Camp Critique: Queer Performance, Austerity and British Live Art (2010-present)

我的项目研究了酷儿表演如何应对构成紧缩时期的稀缺和过剩的物质极端。重新语境'营地'远离苏珊桑塔格的概念，它作为一个非政治性的审美，我建议酷儿表演者利用营地的形式来挑战自然化的约束和约束作为必要的社会经济控制，并与它，根深蒂固的线性时间逻辑的生产时间。相反，酷儿表演者以有限的物质手段实践着丰富的文化生产模式。我的理论营地作为一种表演的方法，实现替代的可能性，生产时间和不平等的剥夺紧缩政策下的政治。

My project examines how queer performance has responded to the material extremes of scarcity and excess which constitute austerity time. Recontextualising 'camp' away from Susan Sontag's notion of it as an apolitical aesthetic, I propose that queer performers utilise a camp modality to challenge the naturalisation of privation and restraint as necessary socioeconomic controls, and with it, entrenched linear temporal logics of productive time. Queer performers, instead, practice abundant models of cultural production with limited material means. I theorise camp as a performative approach which actualises alternate possibilities to productive time and the politics of unequal deprivation under austerity.