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| Time of residency | June 2026 |
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| Contact info | https://camillabrogaard.com |
| Definition of artistic practice? | Cami Brogaard (they/them) is a queer, mad performance artist and philosopher based in Berlin. Their work and research emphasises collaboration and traverses writing, choreography, and community organising. Cami is a co-founding member of the project space Studio KG and a member of the peer-learning initiative SOPA (School Of Performance Art). |
| Title of the investigation at the residency | Doubt as anti-authoritarian research methodology |
| Description of investigations and findings | Whilst resisting a romanticisation of mental illness*, my work centres relationships, environments, and research that recognise “madness” as epistemically valuable. At BIRCA, I continued my research on obsessive doubt (+ hesitation, repetition, and rumination) as methodology; an iterative and relational engagement with the consequences of thought and action. Through choreographic and textual experiments, I approached doubt as a strategy to question whom certainty serves and what harms it covers up. The framework of BIRCA RITUAL nuanced my work on repetition and hesitation as relational labour and re-opened questions concerning madness as a liminal experience: What structural aspects of ritual practices are emphasised/put into question when madness is proposed as a continuous “in-betweenness”? What relational responsibilities does it point at? *Generally + my own lived experience of obsessive doubt, magical thinking, and compulsive embodiment (OCD). |
| What are you most curious about or invested in in your own practice? | Presently, the following: Over and over is how a thought finds me. Skull-throbbingly, like having a heart for a mind. For luck, elbow blood and shilly-shally choreography that means well but means nothing. And I’ve tried to write myself a body, one that feels like vaseline. I manage only vacillation— over and over, a shilly-shally muscularity, like having a mind for a heart. For the record, elbow blood by any means. But the "in-betweens"— are they liminal or criminal? |
| What questions did you bring to investigate and what questions are you leaving with? | Arriving: 1. How can doubt be practiced as a shared responsibility within artistic processes? 2. What choreographic, vocal, textual, and hosting practices can sustain hesitation and multiplicity without collapsing into paralysis? 3. How can these practices operate across diverse capacities and rhythms without reinstating normative standards? Leaving: 1. What ethical frameworks are needed to resist extractive collaboration? |
| Transformative, creative moments at the residency | A face with strange rules, ornate with indiscretion, glitchy and flashy, like a theory of rhinestones. »I can make you glitter. I can make you feel glitter«* To be mad in a sane way— by accident or by design— is to scoff at the power of gems made of plastic. To be mad in a mad way— and what I say, I say instead of bitter— »I can make you glitter. I can make you feel glitter« Everything that repeats repeats to survive. *From HTRK's "Kiss Kiss and Rhinestones." |
| Keywords for the work done at the residency | Magic, repetition, Text |
| Research locations | BIRCA grounds, Black Space (BIRCA), Krystalsøen (Crystal Lake) |
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Cami Brogaard
