Selections by Cammisa Buerhaus
He was the kind of guy I'd rob banks for, leaning against a stone wall, everyone else in the crowded street disappeared. He leaned in front of me rubbed my chest and belly like he'd known me for years - some distant relative - and I left reason behind in one of those moments where all sense of living takes a slow quiet dive into mystery and possibilities.
David Wojnarowicz wrote those lines in the eighties, and they were not published until 1991. Sometimes, our desires continue after we are gone, and looking back, we might remember the horror, confusion, and the dark comedy of what it was and is to see and want and be.
GRAW BOEKLER DONNA REGINA, GATSBY
HD Video, Sound. 5min. 2014. Germany.
Thanks to everybody for being on camera!
CAMMISA BUERHAUS & NICOLA T. MADISON WHO ARE THE DORA, DORIS?
SD Video, Sound. 15min. 2023. Portugal.
An agoraphobic freelancer is running from her past. But can she run faster than a cowboy’s tongue? With Cammisa Buerhaus and Tobias Spichtig.
ANDRE MULZER ANXIETY BRIDGE (GET OVER IT)
Performance. 6min. 2023. Germany.
A bridge is usually built to connect two ends. Would you go with me? One step at the time. Just don’t think too much. Let’s try to enjoy the views.
JORDAN STRAFER (PEP) PROCESS ENTANGLEMENT PROCEDURE
4k Video, Sound. 15min. 2020. USA.
What first seem singular violations of parental trust and devotion instead replicate inside civic structures meant to remedy. As testimony suggests, public tolerance for horror is high.
DAVID PINHEIRO VICENTE O CORDEIRO DE DEUS (THE LAMB OF GOD)
16mm, Sound. 15 min. 2020. Portugal.
The summer festivities of a Portuguese village are suffused with sensuality and violence in this enigmatic portrait of a tightly knit family. With Miguel Amorim, Carla Galvão, and Gabriel Salvado. Cannes 2020 Selection.
Permanant Collection - Mine! and That's Mine Too!, are now part of the permanant collection at AIR351, in Cascais, Portugal. Sept 17, 2022.
Materials - Silkscreen on Mylar
Jordan Strafer, PEAK HEAVEN LOVE FOREVER - The film will play at Lincoln Center as part of the New York Film Festival, October 7th and 9th, 2022.
Martine Syms, THE AFRICAN DESPERATE - The film has been aquired by MUBI for global distribution, set to premier online in early Oct 2022. TAD will play at Brooklyn Academy of Music and Quad Cinema in NYC. It will also be in theaters in Los Angeles, Germany, France and London. A NYT Critics Pick, Sept 15 2022.
Palace is not going to the fucking graduation party! She hates the woods. If this were a reality show, she would be the person who was not here to make friends. Palace needs to get home, no place like it.
Set against the lush backdrop of late summer, Palace navigates the pitfalls of self-actualization and the fallacies of the art world. Shot through with Syms’s celebrated conceptual grit, humor, social commentary, and vivid visual language, The African Desperate leads us on an intimate and riotously funny journey through picturesque landscapes and artists studios, from academic critiques to backseat hookups, and from the night of a wild graduation party to the morning of a lonely trip back home.
Written and directed by Martine Syms and starring artist Diamond Stingily, the film is co-written by Rocket Caleshu and edited by Nicole Otero with cinematography by Daisy Zhou and an original score by Aunt Sister, Colin Self, and Ben Babbit. Cast: Diamond Stingily, Cammisa Buerhaus, Ruby McCollister, Brent David Freaney, Erin Leland and Rob Franklin.
Some kind of thing is going to happen. I think we might be flying over Florida. The inrushing air sounds like a waterfall. I’m with the men. I’m lying down and they are standing up. One of them has diamond brooches on his shirt. Behind him there’s a pregnant woman and another man. One of them says, “put two fingers in your mouth and tell me a terrible story.”
I am wearing a short-sleeved mini dress. “He takes the joy out of everything,” I think to myself as he waits for the story. Then I say with my mouth full, “No matter how bad things are, they could always get worse. And behind every cloud… there's a lot of rain.” He says, “You’re kidding.” I pause and say, “Happy birthday daddy. This flight is an explosive bomb.”
The group is laughing. I think to myself, “I am really funny.” I say, “Let's tell each other something about ourselves.” Everyone starts butting in. I say, “Hold on, hold on. Let’s go in a circle.”
Then we make a circle of different things becoming the same thing. I dance on the line of this circle, but I do not cross it. It is lit only from the inside.
“For the love of horror puppets and reenacting trauma,” PARTICIPANT INC begins 2022 with PUNCHLINE, a solo exhibition by Brooklyn-based video artist Jordan Strafer that will premiere the artist’s new video and related works on paper. Ambitious but not obnoxious, Strafer’s recently completed video work PEAK HEAVEN LOVE FOREVER is based on a true story of kinship and betrayal aboard a transatlantic air ambulance from London to Miami. Including life-size dolls and starring live actors Cammisa Buerhaus, Marti Wilkerson, Jim Fletcher and Alexandro Segade, the video is a psychological thriller that takes place in flight—while time moves glacially, reality becomes suspended.
The Maze - Two Live Performances
part of the exhibition Bloody Mary, Bloody Mary, Bloody Mary
at Mala, Lisbon PT
December 7 & 14, 2021
Here we are. Nothing but horizons.
You know the place.
Don't be scared.
I'm here with you.
You know me.
- The Maze, excerpted
adapted for performance at Mala, Lisbon PT
Runtime 30 Min
Bloody Mary, Bloody Mary, Bloody Mary
Exhibition at Mala, Lisbon PT
October 15, 2021 - January 20, 2022
Bloody Mary, Bloody Mary, Bloody Mary. She is a legend and a promise and a ghost conjured to tell the future. Anyone can call her. If you stand in a dark room and say her name over and over again, she will appear in the mirror. Any room will do. She has appeared in your mother's silver vanity. She has appeared to a man about to die. And lately, she appears to be you.
For this exhibition, focused on the performative possibilities of photography and text through the media of collage and silkscreen printing, Buerhaus switches the body of the actor for the body of the viewer. These works are self portraits both multiplied and subtracted, distorted mirrors perverting binary systems of the father and daughter, owner and pet, of madness and sanity.
Two storyboards — You Have Heard Every Word I’ve Said — face each other. One tells the story, one directs the choreography — one has the body, the other, the head. Laser prints mounted on a mirrored mylar sheet tell the story of a father's death. You can pass the time by reading the words, but be warned. Your head might float away along with your memory.
On the floor, a group of silkscreened tiles representing the artist’s body are rearranged to abstraction. Like What You See renders the mystery of oneself, and the ways we try to solve the puzzle.
On the walls are Mine! and That’s Mine Too, two photos from an ongoing series, Performance from the Camera. In this iteration, the artist plays with her pussycat. Buerhaus assumes the role of the director, directing Gomi as she would an actor.
Photos courtesy of the artist and Mala. Photos taken by Beatriz Pereira. 2021