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

我的项目考察了酷儿表演如何回应物质极端的稀缺和过剩，这构成了紧缩的时间。从苏珊·桑塔格（Susan Sontag）将“营地”作为一种非政治美学的概念重新语境化，我建议酷儿表演者利用营地的形态来挑战作为必要的社会经济控制的贫困和约束的归化，并由此确立了生产时间的线性时间逻辑。相反，酷儿表演者用有限的物质手段实践了丰富的文化生产模式。我将坎普理论化为一种表演性的方法，它实现了生产时间和紧缩下不平等剥夺政治的替代可能性。

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.