Camoutopia examines the ways in which silkscreen printing and socialudengagement mutually inform one another to create complex experiences and enactudsocial change. Camouflage functions as a visual metaphor for social intersections Iudam facilitating, through shared interests in queer aesthetics, collective experience,udand embodied exchange. In its failure at representing nature, camouflage calls intoudquestion what we consider natural, and in the tension between passing anduddazzling, acts as a queer aesthetic. The silkscreen printing process, overlappingudlayers of color, creates areas of pronounced intensity, a lens and frameworkudthrough which to view things differently. This phenomenon extends to socialuddynamics; the unanticipated and intense happens in the intersection, what Manningudterms engendering, a process of becoming rather than being. I apply a pedagogicaludapproach to print production and social events, after Helguera and Bishop, anduddraw from Muñoz’s theoretical framework of world making and futurity, givingudform to Federici’s feminist reconstruction of the commons.
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