Victoria Campbell

2026

Grokipedia. Federated Wiki. Automated peer review. Scorched Earth.

2026 clusters around Grokipedia, federated infrastructure, and the politics of the index: rank #21 Grokipedia editor; editorial and research traffic moving through Samo Burja, Bismarck Analysis, Palladium, Art Controversies on Wikipedia, Art Controversies on Grokipedia, grok.surf, viki.wiki, Magnus Resch, Société Anonyme, Katherine Dreier, Sydney Geist, Tout-fait: The Marcel Duchamp Online Studies Journal, the Art Workers' Coalition, Art Science Research Lab, the Bruce High Quality Foundation, Andrea Fraser, Hatrack, Spiritual America, and Victoria Campbell.

The same year launches grok.surf and grok.talk as experiments in automated peer review within Federated Wiki, followed by a cameo in Tarik Soudhama’s film Scorched Earth via The Unsafe House of Jaafar El Hazred. This work writes, indexes, edits, and stages itself at once.

2025

Decentralization talk. Guest critic. Aaron Swartz statue unveiling.

At FUTO, a Friday talk on the decentralization of wiki culture appears as a technical demo rather than a brand sermon. At Boston University, the role shifts into guest critic for Vladislav Davidzon’s Visual & Literary Criticism seminar. At the Internet Archive: floral arrangements for Pablo Peniche’s Aaron Swartz Statue Unveiling.

2024

Panels. Demos. Sound + visuals. Trustlessness, by way of bourbon and a bag of money.

At Earth, 49 Orchard Street, New York, SO MUCH stages Dean Kissick, Patrick McGraw of Heavy Traffic, and Richard Turley of Civilization, with Victoria Campbell, David Rudnick, and Bliccy, plus sound and visuals by Arthur Siller. The scene is part panel, part signal flare, part live editorial surface.

Elsewhere, at Urbit Subassembly PNW, The whore of all demos reframes Federated Wiki as a functional specification of Urbit’s Nock language, measured against bourbon and a bag of money as trustlessness. Here, technical explanation becomes a kind of anti-corporate performance allegory.

2023

Montez Press Radio. Spiritual America. Art Boy 2. Economic futures.

Speech, screening, and panel discussions. Montez Press Radio hosts Make Spiritual America Great Again with Kim Fine. Taylor Ervin and Caesura editor Gabriel Almeida stage an Art Boy 2: The Undead screening and discussion with contributions from Victoria Campbell, Rafael Foster, Aaron Lehman, Chris Mansor, Clint Montgomery, Sean Tatol, Olivia van Kuiken, and Allison Hewitt Ward.

At The Future Left in Los Angeles, an Economic Futures panel places the practice within a wider conversation alongside E Barker, Jak Ritger, Matthew Donovan, Andrew Green, Zachary C. Marlow, Garland Miller, Cameron Cowan, and Blake Robbins. Criticism keeps leaving the page and returning with new witnesses.

2022

Benefit. Fashion intervention. Miami scene report. Gala. Polignano a Mare.

2022 runs from benefit circuits to scene reports and performance interruptions: Social Photography X at Carriage Trade; Ballots not Bullets at White Box as sound and performance intervention for Rainer Ganahl’s Comme des Marxists; a New Models TopSoil: URBEXIT (TS86) report from Miami with Hazmat Raheem and David Yoakum; Merde! at Alyssa Davis Gallery Gala with Micaela Carolan; and Baitball 02 at Alyssa Davis Gallery in Polignano a Mare as exhibiting video artist.

2021

Bowman Gallery. Cadavre Exquisite.

A compact year on paper, but not minor: Bowman Gallery in Los Angeles presents Cadavre Exquisite with Micaela Carolan and Robin Winters. Short-form entry, long-form resonance.

2020

Berlin screening. Playground biennale. Annual benefit. Art-dead podcast.

At Caesura in Berlin, Jon Rafman: Dream Journal becomes a screening and panel discussion with Vanessa Place, Victoria Campbell, Athina Karatzogianni, Andrew Fremont-Smith, Bret Schneider, Marco Aurelio Torres, and Grant Tyler, moderated by Laurie Rojas and organized by Victoria Campbell for Jon Rafman. The format is getting cancelled as a conversational coup.

The year also includes BIENNALE 2020 at Bleeker Playground, curated by Dean Kissick with Aria Dean, Campbell Carolan, Jacky Flowers, Matt Hilvers, Paige K. B., Precious Okoyomen, Torey Thornton, Sven Loven, and Amalia Ulman; Social Photography XIII at Carriage Trade; and a turn into recorded argument via Bad Masterpieces: Is Art Dead? with Nate Freeman and Dean Kissick featuring Victoria Campbell.

