café Gallery Projects, London, Studio 1.1, London; Nexus, Philadelphia; Southern Exposure, San Francisco, Het Wilde Weten, Rotterdam, Netherlands; KX, Hamburg, Germany, Galerie Verticale, Montreal, Canada; Physics Room, Christchurch, New Zealand; Lump Gallery, North Carolina, USA and Soap Factory, Minneapolis, USA. ALL FOR SHOW was an internationally-touring exhibition/screening of filmic works by British artists exposing the banalities of everyday life through humour, self-introspection and serious play. These short films made by British artists test the acceptable limits of humour in the white cube art gallery using, what Jessica Lack suggests in her review in i-D magazine (July 2005) ‘slapstick theatrics’ and ‘an awkward and macabre sense of humour […] cringingly funny. These idiosyncratic films succeed in finding surreal quirks in the banalities of everyday life’
SUBURBIA (2008), curated by Lee Campbell, The Foreign Press Association, Pall Mall, London
SCENE IN THE MAKING (2007), co curated with Frog Morris, Concrete and Glass Festival, Shoreditch, London
CURATORIAL PROJECTS
2022 Homo Humour curated by Lee Campbell, FRISE, Hamburg, Germany
2021-2022 Play on Words curated by Lee Campbell, The Bridge House Theatre, London
2021 In Discussion, monthly online artist development sessions (rejuvenated 2020)
2021 Queer Performance Poetry , The Dominic King Show, BBC Radio Kent
2021 Homo Humour, Metal, Southend-on-Sea, Open Eye Liverpool, Vienna Contemporary Art Space
2020 Homo Humour - curated by Lee Campbell, Edge Zones, Miami, Queeresima, Italy
2020 Radical Ventriloquism – curated by Lee Campbell, KELDER projects, London
2019 Radical Ventriloquism: Acts of Speaking For and Speaking Through, 8th annual London Conference in Critical Thought, Goldsmiths, London
2018 Disruptions, Interventions and Liminalities, 7th annual London Conference in Critical Thought, University of Westminster, London
2017 All for Show, V22 Summer Club, London
2017 Curating in the Dark, Toynbee Studios, London
2016 Tactics of interruption, Toynbee Studios, London
2016 Sight (Un)Specific, Metal Chalkwell, Southend-on-Sea
2016 You Don’t Need Eyes to See, You Need Vision, The Queen’s Head, Holborn, London
2008 Stage Struck, Southwark Playhouse, London
2008 Play on Words, Sainsbury Centre for the Visual Arts, Norwich
2008 Suburbia, The Foreign Press Association, London
2007 The Curse of Me, Boiler House, Brick Lane, London
2005 - 2006 All for Show, Various venues:
EDGEZONES, Miami, Florida, USA, May 2005
SOUTHERN EXPOSURE, San Francisco, USA, May 2005
PHYSICS ROOM, Christchurch, New Zealand, June 2005
LUMP GALLERY, North Carolina, USA, July 2005
SOAP FACTORY, Minneapolis, USA, July 2005
FAHRENHEIT GALLERY, USA, July 2006
MIGHTY SCREENLAND THEATRE, Kansas City, USA July 2005
HET WILDE WETEN, Rotterdam, Netherlands January 2006
NEXUS, Philadelphia, USA, February 2006
KX, Hamburg, Germany, March 2006
GALERIE VERTICALE, Montreal, Canada, August 2006
STUDIO 1.
2005 Space Invasion, 45a, London
2004 Perseverance, Physics Room, New Zealand and Embassy, Edinburgh
2004 The Makers, 291, London
2004 Flamboyant, Crown, London
2003 Don't You Forget About Me, Studio Voltaire, London
2003 It Ain't What You Do, 291, London
2002 Beautiful Projects, Ashley Gardens, London
CONFERENCES/SYMPOSIA ORGANISED
2018 Disruptions, Interventions and Liminalities, 7th annual London Conference in Critical Thought, University of Westminster, London
I curated a selection of papers on performative pedagogy in the arts.
