Campbell Projects started in 2001 with inaugural show 'Beautiful Projects' at Ashley Gardens gallery in Bethnal Green, London in 2002. For the next ten years and onwards, 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.
Beautiful Projects, Ashley Gardens, London 2001
Don't You Forget About Me, Studio Voltaire, London, 2003
It Ain't What You Do, 291, London, 2003
Careful What You Wish For, SevenSeven, 2004
Flamboyant, Crown Gallery, London, 2004
Perseverance, Physics Room, Christchurch, New Zealand
and at Embassy Gallery, Edinburgh, Scotland, 2004
All For Show, various international galleries including Farenheit Gallery, Kansas City USA, KX, Hamburg, Germany, Het Wilde Weten, Rotterdam, Cafe Gallery Projects, London and Southern Exposure, San Francisco, USA
House About That!,a semi in Streatham, London, 2007
The Curse of Me,Boiler House, Brick Lane, London 2007
Suburbia,The Foreign Press Association, Pall Mall, London 2008
Play On Words, Sainsbury Centre for the Visual Arts, Norwich, 2008
Suburbia Revisited, Wiebke Morgan gallery, London, 2008
See Me, Bow Arts Trust, London, 2008
Speedy Gonzales, Ex-Mexican Embassy, London, 2009
Ten Seconds on Speed, Ex-Mexican Embassy, London, 2009TEFLTASTIC!, Bethnal Green Library Lecture Hall, London 2010
Sight Specific, The Queens Head, Holborn, London, 2016
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.