2019

Code Societies. Visit, Inc. The commons. Ethereum. Collective consciousness. The politics of the pitch.

At the School for Poetic Computation, Code Societies Winter 2019 colleagues include Allison Parrish, American Artist, Fluct, Everest Pipkin, Ingrid Burrington, Taeyoon Choi, Nora Khan, Melanie Hoff, BuFu, Nabil Hassein, Ying Quan Tan, and others. At BoweryShed, Visit, Inc. Annual Report prototypes in review with Patrick Steadman.

The same year spans Montez Press Radio’s Re-enchanting The World: the Politics of the Commons with Fiona Duncan; a third-place finish at the ConsenSys hackathon for implementing the Artist’s Reserved Rights & Transfer of Sale Agreement on the Ethereum blockchain; Collective Consciousness at the Church of Greenwich Village; and Deconstructing the Deck at Flowers for all Occasions, a keynote on the politics of the pitch. (This isn't a pitch deck. It's ideology with layout.)

2018

Strikes. Sales floor. Radio play. End show.

2018 moves from labor politics to art fair commerce and back again: Columbia University’s Other Side of History connects graduate student-teacher strikes, public action, and aprons for demonstrations. At Frieze New York, Rainer Ganahl’s S/L is represented on the Kai Matsumiya sales floor whereas I'm an autodidact only acting as an independent dealer.

In Miami, NAFTA: Miami for Montez Press Radio is written and directed with Micaela Carolan, Sam Ashford, Ala Dehghan, Dean Kissick, James Schaeffer, and Pujan Karambeigi. Back in New York, The End Show at Gallerina Valerina + Greg closes one scene by opening another.

2017

Nightclub art direction. Emergency Index. Alt-D. Readings in Los Angeles.

Moodring Nightclub becomes a site of art direction with commissioned work by Dan Catucci, Dilan Cheavacci, Micaela Carolan, and Lisa Larson Walker. Ugly Duckling Presse publishes Emergency Index 2016 to extend performance into printed anthology. Inventory of Shimmers: Alt-D at Future Development sets the table for a relational aesthetics - and invites the manosphere to sit. With Micaela Carolan, Laura Hunt, Autumn Ahn, Allie Miller, and Valerie Skakun.

At Printed Matter’s Los Angeles Book Fair, Hard to Read gathers Rosa Aiello, Hannah Black, Victoria Campbell Chey, Mackenzie Davis, Margaret Haines, Kia Smith, and Marisa Takal, hosted by Fiona Duncan. Public reading here functions like live editing: social, provisional, and precise.

2016

One-act play. Memory Room. Pool Party.

At 13th Street Repertory Theatre, Situational Conflict/Conflict Situations commissions a one-act, two-woman play with Micaela Carolan with dialogue sourced entirely from Reddit. At OUTPOST Artist’s Resources, Memory Room, curated by Andrew Ross, gathers Victoria Campbell, Milo Carney, Micaela Carolan, Kyla Chevrier, Pamela Council, Ala Dehghan, Don Edler, Devin Kenny, Katie Loselle, Brandon Ndife, Kayode Ojo, and Slinko.

The year also includes Pool Party at Molasses Books with Emma Hazen, Adam Tyson, Andrew Ritchie, Joe Kay, Ari Richter, Aaron Kuhn, James Brittingham, and Halo Rossetti. The scale stays intimate, but the network is already wide.

2015

Calvin Klein x Opening Ceremony. Art Girl TV. Bloomsday. Body Anxiety. CKTV. Soft Skills.

2015 is unusually dense: art direction for a Calvin Klein x Opening Ceremony underwear shoot; Art Girl TV in Miami with Leah Schraeger, Giovanna Olmos, and Micaela Carolan; Bloomsday at Knockdown Center with a large field of contributors including Abraham Adams, Sonel Breslav, Ashton Cooper, Simon Critchley, Anthony Cudahy, Bethany Ides, Scott Kiernan, Papercut Press, Michael Swellander, Zefrey Throwell, Chloe Wyma, and others; and the online exhibition Body Anxiety with Andrea Crespo, Saoirse Wall, Endam Nihan, Aurorae Parker, Mary Bond, RAFiA Santana, Ann Hirsch, Rachel Rabbit White, Faith Holland, Kate Durbin, Angela Washko, Leah Schrager, and more.

That same run includes CKTV Karaoke Bar at Red Bull Studio. Soft Skills: Mastering Online Performance for Ryder Ripps’s Alone Together, and work as a contributor to The Jogging. The title Soft Skills lands differently now: not corporate etiquette, but online performance as a serious medium.

2014

Emergency Index 2013. The Last Brucennial. Under the Seams Runs the Pain.

