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Image: detail, Earth-Sinking-Into-Water

My work balances the thin line between documentary and fiction; historical research fuses with personal and fictive narratives. Images are shown in an exhibition installation, designed and built by myself specifically for the site and in relation to the project itself. The images and installation tend to establish a dialogue between themselves as well as with the audience, instead of merely informing the viewer from a singular viewpoint. Genres and styles are mixed, instituting a way of working in which the world is explored through analogy and association, rather than through objective (or scientific) description. This stems from a certain reluctance toward a tightly controlled message and the explicit desire to leave room for the viewer, who is invited develop their own understanding of what this means.

WORKS random selection of works
 
 
EXHIBITION VIEW
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Forward Escape Into the Past - (one man show) De Brakke Grond (NL) 2018 - The installation consisted out of materials found in the building of De Brakke Grond itself; old theater decor panels including any wear and tear, and scraps of wood. The reusing of materials mirrors the lifestyles of Drop City residents, an autarkic, utopian movement which was based in Colorado. Living as hunter-gatherers they created their utopian community using locally sourced materials.

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Forward Escape Into the Past - (one man show) M-Museum Leuven (BE) 2018 - For M Leuven I designed a setting consisting of walls constructed from blocks of hemp. Although mechanically produced, they are shaped and pressed according to centuries-old principle. The material is durable and very light making it ideal for building partition walls or as insulation. In this sense, the building material is in keeping with ecology, sustainability, technology ingenuity and a return to nature: all themes that form a thread running through the exhibition.

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In the wake of his surrounding, he fades - (group show) Extra City (BE) 2016 - Within the spaces of Extra City (an old industrial building) I designed and erected walls which created new spaces, with arches made from wood and Ytong stones, shapes inspired by the Italian architect Paolo Soleri and his experimental town Arcosanti in Arizona.

TEXTS

A New Beginning 
Steven Humblet

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"It often starts as a small irritation, a barely noticeable glitch. Something just feels off. At first, it doesn’t seem to be an insurmountable problem, only a slight hiccup, easy to redress. But before long the solution creates its own intractable problem, slowly taking everything with it. The problem becomes systematic. The system is the problem....."

The Way Out Is Back 
John Zerzan

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"Unless the future is somehow primitive, we will have no future. The global environmental disaster is arriving; the life-world of our species, not to mention so many other species, is being savaged. And even more is at stake. The overall crisis also brings an overwhelming psychic and spiritual impoverishment. A magnitude of emptiness that in the U.S. is reflected in proliferating mass shootings and a deepening opioid epidemic. So much is being lost in an ever more technological world. There is less and less connection, despite the claims of the tech corporations. There is more and more technology—and less and less community and empowerment. In fact, community is gone, the victim of mass society. When we can no longer effectively be responsible or accountable in society, there is no community."

Making Sense of the World 
Steven Humblet

LINK TO FULL TEXT

"A photograph shows us parts of the world, all bound together by the vertical and horizontal lines of the frame. Of the objects, people and places that are visible in the image, it captures nothing more than their outer appearance. A photograph is (necessarily) a superficial image. Only through thoughtfully organizing the relationships between the different parts, the image becomes infused with meaning..."

 
 
PROJECTS
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"In Forward Escape into the Past, the artist is showing photographs from his two most recent projects, which are situated at the intersection of nostalgia and visionary utopia. The title of the exhibition suggests an alternative future for humanity and in so doing links the two photographic series thematically. Forward Escape into the Past can be understood as a future far removed from technological progress, in which human beings seek a connection with their past and with nature." 

 

 

- Valerie Verhack, in exhibition text for FORWARD ESCAPE INTO THE PAST at M-Museum Leuven (BE)

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Notice to the Reader - The plates of the present work are impressed by the agency of Light alone, without any aid whatever from the artist's pencil. They are the sun-pictures themselves, and not, as some persons have imagined, engravings in imitation.

A note written in The Pencil of Nature (1844-46) from William Henry Fox Talbot (1800 - 1877). The first commercially published book to be illustrated with photographs. Salt printing was the first photographic process for producing positive prints (from negatives), a technique invented by Talbot in the mid-1830s. He made what he called "sensitive paper" for "photographic drawings" by wetting a sheet of writing paper with a weak solution of ordinary table salt (sodium chloride), blotting and drying it, then brushing one side with strong solution of silver nitrate. With this same technique I made "photographic drawing", to use the words of Talbot, of the Clock of the Long Now. A clock made for the coming 10,000 years, a monument for long term thinking. A rare invitation to think and engineer at the timescale of civilization. It offers an enduring symbol of our personal connection to the distant future. To be precise, the images are made of a prototype standing in the Science museum of London, the actual clock is under construction. They are building the clock inside a mountain in West Texas. Once completed, the clock will stand 500 feet tall and will be powered by the Earth's thermal cycles.

