ABOUT




Dr Lee Campbell FHEA is an artist, curator and academic based in London and lectures at University of Lincoln, Royal Central School of Speech and Drama, London and University of the Arts, London. 



'iconoclastic creator and curator' CRASSH, University of Cambridge (2013)

'socially-conscious performance artist' Lee Campbell in interview with Libby Purves, BBC Radio 4 (2008)


‘brave, on such a cold day!’ BBC News (2008)


'not wholly democratic, as Lee is in charge.’ Channel 4 Television (2003) 


'seemingly beautiful, not at all what is first appears.' METRO Newspaper, UK  (2007)


'This is not going to give you anything that you would normally value..this is going to give you something else that’s valuable in the way that you weren’t aware of.' US comedian Reggie Watts (2012)


'exposing the ridiculousness and manipulating the pieces of our commercial culture’ US cartoon satirist Steven M. Johnson (2012)



His practice plays with the parameters of contemporary art that draw attention to the performative and the participative within an art historical vernacular and seeks to theorise, articulate and demonstrate how we may construct meaning between politics of space and the politics of artist/performer/protagonist articulated through visual and verbal languages. He has built a strong international portfolio of research publications encompassing solo performances, artworks (often audience participatory), curatorial projects and self-initiated symposia. For example, in 2011, he organised With Humorous Intent, a two-day symposium at Mostyn, Wales exploring the role of humour within contemporary art practice. In 2012, he led a discussion based workshop and lecture relating to slapstick and art practice at De Appel, Amsterdam and in 2013, he co-organised Heckler, two public discussion based events at Trade, Nottingham and ArtsAdmin, London which interrogated art and heckling. Visual art/performance events he has curated include All for Show, which toured internationally between 2005-7 and Suburbia, held at The Foreign Press Association in London in 2008. Amongst his solo performances include Whitstable Biennale 2008. He has published extensively in the journals/books International Journal of Performing Arts and Digital Media, Performativity in the Gallery and Body Space Technology. His doctoral thesis (2016) was entitled Tactics of Interruption: Provoking Participation in Performance Art. He gave a guest lecture on his work on performative pedagogy at University College Cork, Ireland in 2016 and was invited to give a lecture on his practice as an artist and curator at Slade School of Fine Art, UCL, London also in 2016.

He completed his PhD in 2016 from Loughborough University, his MA Fine Art from Slade, UCL in 2007 and BA Fine Art from Winchester School of Art in 2000. 


Tweet Lee @leejjcampbell
Email Lee lee.campbell@arts.ac.uk

Performance Documentation and Interviews:
www.youtube.com/leecampbellprojects


SELECTED PUBLICATIONS:

July 2017 
“You Don’t Need Eyes To See, You Need Vision: Visual Impairment, Performative Pedagogy and Technology”  in Journal of Pedagogic Development. Volume 7 Issue 2 (Summer 2017)


This paper contributes to knowledge by drawing together performance as pedagogy to demonstrate how teaching styles can accommodate those with vision impairment and adapt (performance) art to make it more accessible. In so doing it seeks to better develop inclusion for students with Visual Impairment. Intermeshing practice, teaching and research around issues of access, participation and education, it builds upon previous work exploring teaching strategies for the visually impaired within contemporary art practice (Axel and Levent, 2003; Hayhoe, 2008; Allan, 2014) and shares useful adaptations to help make learning about art more accessible for students with vision impairment. It also sheds light upon aspects of the question, ‘What are the basics that an educator needs to know when designing art programs for persons with visual impairment?’ (Axel and Levent 2003:51). This paper can be read as a benchmark for critical engagement in its attempt to combine performative pedagogy with an emphasis on technological means, access and visual impairment. While vision is favoured over other senses (Jonas, 1954), never has there been a time in which the meanings of access are broadened via technological mediation—that draws on all senses—to which artworks, as suggested, respond. Relying all senses, then, becomes an aspect of public pedagogy that is more inclusive.

