Camille Casemier




Maybe this time I’ll , 30 minute performance produced while in residency at Murmuration, a particular 
set of instincts responding to the objects, stories, and land around me in Arena, Wisconsin.  


Untitled Phone Performance, 2026, University of Tennessee-Knoxville. A ten-minute FaceTime performance combining live audio and images, developed as a companion to a lecture-performance on headlessness in photographic history.  
 

Infill, 2025, Foreign & Domestic, New York NY. A gesture repurposed for a conversation on colonial era infill, suddenly the churning in my chest felt kin to the shipwrecks shoved into the ground.


rock coat 岩衣 , 2025, Hong Museum Wenzhou, China. A virtual performance lecture on my long distance research of the Wenzhou Jelly Dishes, as part of the Jelly Troupe’s participation in the “The Plan of Going Home” residency.


Picture a No Man’s Land 想像一个无人岛, Hong Museum, an experimental object theater workshop developed with fifteen participants responding to a public call, a collaboratively developed event by the Jelly Troupe.



Stair slide, 2025, Seattle Washington.
Excerpt of research from Chicago Cluster Project.
  
Log chute, early 20th century, Falls City, Washington.
Excerpt of research from Chicago Cluster Project.
 


Hugh’s Pole, 2025, Don’t Make Photographs Think Them (Chicago Cluster Project) Hedrich Blessing Photographer’s Studio. 43” telephone pole, photo essay, visual research unfolding an image found in Rod Slemmon’s archive.


ALL SPECIES DAY PRIME RIB ALL DAY, 2025, Don’t Make Photographs Think Them (Chicago Cluster Project) Hedrich Blessing Photographer’s Studio. Performative essay with Selena Kearney made with darkness, speech, call-and-response, gifting, and a cover of Black Sabbath’s “Iron Man.” 


Almost Heaven, 2025, Trinity College. A series of seven photographs of my grandfather’s canning operation, taken by my dad on film in the early 2000s and rephotographed on his iphone in 2024 and printed 42”x60” on architectural paper.


Eternity’s Vast Pocket, Picked. 2025. Watershed Art and Ecology. Chicago IL. This performance became a vessel for my obsession with an empty space found around the root of my tooth, something I could not see but began to see in everything around me. A collaboration with Steph Patsula.


Eternity’s Vast Pocket, Picked. 2025. Elastic Arts, Chicago IL. This performance became a vessel for my obsession with an empty space found around the root of my tooth, something I could not see but began to see in everything around me. A collaboration with Steph Patsula.



Speak to the House, Speak to the Object. 2025. A live essay-performance with Selena Kearney presented at ION Gallery, bringing together our photographic works and reflections on the Field Museum in the wake of the 2024 NAGPRA update.


Speak to the House, Speak to the Object. 2024. A live essay-performance with Selena Kearney presented at Uncle Gallery, bringing together our photographic works and reflections on the Field Museum in the wake of the 2024 NAGPRA update.


The Right to Look the Right to Have, 2024. The Field Museum. Photographic series documenting visitor response to the temporary veilings in the Hall of the Northwest Coast and Artic Peoples following the 2024 NAGPRA update.


The Right to Look the Right to Have, 2024. SAIC Galleries. Exhibition Documentation. 

Dance in A Wingback Chair (Remy Charlip), 2024. Performed at the resale shop during working hours following an invitation to respond to the score for Chris Reeves and Lauren Sudbrinks exhibition at Patient Info, Chicago, IL.


Object Play (Iowa City), 2024. Presented at PS1 Close House Contemporary Art Center for Quicker than a Ray of Light then Gone. A performative essay using objects gathered from local resale shops to playfully examine the cultural narratives that persist around them.


Cowboyträume, 2023. An object play performed in a driveway in Karlsruhe, Germany and later restaged for camera inside a truck parked in front of Walt Disney Birthplace in Chicago, filmed by Yejo Zheng. A troupe of found “Americana” objects—collected in a Karlsruhe secondhand shops—were restaged across sites of origin and myth, moving between spectacle and its afterlives.


American Girl (Cathy Rigby), 2024. Presented at Roots & Culture. A performance commissioned for Unlearning Exercises by Chris Reeves and Lauren Sudbrink, a repurposed “Camille” Wellie Wisher doll performs a Cathy Rigby aerobics routine, reflecting on the enduring figure of the American girl who is never permitted to grow up.


Object Play (Karlsruhe), 2024. Presented at Freeport Purgatory. A performative essay using objects gathered from Kashka Thrift Shop, staging absurd skits set to a remixed English-language CD for learning German.


  
Object Play (Mexico City), 2023. After presenting a performance assembled from objects collected in Mexico City markets; I returned to a market across from my hotel, where a vendor I had become acquainted with allowed me to set up beside him and return the items freely to circulation. Most were picked up by other vendors and later resold.


Americana Action Disfigure, 2023. Faro Cosmos, CDMX. Live camera performance with objects found in local markets. Live scored by Steph Patsula.



The Scream, 2023. Hanging Edward Munch’s The Scream above my couch using a home surveillance system to get it straight.


CCTVenus of the Rags, 2023. A CCTV screen dance quoting Michelangelo Pistoletto’s Venus of the Rags, where a contemporary Venus becomes the object of our surveillance, traversing the screen of a 16 channel security monitor on a messy shelf in the back of a resale shop.


Garage surveil, 2023. Assemblages of found objects are monitored by live cameras, layered to produce abstract live images in the gallery.



Wait, weight sit. 2023. In/Form Festival, Links Hall, Chicago IL. Special guest Carolyn Casemier.


When You’re Above Me, 2023. Performed at the Impact Festival, Sullivan Galleries, Chicago IL
Screened at the Indonesian Performative Drawing Forum, Yogyakarta Indonesia



Cinderblock, Tire, Fishbowl. Object cameras.