王朝手袋和ed patuto讨论我讨厌这个地方

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拍拍：

喜剧和童年创伤是您的工作和Mike Kelley工作的关键要素，包括一天完成了和健身房室内。你能谈谈双喜剧和悲剧之间的相互作用吗？我讨厌这个地方?

Jibz Cameron：

我订阅喜剧是悲剧加上时间的谚语。当我能够在事实之后处理和传达他们时，他们出来很有趣。我不知道为什么是。这只是对我发生的事情。我总是非常喜欢喜剧。我的意思是，谁不喜欢喜剧？我以为我会继续周六夜现场or I would be an improv comic or something similar, that that’s what my career would be. But I might have been a little bit too weird; it didn’t really stick.

EP：

它与儿童创伤有关吗？

JC:

在我的原籍家庭，我们是一个jokester家族。一直都有很多疯狂的狗屎，没有人谈过它，但是可以让笑话有所了解。即使是现在，我的兄弟，姐妹和我，我们也会谈论真正严峻的东西，它总是变成一个笑话。这就是我认为我们能够管理它的方式。有很多创伤，没有人真的在展示演出。没有成年人存在。这是我学会了如何应对和如何在世界上运作的方式。我对吓唬我的事情的反应，或者我觉得我觉得可怕和悲伤的事情，就是通过喜剧来处理它们。

在视频方面，它来自我初中的这些记忆。When I retell the stories, they’re really funny—like the one about my bully or my math teacher, who was just this horrible prick who hated me and would make me and my best friend do all these ridiculous extra exercises because we were such bad kids, blah, blah, blah. At that time, I was also experiencing some really crazy stuff with my home life, and I was starting to act out—drinking and acting out sexually. It’s really funny describing my bully. Everybody laughs, but I was so terrified of her. I mean, terror. You can’t even describe that feeling as a kid, when you feel like you’re going to die. I really wasn’t going to die from my bully, but I could have died from other things that were actually happening. I think that’s where I find the humor in it, in playing with these extremes and scale.

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EP：

Institutional critique is present in both Kelley’s work and your performance work. In particular, you address repressive social or institutional structures—the educational system and the educational complex, and the trauma and the comedy of high school. Can you talk about how institutional critique and the dismantling of these structures and structures of cultural and other kinds of repression fit into your practice?

JC:

In terms of my own experience, I hated school. I just absolutely hated it. I just hated it. I didn’t finish high school. Pretty early on, I grew up with a real mistrust of adults and any kind of governance. Partly it was because my parents were kind of wild, but also they were always talking about the government. I was really mistrustful of any system that tried to tell me to do anything. I still have that a little bit,so don’t you try anything! In my experience, the institutional world has a lot less humor and self-reflection than I thought. For example, when I first started teaching in colleges, I was always cracking jokes about being a professor and how funny it was. Everyone was like, “What?” I thought, but isn’t this funny? This is like this thing that’s made up that we’re doing. It’s a play, right? We’re all in this play together. Aren’t we all in on the joke? But no, we’re not all in on the joke.

EP：

这是如何让你制作的我讨厌这个地方, which very much addresses these issues, especially the educational complex? You talk quite specifically about your math teacher and the bully in school. In the working of that piece, how were you thinking about those kinds of repressed memories?

JC:

Well, when you asked me about doing a piece in response to those works of Mike Kelley’s, for me, I’m responding to how they make me feel about that time period—even though I’m not going to say that I know what Mike’s work is about. It’s whatever I feel reminded of or how I respond emotionally. At the time that we talked about it, I was reading this book calledThe Age of Opportunity，我的创伤治疗师告诉我阅读。这是十二岁左右的年龄，当年轻人真的需要这个特殊的指导时，因为它是他们开始碎片的时候。年轻女性可以在那个年龄变得性欲，然后在他们准备被视为成年人之前被视为成年人。我开始考虑自己的经历，这对我来说肯定是真的。然后我开始思考雪莱福尔摩斯，我的欺负者，这对她来说绝对是真实的，因为她完全是性的。一直谈到的事情之一就是她是如此荡妇，有这些巨大的胸部，但她在七年级。她小时候，我是个孩子。

I was thinking about in what way I was asked to have more responsibility or to make these emotional decisions, such as my body is saying I’m ready for sex. I’m not ready for sex at all in my brain, but all these men are coming at me like, “You’re ready,” and I’m like, “Oh, I’m an adult now. I’m ready.” Then, we’re asked to make these decisions that we’re not ready to make. It leads to trauma, and also a loss of—I don’t want to say innocence, but there’s a gap there of maturity and growth that never got to happen. I was thinking about that experience with myself and then having compassion for all these people that I knew had the same kind of thing happen, and that it was just going on and it was so obvious in these institutions, like in my junior high school and my high school, and that it’s very violent and awful.

我也一直在考虑惩罚和拘留和文化制度镇压。即使是目前正在破坏警察和学校到监狱管道的事情。这就是不这样做的是处理有需要情感和心理需求的人，更不用说各种各样的需求。这是一个非常惩罚的系统。

EP：

一天完成了is a musical. Mike Kelley wrote the music and script, and he directed it. Jibz, you wrote the script and directed我讨厌这个地方。And in the end of the video, it’s about creating a musical performance. Music is important to you and often when we hear music, it conjures childhood memories. Can you address how you deploy music as a creative element?

JC:

当我小时候，我总是迷恋收音机。我会过夜录制收音机，所以我可以在第二天听。And I would record my own radio as though I were the radio host—"And now, we’re going to hear Duran Duran,” and I would play it. I don’t know. I would cut school and listen to the radio, and I would win all these radio contests all the time. I just wanted to be part of the larger communication of music and radio. That might have been part of my attraction to media—getting in people’s heads and providing a real escape. It’s probably the biggest thing that influences me. I have to listen to music every day—and loud! I think it might be my favorite thing. I’m not any good at playing it, but I like sounds and noises, so that’s where the music came from. In that video, I was just thinking about the ways that children and adults adapt to their situations that they’re in, and the whole idea of making something out of nothing. I draw all the instruments and then pretend to play them—pretend and play is so important as a kid, and we lose sight of that. Then, we have to go to therapy and learn how to have fun again. Because we’re old and we’re like, “Oh, I took myself to the beach. It was amazing,” but you have to unlearn things to get back to that place.

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EP：

迈克克莱如何影响你？

JC:

我是迈克工作的巨大粉丝。我很荣幸能够谈论他。他在工作中有什么巨大影响力。我知道的人告诉我，我们需要艺术。她说，我们需要它来帮助我们通过我们的感情和了解事物。这是另一种语言。我们沟通感情和思想和经验的能力在我们作为一种共同语言方面非常有限，我们需要艺术感受到唯一的感觉。然后，独自在他们的工作室里独自的想法别无他困难而且困扰着我。这不是我的工作方式。不要比较和绝望迈克克利，这将是毫无意义的。 But yeah, he has given me so much, and joy, so much joy.

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