July 2017 
"Collaborators and Hecklers: Performative Pedagogy and Interruptive Processes”  in Scenario - Journal for Drama and Theatre in Foreign and Second Language Education. Volume XI, Issue 1/2017


Arguing for the positive disruptive nature of interruption, this paper concentrates on my current performative and pedagogic usage of interruption within my teaching as the means to achieve three aims: 1) develop aspects of practice discussed in my doctoral thesis ‘Tactics of Interruption: Provoking Participation in Performance Art’ (Campbell 2016) related to the focused usage of interruptive processes in contemporary art practice (Arlander 2009: 2) provide students with direct experience of how interruption may command immediate reaction and force collaborative means of working, i.e. collective survival tactics to deal with interruption; and 3) theorise, articulate and demonstrate how interruption relates to critical reflection (on the part of both student and teacher), extending the ideas of Maggi Savin-Baden (2007) to propose interruption as reflection. To achieve these aims, the paper discusses how I have implemented interruption into learning activity design and evidences how I have created activities that aim to help students understand collaborative learning in cross-disciplinary projects through an effective use of realia (interruption is part of real life). I discuss one first year teaching seminar at Loughborough University in March 2015 (and subsequent related iterations)  combining  performance, fine art and collaboration methodologies where students directly engaged in a range of activities  not displaced from their  own life experiences; there was heavy student engagement in digital technologies, and interruption.  The main outcomes of the teaching session support and go beyond the aims by relating to: 1) experiential learning related to the interplay between ‘collaboration’ and ‘interruption’; 2) performative pedagogy and inclusion; 3) the interplay between teaching, liveness and interruption; and 4) performative pedagogy and the exchange of power relation. 

June 2017

‘Anticipation, Action and Analysis: A new methodology for Practice as Research’, 
PARtake: The Journal of Performance as Research
Volume 1, Issue 2, Summer 2017 (Participation in/and Research: Ethics, Methodologies, Expectations) 

This paper proposes a new methodology for practice-as-research: “Anticipation, Action, and Analysis”.  Critical evaluation of an example of my practice as an artist, the performance, Lost for Words functions as the vehicle to describe Anticipation, Action, and Analysis” and to theorise, article and demonstrate how slapstick can offer useful insights into the operations of the physical body in participative art performance that go beyond abstract theorisation. Scrutinising and examining slapstick’s performativity in relation to the subject of participation (Bourriaud 1998; Bishop 2006) within Performance Art, this paper concentrates discussion on my performance Lost for Words (2011) as a performance that by making use of slapstick as an extreme physical bodily interruptive process, really supports the problems and difficulties involved in participation within Performance Art. My definition of slapstick in this performance relates to undertaking a set of actions which forces participants’ bodies to interrupt how it normally behaves. The paper achieves this by addressing what happens when, as part of the structural framework of the performance, interruptive processes related to bodily incongruity and repetition (Heiser, 2008) are engineered into activities undertaken by participants engaging in physical and bodily processes. Defining the term collectivity as meaning being a member of a group of people with possibly shared experiences, interests and motivations, the paper also amplifies consideration of how the performance can be used to provide useful insights into the importance that collectivity and conviviality (Bourriaud 1998; Clayton 2007) plays within participatory processes. By way of contrast, the paper explores how the anti-social nature of Schadenfreude (Glenn 2003; Miller, 1993; Svendsen 2010 et al.) can also play its part as well as the, as argued, contradictory nature of hospitality (Derrida 2000) in examining how the performer and audience relation can be construed as host/guest.


April 2017
'You Don't Need Eyes to See You Need Vision' , In Sight, published by Royal National Institute of Blind People

This article shares useful adaptations to help make learning about art more accessible for students with vision impairment. Discussion of the highlighted practical adaptations alongside specific teaching activities that I have designed and delivered is where key pedagogical interest lies; they represent principle learning outcomes that readers s are encouraged to apply to their own pedagogic strategies where appropriate.