2017 Provocative Pedagogies: Performative Teaching and Learning University of Lincoln, UK
This was an international conference exploring the possibilities of the emerging field of ‘performative pedagogy’ and its potential as useful and applicable to enabling learning across a range of artistic and possibly other disciplines.
2017 Curating in the Dark, Toynbee Studios, London
This event contains aspects theoretical/reflective discussion, punctuated by moments of practice from speakers and practitioners unified by a collective interest in deploying acts of visual negation as pedagogy to explore alternative realities where sight/vision is fragmented (and seeing the positive creative potential of this fragmentation).
2016 Tactics of Interruption, Artsadmin, London
This event assembled a range of practitioners and thinkers who will explore the potential for inserting interruption into art and performance practice. Extending discussion on the power of interruption, the event included a series of presentations from Lee and other speakers including Fred Meller, Peter Bond, and The Bad Vibes Club (Matthew de Kersaint Giraudeau & Sam Mercer) and a roundtable discussion with Jane Munro and others, and punctuated by ‘interruptive’ performances from Alexander Costello, Rory Flynn, Morrad+McArthur and Johanna Hällsten.
2015 Technoparticipation, University College Cork, Ireland
This discussion-centred seminar concentrated on the usage of technology to explore aspects of Performance, participation and pedagogy and consisted of presentations of practice and research firstly by Lee Campbell, who spoke about his pedagogic and performative uses of Bluetooth and Skype technology. This was be followed by a presentation via Skype from Dr. Mark Childs who explained instances of his practice and research exploring concepts relating to virtual performance. This was followed by a brief Skype presentation from Annie Morrad who shared her innovative deployment of Skype in terms of making artwork and specifically how she and her collaborator Ian McArthur make positive performative usage of the reverb echo Skype can cause. Whereas most us try to engineer the reverb out, Morrad and McArthur use it as a staple in their work.
Throughout the session, external audiences posted up their comments, observations and questions about what they heard via live Panopto stream using the Twitter hashtag #technoparticipation. http://leecampbelltechnoparticipation.blogspot.co.uk/
2015 Be my Guest (co-organized with Simon Bowes), Five Years, London
As conveners - hosts – Bowes and myself invited readers to explore contractual agency through Derridean concept of hostipitality (Derrida, 2000), wherein a host may be as hostile as hospitable. Readings unfolded through contemporary discourses on participation within an artistic context, from Nicholas Bourriaud’s concept of Relational Aesthetics, to Claire Bishop's ‘Relational Antagonism'.
2013 Heckler (co-organized with Mel Jordan), Trade, Nottingham and Artsadmin, London
Myself 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. The Nottingham symposium was extremely productive and received attended from BBC Nottingham whereby I conducted two interviews with BBC Radio Nottingham.
2012 With Humorous Intent, Oriel Mostyn, Wales
I organized With Humorous Intent a symposium at Mostyn, North Wales in 2012 to explore whether it is possible to assess the application of humour as a set of methodological strategies within a range of contemporary art practices and if so how are these strategies deployed and their results judged. My intention for the symposium was to combine fine art, performance and comedy aesthetics to interrogate artistic embraces of humour and alleviate art history’s rancor towards a comedic presence within art. Previous research I had conducted revealed that art history has been reluctant to acknowledge humour resulting in laughter and is resistant to particular kinds of humour that are only now being embraced by the most recent methodologies. As part of this symposium, I liaised with artists and presenters, devised and maintained a budget, was successful with a university funding bid application to support the symposium, organized a successful publication programme to disseminate the symposium on its completion, as well as engineering technical support and subsistence issues for presenters such as food, travel and accommodation.
2011 Put It Into Practice, The Nunnery, London
In December 2011, I initiated an event to help PhD students and potential research candidates explore making practice under the conditions of PhD examination. Ultimately I was interested in setting up a social event to act as a convivial platform for PhD researchers to share how they interrogate theory with practical application. Put It Into Practice took place at The Nunnery gallery in London. Four presenters spoke for 20-25 minutes followed by brief questions and then a panel discussion of around 1 hour, which I chaired. Issues included; where research locates itself, how the researcher is aware of different disciplines, what governs the research process and being able to be self-reflexive about your practice in context.
