Cameron is an artist, musician, sensory percussion drummer and educator, interested in the capacity of intermedia performance and technological experimentation to structure, reorient and proliferate sonic and musical experience.

instagram: instagram.com/cmbiragraham

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Electronic Music
Instrumental MusicINSTALLEDContact Results in Contagion
Your Body is a Colony
Zenith / Bernaskoni
Encounters
PERFORMANCE+
INTERMEDIAAdmiror
J’ai Attrappé un Éclair
Abstracts, With LoveOTHER Writing
Simulation
FOR FILM
Metamers
Rhadinace
Sound Design

→ Admiror, Or Revolutionary Sentiments


New commission by The Guggenheim Museum 2024
Originally commissioned by BEK Bergen 2023
Supported by Medialab Matadero

Performances/Tour: 
- FACT Liverpool February 21 2025
- Centre d’art contemporain de la Ferme du Buisson November 30 2024
- The Guggenheim Museum New York October 30 2024
- Medialab Matadero February 2024
- Østre Bergen November 2023

Concept, Creative Direction, Text, Narrative: Bahar Noorizadeh and Klara Kofen
Sound, Composition, Sensory Percussion: Cameron Graham 
Design and Animation: Rudá Babau 
Additional voice: Nick Houde 
Baroque Movement Consultant: Dionysios Kyropoulos

Admiror is a collaborative performance work, conceived by Bahar Noorizadeh and Klara Kofen with music, sound design and live sensory percussion by Cameron Graham and CGI design and animation by Rudá Babau. Admiror stages oppositions between the sentimental logic of liberalism and the feelings that propel liberation. 

A decade before publishing his magnum opus “The Wealth of Nations”, Adam Smith released his less discussed premise for the ethical foundation of free market economy in “The Theory of Moral Sentiments.” Moral sentiments, linked to the feeling of “sympathy”, rested on the imaginative affordances of the spectator. Together, sympathy and imagination formed the emotional order that enabled the operation of free market capitalism.

The title — Admiror — refers to a baroque hand gesture that requires throwing hands up in the air in an expression of awestruck worship, love or astonishment. In baroque performance, every gesture precisely expresses the sentiment underlying the text: from the position of the heels, to the angle of the fingers, gesture provided “the people” with a vocabulary, developed over centuries, to assess the authenticity of the characters, understand their past and predict their future.

Admiror departs from this imaginative emotional role-play lubricating capital relations, and evolves into LARPing revolutionary pasts and contingent futures — French, Haitian, Iranian, and what’s yet to come. Moving through cycles of repetition and incremental change, the work choreographs the mechanics of imagination, from the baroque body to the modern market. It performs the affective underbelly of these structures, their inherent mysticism, and desirous qualities. Admiror tries to articulate the potential for thinking the subject of the revolution, and the process of “rehearsing new models”, at a time when the moral architecture of market liberalism and human rights is falling apart in front of our eyes, alternative social movements abound, yet universal liberation continues to be postponed.