October 2016


'The Classroom Observer: Unwanted Interruption or Welcome Witness?'
For many teachers, classroom observation can be a painful interruption/intrusion (Wragg, 1994:15) in the flow of a lesson’s delivery in terms of facilitating a meaningful, creative and enjoyable learning environment that is supportive to both learner and teacher. Whilst I acknowledge that observation can be a daunting experience, eliciting fear and dread at having someone, an ‘intruder’ (Minton, 2005:18) who is not normally part of the audience, watch and scrutinise an individual’s teaching style (O’Leary, 2014:62), I argue for the positive promotion of classroom observation (Double and Martin, 1998) and stress the benefits of ‘develop[ing] personal skills of evaluation and self-appraisal’ (1998:162). The discussion of an observed teaching session that I gave to a group of first year Fine Art undergraduates at Loughborough University in 2015 whose overall purpose/aim of the session was to familiarise students with core issues relating to the usage of sketchbooks as a common staple within contemporary art practice, helps to support my argument that the positive aspects of classroom peer observation (as a live process) outweigh the negatives and can in fact be supportive in providing an opportunity for teachers to realise or reinforce (O’Leary, 2014:62) the strengths in what they are doing. This is in addition to providing a window for the teacher to gain critical constructive feedback from often a more experienced colleague, who has probably at many points during their own teaching career, experienced similar moments of anxiety, positivity and reflection. The danger and the unanticipated events that ‘liveness’ can throw up is half the excitement of teaching. Indeed, ‘coping with the unexpected is an important part of successful teaching’ (Race, 2009:20).

December 2015
“Technoparticipation: Intermeshing performance, pedagogy and interruption in virtual and physical space”. Body, Space & Technology, Brunel University – 2015, Published in association with the School of Arts at Brunel University.

Arguing for the positive disruptive nature of interruption, this article concentrates on my current performative and pedagogic usage of Skype  to promote the positive aspects of interruptive elements within performative pedagogy. Referring to technoparticipation, this article explains how teaching and learning activities that combine performance, participation, and technology within the learning environment can be punctuated with varying degrees of interruption that are structurally engineered into their framework. 
This practice as research is supported by a Loughborough University Teaching Innovation Award and draws together discussions from within Performance Studies and the ever-growing discipline of E-learning. Skype as interruption is addressed in terms of both theory and practice in order to argue that its interruptive capacities are useful in unpacking key concepts relating to the terms ‘embodiment’ and ‘disembodiment’,‘virtuality’ and ‘physicality’, and ‘absence’ and ‘presence’ amongst others. This article focuses on an instance of technoparticipation practice that took place in Summer 2015 at University College Cork. The project was put forward as prime evidence of how technology and the operations of interruption can collectively be used to further understand the aforementioned concepts.

July 2014
'Beyond Pollock: On visual art objects as non-traditional forms of performance document’, edited by Toni Sant, The International Journal of Performance Arts and Digital Media. Taylor and Francis

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.

January 2014

‘Performance, participation and politeness’  in (eds) Remes, Outi. Leino, Mariko and MacCulloch, Laura, Performativity in the Gallery: Staging Interactive Encounters (Oxford: Peter Lang Ltd.

This chapter aims to generate a conceptual discursive space to explore how the term performance may operate as a methodological rationale in the planning, production and dissemination of a work of performance art. My intention is to inform readers of the strengths and advantages as well as the limitations and dangers that I have experienced using performance as a tool within the context of contemporary art practice as a means to prise open the mechanics of the phenomenological relationships that people have with one another.

August 2012

'Visual Recorders’, Body, Space & Technology, Volume 11 / Number 01 Brunel University - 2012. ISSN 1470-9120. Published in association with the School of Arts at Brunel University.


Aiming to map out a politics of form when recording a performance using three visual mediums: painting, drawing and writing to interrogate Auslander's limited views on the suitability of recording devices, I connect my ideas concerning the importance of self-reflexivity in research and Auslander and Phelan's opposing views with more recent discussions concerning performance documentation including Sally O'Reilly's denomination of performance records as 'portals' allowing non-attendees of the event to 'imagine what the past event might have been' and Catherine Elwes' statement in On Performance and Performativity (2004) that performance can only be accessed through documentation.




