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Notes on Neo-Camp brings together fourteen artists whose work cou ld be said to exploit the heritage of camp in the 21st century. With a few exceptions\, the majority of the artists in the exhibition are based in New York and London\, the western epicenters of both the art market and the cu ltural legacy of Victorianism. Despite many differences among them\, their work shares a highly sensual and plastic sensibility\, which alternates bet ween coy understatement\, as in the paintings and sculptures of Daniel Sins el\, and erotic bombast\, as seen in the paintings of Ella Kruglyanskaya an d the sculptures of Anthea Hamilton. Colors tend be whole and uninflected\, suggestive of integrated values\, best seen in the prints of Matthew Brann on and Camilla Wills and the wall works of Paul Lee\, unfazed by doubt and un-riven by division\, and ultimately as symbolic of reliability as they ar e of concealment and repression. Accordingly\, euphemism\, veiling and meta phor abound\, exemplified in the paintings of Allison Katz\, the sculpture of Tom Burr\, the photos of Talia Chetrit\, and the sculptures of Martin So to Climent. In a largely liberated epoch\, such superfluous psychic and soc ial recourses\, originally the provenance of Victorian puritanism\, seem ch arming and anachronistic. However the deployment of euphemism and metaphor here suggests a complex operation\, not motivated by mere nostalgia. Fetish izing the domestic through related motifs and themes as best embodied in th e bronze sculptures of Ricky Swallow and the paintings of Mathew Cerletty\, the majority of this work elegizes the bygone privacy of the interior\, it self symbolic of an equally bygone\, pre-Freudian interiority and privacy\, an interiorization perceived in the framing devices of Sanya Kantarovsky’s paintings. This fetishization also conspires toward the domestication of c amp\, thus divorcing it from its political\, predominantly homosexual\, sub -cultural origins. It does so not necessarily in order to render it a-polit ical\, but so as to recuperate it as an aesthetic strategy\, comprised of s uch Victorian features as the coded\, ambiguous\, artificial (as in artific e)\, and supposedly sublimated. But for all its disingenuous prudery\, it i s by no means naïve. This work is aware of the impossibility of a return to Victorian sublimation\, and as such\, willfully indulges in a kind of subl imated desublimation. Neither merely ironic nor sincere\, it is caught some where between\, seeking to carve out in an increasingly anemic paradigm of supposed transparency\, bluntness and pornography\, a space of reticence\, suggestion and eroticism.

DTEND:20130720 DTSTAMP:20140921T225042 DTSTART:20130607 GEO:51.4619465;-0.1343895 LOCATION:Studio Voltaire\,1a Nelsons Row \nLondon\, SW4 7JR SEQUENCE:0 SUMMARY:Notes on Neo-Camp\, Matthew Brannon\, Pablo Bronstein\, Tom Burr\, Mathew Cerletty\, Talia Chetrit\, Martin Soto Climent\, Anthea Hamilton\, S anya Kantarovsky\, Allison Katz\, Ella Kruglyanskaya\, Paul Lee\, Daniel Si nsel\, Ricky Swallow\, Camilla Wills UID:273784 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20140921T225042 DTSTART:183000 GEO:51.4619465;-0.1343895 LOCATION:Studio Voltaire\,1a Nelsons Row \nLondon\, SW4 7JR SEQUENCE:0 SUMMARY:Notes on Neo-Camp\, Matthew Brannon\, Pablo Bronstein\, Tom Burr\, Mathew Cerletty\, Talia Chetrit\, Martin Soto Climent\, Anthea Hamilton\, S anya Kantarovsky\, Allison Katz\, Ella Kruglyanskaya\, Paul Lee\, Daniel Si nsel\, Ricky Swallow\, Camilla Wills UID:273785 END:VEVENT END:VCALENDAR