Cameron is a composer, sensory percussion drummer, intermedia artist and educator, interested in the capacity of intermedia worldbuilding and parafiction to structure, reorient and proliferate sonic and musical experience.
MUSIC
Electronic
Acoustic
Sound Design
INSTALLATIONContact Results in Contagion
Your Body is a Colony
Encounters
Zenith / Bernaskoni
INTERMEDIA / PERFORMANCEAdmiror
J’ai Attrappé un Éclair
Abstracts, With LoveVISUAL
Worlds
TextFILM
Metamers
Rhadinace
Biography
Soon/Recent
Press
Contact
Worklist
→ Admiror, Or Revolutionary Sentiments
2024 commission by The Guggenheim Museum
Originally Commissioned by BEK Bergen 2023
Developed at Medialab Matadero
Performances:
- The Guggenheim Museum New York October 30th 2024
- Centre d’art contemporain de la Ferme du Buisson November 30th 2024
- FACT Liverpool February 2025
- Medialab Matadero February 2024
- Østre Bergen Nov 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 work by artists Bahar Noorizadeh and Klara Kofen, Cameron Graham and Rudá Babau.
It stages five episodic dialogues on the sentimental logic of capitalism and their revolutionary dialectical doubles. 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 a feeling of “sympathy”, rested on the imaginative affordances of the spectator. Bound together they formed the emotional order that enabled the operation of free market capitalism. “Admiror” departs from the imaginative, emotional role-play underpinning modern market relations, and evolves into LARPing ideas around the revolutionary subject and theories of contingency and change.
It tracks the transformation of the mechanics of imagination from the body to the market, exploring the dialectics of “structure” according to models derived from European enlightenment and of the “speculative” that artificial intelligence is today aspiring to. In doing this, the work attempts to understand the affective underbelly of these structures, their inherent mysticism, and desirous qualities. By mapping the process of “rehearsing new models” onto the ever-shortening window afforded us by climate change, “Admiror” tries to articulate new ways for thinking through the subject of revolution.