CONFERENCE PROCEEDINGS, INVITED KEYNOTE SPEECHES AND RESEARCH PAPERS GIVEN


2017 Central Saint Martins Academic Support Forum (invited guest speaker),
2017 University of the Arts London Teaching and Learning Away Day (organised panel discussion with papers by myself, Fred Meller and Peter Bond),
2017 Scenario International Conference on Performative Teaching, UCC Cork Ireland
2016 Go Bananas! Performance Art and Provoking Participation  (invited solo lecture), Slade School of Fine Art, UCL, London 
2016 Performative Pedagogy (invited guest speaker), University College Cork 
2015 Inspiring Research, Loughborough University 
2015 Performance Politics and Protest, University College Cork  
2015 eLearning 2 Conference 2015, Brunel University 
2013 Documenting Performance Working Group, Theatre and Performance Research Association Annual Conference, University of Glasgow  
2013 Beyond the authority of the ‘text’: performance as paradigm, past and present (invited guest speaker) Cambridge University 
2013 Impoliteness and Interaction (with Mel Jordan) Kazimierz Wielki University, Poland 
2013 Performing Documents, Arnolfini, Bristol  
2012 Comedy as a Curatorial Workshop (invited guest speaker), Lionel Dobie Project,Manchester
2012 Dialogues in Performance I: Collaboration (invited guest speaker),  Central Saint Martins, 2012 Two Artists Walk into a Bar (invited guest speaker),  De Appel Boys School,  Amsterdam
2012 Performing Research Creative Exchanges, Central School of  Speech and Drama, London 
2012 The Inquisition, Summer Lodge 2012, Nottingham Trent University, Nottingham  
2012 Documenting Performance Working Group Interim,  University of Hull, Scarborough 
2011 Being Heard, Being Seen, Chelsea Theatre, London
2011 The Practice Exchange, Chelsea College of Art and Design, London
2011 Political Performance, GRAD, Belgrade
2011 Documenting Performance Working Group Interim University of Kent, Canterbury 
2011 (with Lucy O’Donnell) Performing Sublimities, University of  East London
2011 (with Lucy O’Donnell) MIRIAD Carnival Manchester 
        Metropolitan University  

SELECTED RECENT CURATORIAL PRACTICE


2016 You Don't Need Eyes To See, You Need Vision, The Queen's Head, London 2010 TEFL-TASTIC!, Bethnal Green Library Lecture Hall, London 2009 Ten Seconds on Speed, The Former Mexican Embassy, London 2009 Speedy Gonzales, The Former Mexican Embassy, London 2008 Human Resources (co-curated with Frog Morris), V22 Wharf Road Project, London 2008 Scene in the Making (co-curated with Frog Morris), Concrete and Glass, London 2008 Stage Struck, Southwark Playhouse, London 2008 See Me, Bow Arts Trust, London 2008 Suburbia Revisited, Wiebke Morgan, London 2008 Play On Words, Sainsbury Centre for the Visual Arts, Norwich 2008 Suburbia, The Foreign Press Association, London

SELECTED RECENT SOLO EXHIBITIONS AND PERFORMANCES

2015 Bodies That Resist, Athens School of Fine Art, Athens, Greece 2012 The Comedy of Curatorial Performance, Lionel Dobie Project, Manchester 2012 Experimental Comedy Training Camp Public Performances, Banff Centre, Canada 2011 Testing Grounds, South Hill Park, Bracknell 2011 On Your Marks (with Lucy O’Donnell) Parfitt Gallery, Croydon 2011 Archipelago, Cafe Gallery Projects, London 2010 Scapegoat Society, Guest Projects, London 2010 Bluetooth Cinema, Milton Keynes Gallery 2010 Tongue Tied, The Agency, London 2010 Centre For Recent Drawing and other artists Shankhill Castle, Ireland 2009 The Kiss of A Lifetime, Bearspace, London 2009 To All Those I've Loved and Lost, SHUNT, London 2009 The Role of The Village Idiot, Peckham 2008 Fall and Rise, Whitstable Biennale, Whitstable

SELECTED RECENT BIBLIOGRAPHY/ ILLUSTRATIONS/ INTERVIEWS



2013 BBC Radio Nottingham interviews with Andy Whittaker and Frances Flynn 2012  THIS IS NOT A SCHOOL/FREE SCHOOL catalogue.  Author:  Five Years, London 2011  ‘Archipelago’ catalogue. Author: Gary Stevens/ArtsAdmin 2011 Testing Grounds at South Hill Park. Author: Corrine Felgate 2008 Free Art Fair 2008 catalogue. Author: Free Art Fair 2008 Hijack Reality: ‘How to put on a topnotch art festival‘. Author:  Bob and Roberta Smith 2008 BBC Radio 4 Midweek interview with Libby Purves (25/6/2008) 2008 Whitstable Biennale interview with BBC South East News    

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