Ugly Duckling Presse publishes Emergency Index 2013. Vito Schnabel Gallery hosts The Last Brucennial. At BHQFU, Under the Seams Runs the Pain gathers Amy Beecher, Laura Bernstein, Allison Brainard, Bruce High Quality, Victoria Campbell, Micaela Carolan, Jenny Drumgoole, Amanda Hunt, Ariel Jackson, Kenya Johnson, Aaron Kuhn, Nandi Loaf, Jayson Musson, and Halo Rossetti. The seam is already a method: keep the join visible.

2013

New Museum gala. Commodity form panel.

At the New Museum, Ed Fornieles’s NYNYHPHP appears as performance happening. At Left Forum, Art and the Commodity Form joins Ben Blumberg, Victoria Campbell, and Chris Mansour in panel form. A recurring problem comes into focus: how to talk about culture without pretending it floats free of value, labor, or exchange.

2012

Capture the Flag. Brucennial. Senior presentation. Roundtable.

The Cooper Union hosts Capture the Flag with Victoria Campbell for Free Cooper Union and #OWS Arts & Labor. The Bruce High Quality Foundation presents Harderer, Betterer, Fasterer, Strongerer. Great Hall Gallery at the Cooper Union Foundation Building hosts Michael Chambers Senior Presentation. NYU’s Kimmel Center holds A Year, a Month, and a Day with Fritz Tucker, Victoria Sobel, Nicholas Mirzoeff, Dave Haack, and Victoria Campbell.

2011

Bring Your Own Beamer. Yes Lab. Occupy Media #tweetboat.

At Knockdown Center, Bring Your Own Beamer, curated by Raphael Rozendaal, sits beside the Hemispheric Institute of Performance and Politics’ Yes Lab Mediagenic Working Group. In Zuccotti Park, the register changes completely: live updates are dispatched from Occupy Media’s #tweetboat to the Occupy Wall Street following, with a return to media teams in 2012.

The note about Occupy commanding over $1 million of free advertising nightly for the first six weeks matters because it flips the logic of publicity. The movement was not buying attention. It was generating it through presence, conflict, and repetition in public space.

2010

Kansas. San Antonio.

The earlier frame is concise: Lawrence Art Center and Spencer Museum of Art in Lawrence, Kansas, curated by Rex Hausmann; then Blue Star Contemporary in San Antonio for Fire in the Belly, a San Antonio College student exhibition. Small entries, foundational motion.

Press

School. Research-driven art. Biennale. Body Anxiety. CKTV. Knockdown Center.

The press trail offers another map of the work: Sam Thorne’s Sternberg Press volume on self-organized art education; Caroline Sinders for The Creative Independent; Rahel Aima in ArtReview on Biennale 2020; Laura Gonzalez in Furtherfield on Body Anxiety; Purple on Memory Room; Kate Messinger in Vice on CKTV; and Paper on Knockdown Center.

Awards

Hackathon placing. Essay contest semifinalist.

A third-place finish at the 2019 ConsenSys Summer Hackathon with Patrick Steadman sits next to a 2015 Atlas Shrugged Essay Contest semifinalist placement from the Ayn Rand Foundation.

Organizations

Federated Wiki. Visit, Inc. SX-ED. Alternative Economies. Kunstverein NY. WBAI Pacifica.

The organizational record matters because it shows the systems beneath the events. Federated Wiki is not just a reference point but a technical commitment: maintaining both client-side and server-side applications used to browse and edit content across a substantially evolved client/server architecture, and hosting more than 2,000 independent content stores on viki.wiki.

Visit, Inc., incorporated in January 2019, closed $7,000 in funding with $47,000 tentatively committed. BHQFU’s SX-ED was designed and taught with Ana Cecilia Alvarez and contributions from Chloe Rossetti, A.K. Burns, A. L. Steiner, Fiona Duncan, Dorothy Howard, Giovanna Olmos, Jarrett Earnest, Ruby Brunton, Nozomi Kato, Maxwell Cosmo Cramer, Michael Swellander, Sarah Crowe, and Victoria Anne Reis. Add the Alternative School of Art College Art Association Workshop on alternative economies, Kunstverein NY’s curatorial franchise spanning Amsterdam, Aughrim, Toronto, and Milan, and WBAI Pacifica as Occupy Wall Street Radio host, and the picture is clear: institutions here are built, borrowed, stressed, and repurposed rather than simply joined.

Coda

Good copy is not a fake future. It is a usable record.

The reason to alternate short form and long form here is simple: the clipped line moves fast, the extended sentence carries names, places, and stakes. One gives signal. The other gives proof. Together they resist flattening. Together they keep the curriculum vitae alive.