LONG NOW

In progress

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The past is always present. What about the future? History is not an unambiguous harmonic progression, but rather a murmur of juxtaposed, interacting states of the past, present and future. 

     Atavisms are traits of the past that reappear after skipping intervening generations. If we extend this with characteristics from the future that manifest themselves in the present, we can speak of ‘proto-atavisms’.

    LongNow wants to shape this unstable state between past, present and future by looking for places or objects that contain multitemporality.

ABOUT 
 

ONE MAN SHOWS

2018

Forward Escape Into the Past, De Brakke Grond  (NL)

Forward Escape Into the Past, M-Museum Leuven (BE)

COLLECTIVE EXHIBITIONS

 

2021

Matter of fact, Galerie Duchamp, Yvetot (Fr)

De Tien - M-museum, Leuven (BE)

On the moon and on earth - Make way for dreamers! - Fotografia Europea Festival, Emilia (IT)

2019

Photobook Belge - 'Recent Publications', Fomu, Antwerp (BE)

2018

Retinal Circus, Pukkelpop, Kiewit (BE) 

Plat(t)form 2018, Fotomuseum Winterthur, Winterthur (CH)

2017

Musée de la Photo de Bruxelless, Recyclart, Brussels (BE)

Changing Perspective: A Multi-Camera Experience, Fomu, Antwerp(BE)

A----A, Air-Antwerpen Antwerp(BE)

2016

In the wake of his surrounding, he fades, Extra City, Antwerp (BE) 

The studio interrupted, Studio Start, Antwerp(BE)

2014

Traveling exhibition - Kassel Photo dummy award 2014 (selection of places):

MIA ,Milano (IT)

Fotoleggendo, Rome (IT)

IED, Madrid (ES)

Photoireland, Dublin (IE)

The PhotoBookMuseum, Cologne (DE)

Le Bal, Paris (FR)

Photobookseminar, Oslo (NO)

Paraty in Focus, Paraty (BR) 

Madalena Workshops, Sao Paulo (BR)

Athens Photo Festival, Athens (GR)

Alien Dreamtime, Pikaia, Antwerp (BE)

.tiff Brussel, Ikono, Brussels (BE)

2013

Van een bruisende campus waar de kunsten welig tieren, Lange Zaal, Antwerp (BE)

AMOK, Pikaia, Antwerp (BE)

.tiff, in de Brakke Grond, De Brakke Grond, Amsterdam (NL)

.tiff, Young Belgian Talent introduced by FotoMuseum Antwerp (BE)

2012

Oktober in Hamburg, Tapetenwerk, Leipzig (DE)

Rundgang, Acadamy of Visual Arts Leipzig, Leipzig (DE)

Prix Fernand Baudin, Komplot, Brussels (BE)

BIO

Jim Campers (°1990) grew up in Antwerp, Belgium, the place where he still lives and works.

His work balances the thin line between documentary and fiction; historical research fuses with personal and fictive narratives. Images are shown in an exhibition installation, designed and built by himself specifically for the site and in relation to the project itself. The images and installation tend to establish a dialogue between themselves as well as with the audience, instead of merely informing the viewer from a singular viewpoint. Genres and styles are mixed, instituting a way of working in which the world is explored through analogy and association, rather than through objective (or scientific) description. This stems from a certain reluctance toward a tightly controlled message and the explicit desire to leave room for the viewer, who is invited to develop his his their own understanding of what this means.

WORKS IN PUBLIC COLLECTION

CERA, Leuven (BE)

TRAINING

2012 - 2013

MA - photography department at the Royal

Academy of Fine Art, Antwerp (BE)

2011

Exchange programme with the photography department of the academy of visual arts Leipzig (Class Peter Piller) (DE)

2009 - 2011

BA- Photography department at Sint Lukas higher institute for visual arts, Brussels (BE)

RESIDENCIES

2022 - 2023

Higher Institute of Fine Arts (HISK), Gent (BE)

2016

STRT-Kit (Studio Start), Antwerp (BE) 

PRESS

2019

Disegno #25

Counterculture Now, Nieuwe Vide's journal of humanity #8

2018

Volkskrant, 5 Okt 2018

Metropolis M (feature)

De Witte Raaf #195

Metropolis M #4 / 2018

H art magazine #183

Klara Pompidou (radio) 

Selectief (De Morgen), Februari 

Subbacultcha

GUPmagazine

Sofiecrabbeblog

2016

H Art magazine #157, 2016 

The Word magazine, 2016

2013

.tiff magazine, second edition, FotoMuseum (FoMu), Antwerp

Self Publish, Be Happy, 03/2013

Contemporary European Photography, Conscientious, 01/23/2013

CONTACT