Camille Norment is an interdisciplinary multimedia artist, composer, and performer whose art and performance works are exhibited and performed worldwide.

Cultural psychoacoustics is both an aesthetic and conceptual framework for much of her practice – the investigation of socio-cultural phenomena through the sonic as a force over the body, mind, and society. Composing artworks through forms including recorded sound, sculpture and installation, drawing, and live performance, she applies this concept towards the creation of critical artworks that are preoccupied with the way in which context, form, space, and the body of the viewer create experiences that are both somatic and cognitive. Norment had a background of dance and music before completing her B.A. in Comparative Literature and Art History at the University of Michigan, Honors College. She completed both her Masters of Fine Art and a second Masters in Interactive Telecommunications at New York University, and she is a Whitney Independent Study Program Fellow.

Parallel to her artistic career, Norment worked as a researcher at the renowned Interval Research multimedia think tank in Silicon Valley, and as Professor of Art at Malmö University.

Camille Norment represented Norway in the 56th Venice Biennial of Art (2015), with a three-part solo project that included a large-scale sound and sculptural installation, a publication series, and a sonic performance series. Camille Norment has several permanent public commissioned installations. In recent years, Camille Norment’s highlights include: a solo exhibition at the University of Chicago Logan Center (2019); duo performances with percussionist Hamid Drake (Chicago 2019) and Ryuichi Sakamoto (Japan 2017 and New York 2018); commissioned performance with pianist Craig Taborn at both The Walker Art Center (2019) and the Armory in New York (2016); both performances and exhibitions at the San Francisco Museum of Modern Art (SFMOMA) (2017-8), and the Pushkin Museum in Moscow (2016); a solo exhibition and performance at Lydgalleriet as part of the Festspillene Festival in Bergen, Norway (2016); major work installation at the Lyon Biennial (2017-8), Montréal Biennial (2016) and the Kochi-Muziris Biennial in India (2016); and both exhibition and performance in the Museum of Modern Art, New York (2013). She currently is developing a commissioned installation and performance works for several international museums.

Work Group

Objective Enactive
This online lecture-demonstration unfolds the term ´Poetic Materiality´ within the context of designing and choreographing with Somatic Costumes. Through critiquing and applying the somatic practice of Skinner Releasing Technique, the poetics of philosopher Gaston Bachelard and the materiality of anthropologist Tim Ingold, this talk begins to map poetic and material agencies between bodies-costumes within the design-performance encounter.

Artist Talk

Objective Enactive

This talk will focus on the first outcome of Glitsch(ening) Ci(rculari)ty, a tripartite site-specific, where I am pursuing a speculative exploration of the ecology of the city, between the urban and the biological, unfolding its layers and materiality of time. The talk will end in a conversation between fellow researchers and artists in the collaborative project Urban Ecologies, where Glitsch(ening) Ci(rculari)ty, is generated from.

Presentation

Polyvocal Tongue
The presentation will focus on relational ethics and polyvocality in performative text. It will also explore the use of plural languages in a play, looking at how a polylingual praxis can open up new aesthetic potential in playwrighting and in artistic research in general.

Conversation

TRANSPOSITIONS— JAR, Mette Edvardsen and modular diaries

At the start, the idea for an artistic research conversation with Mette Edvardsen did not spring out of the topics shortlisted for the conference—hospitality, vulnerability and care—but a book that she had co-edited, and dropped in my shelf.

Panel Discussion

The Ethics of Vulnerability and Artistic Research

Any ethical framework must take account of the vulnerability of the human condition. This is significant in all creative endeavours – especially in artistic practice and the teaching of it – since the very act of creating something and putting it out into the world is an expression of vulnerability.