Jibz Cameron is a performer, video artist and actor. Her multi-media performance work as alter ego Dynasty Handbag has spanned over 15 years and has been presented at arts venues such as The New Museum of Contemporary Art, MOCA LA, PS1, The Broad Museum, The Hammer Museum, REDCAT, The Kitchen, BAM, Centre Pompidou among others. She has been heralded by the New York Times as “the funniest and most pitch perfect performance seen in years” and “outrageously smart, grotesque and innovative” by The New Yorker. She has written and produced numerous performance pieces, dozens video works and 2 albums of original music. Jibz produces and hosts Weirdo Night, a popular monthly comedy and performance event in Los Angeles. In addition to her work as Dynasty Handbag, Jibz Cameron has acted in films, theater and television. She has also worked as a professor of theater, performance and comedy at NYU Tisch Performance Studies and Cal Arts as well as lecturing internationally. She is a 2020 Creative Capital Grant awardee for her upcoming live production Titanic Depression, in collaboration with artist Sue-C. She recently sold a short series to FX network titled Garbage Castle, which is on hold due to Covid. She lives in Los Angeles.
Vat Do You Vahnt For Bwekfas?
This video has the robot Dynasty Handbag refusing choice, being disdainful of choice, questioning choices, fighting choice. How are the choices we make in our life preparing ourselves for having zero choices in the future?
What are you looking at? No really, its not clear. Are we on a date? Is this a business meeting? It’s all just a little vague.
Written & Performed by Jibz Cameron Directed by Mariah Garnett & Jibz Cameron Produced by Amanda Verwey & Judy on Duty Productions & JASH Network Camera by Mariah Garnett Edit and Animation by Josef Kraska Lighting by Conci Althouse Music by Rich Witt Villareal Production Assistance by Natalie Casagran Lopez and Jess Scott
Remote Penetration / Stain of History
This is a story about a man who goes to work everyday as a drone operator. When he is done with his shift, he goes home to his wife and children and has dinner. His waves of violence penetrate the family unit. His destruction is felt for miles and miles, at the dinner table to places far away that he will be forever linked to in the minds and hearts of those he hurts. His children feel the vibrations. They know. But they are also his children so there is heroism involved and desire to be loved. The drone operator is also lonely, because he is not on the ground with other military persons who understand the pain of the violence they are connected to, and there is little support for him, although he may not think he needs it.