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Camel Collective

05.08.2017 - 03.09.2017


If it can be claimed that critical artists make the invisible visible, then what comes after that? Is it enough to reveal the apparatus of production? does this dispel the illusions to which we are so prone? or does that process itself generate another “sublime object of ideology” in the place of this knowledge? Camel Collective confronts these question in their work, seeking to de-fetishize and make critical — that is, make available for thought — the processes of production and self-production to which we are all subject.

In The Distance Camel Collective asks us to meditate on our own blindness to historical contingencies and the ethical limits of intellectual thought and social movements. The work is a two-channel projected video installation with multi-channel sound. The video’s narrative follows two blind men as they each navigate a complex terrain: downtown Mexico City and El Bordo de Xochiaca landfill. The actors read from the last letters exchanged between German philosophers Theodor W. Adorno and Herbert Marcuse in a sound studio while a team of Foley artists (or Gaviras) add sound effects that complete the cinematic verisimilitude of the moving images. The two philosophers debate the revolutionary potential of the 1968 student movement and the constraints of their own versions of critical theory.

In this work, Camel Collective generates an exploded view of production. The artists provide a framework to trace the problems of radical social movements past and present that would trouble any reductive accounts of theory and practice, production and product.

In parallel with the exhibition of The Distance, Camel Collective will record conversations with a selected group of artists, theorists, critics, and historians. The space of SixtyEight Art Institute will serve as a meeting place and production site for this series of conversations. This activity mirrors Camel Collective’s own process of production, which proceeds from internal conversations, to research and interviews. This research-based practice generates collage-like narratives, which then spiral into discrete families of projects and their derivatives in order to create artistic responses from the intersection of art and theory.

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