For the third year in a row, CAMP has been commissioned to curate a project for the big Nordic music event Roskilde Festival. This year, we are partnering up with Gulf Labor Artist Coalition members Todd Ayoung (Trinidad and Tobago/US), Doris Bittar (Lebanon/US), and Melissa Smedley (US). The artists will engage festival guests into events and projects that reveal the plight of migrant labor, particularly within the building and maintenance of cultural institutions.

CAMP is accepting applications from eight refugees, migrants, and asylum seekers, who would like to enroll in the center’s art gallery guide education program, Talking about art. The program educates participants to become part of CAMP’s guide team and do guided tours in the center's exhibitions. To sign up for the program, which runs from June 4 – 22 and from Aug. 13 – Sept. 7, stop by CAMP's office, email us at info@campcph.org, or send a text message to Nanna (+45) 26 20 59 62 before June 1. Read more...

William Freeman – you can’t hold an angel is an exhibition by Chilean artist and dissident Pablo Andres, who is currently seeking asylum in Denmark. The exhibition takes a closer look at conditions for LGBTQ asylum seekers from the Global South and maps in photography, video, collage, and objects the artist’s encounter with homophobia in the Danish asylum process and with racism in the Western gay community.

William Freeman – you can’t hold an angel er en udstilling af den chilenske kunstner og dissident Pablo Andres, som p.t. søger asyl i Danmark. Udstillingen ser nærmere på vilkårerne for LGBTQ asylansøgere fra det globale syd og kortlægger i fotografi, video, collage og objekter kunstnerens møde med homofobi i den danske asylproces og med racisme i det vestlige homomiljø.

Economy of Migrant Labor – for the Right to Work is a solo exhibition by the transnational radio collective The Bridge Radio. Made in collaboration with a group of people, who have asylum status, residence permits, and homes in Southern Europe, but often end up living on the street in Copenhagen in their search for some kind of work, the exhibition and its accompanying discussion event take a closer look at the precarious living conditions for migrant workers in Denmark and their struggles for rights.

CAMP launches a new art gallery guide program in September 2017 for refugees and asylum seekers, who would like to become part of CAMP’s guide team and do guided tours in CAMP's exhibitions about migration. To register for the first workshop running from September 15 – November 10, 2017, stop by CAMP's office, email us at info@campcph.org, or send a text message to Jana (+45) 50 20 59 77 before September 11, 2017. Read more...

For the second year in a row, Roskilde Festival invited CAMP to be an 'equality partner' and organize projects during the festival focusing on 'cultural equality.' CAMP partnered up with the Copenhagen-based community radio, The Bridge Radio. In close collaboration with some of the homeless Africans from Folkets Park in Copenhagen, who make a living collecting empty bottles, the Bridge Radio produced a sound installation focusing on the precarious life situation of migrant workers in Denmark. Click to read more and see documentation...

Part art exhibition, part discussion event, We shout and shout, but no one listens: Art from conflict zones brought together ten artists and thinkers from around the globe to explore the leading cause of displacement: war.
Exhibition contributors: Khaled Barakeh (Syria / Germany), Gohar Dashti (Iran), Nermine Hammam (Egypt / UK), Amel Ibrahimović (Bosnia-Herzegovina / Denmark), Alfredo Jaar (Chile /USA), Sandra Johnston (Northern Ireland).
Discussion event contributors: Achille Mbembe (Cameroon / South Africa), Khaled Barakeh (Syria / Germany), Gohar Dashti (Iran), Nermine Hammam (Egypt / UK), Amel Ibrahimović (Bosnia-Herzegovina / Denmark), Sandra Johnston (Northern Ireland). Moderator: Mathias Danbolt (Norway / Denmark).
Catalog contributors: Judith Butler (USA), Nicholas Mirzoeff (USA). Click to read more and see documentation...

Migration Politics: Three CAMP exhibitions at the SMK re-established three exhibitions curated by the directors of CAMP, Frederikke Hansen and Tone Olaf Nielsen at the SMK: National Gallery of Denmark. The exhibitions were originally shown in CAMP as part of the center’s two-year exhibition program Migration Politics.

Deportation Regime: 
Artistic responses to state practices and lived experience of forced removal

September 9 – December 16, 2016

Opening Friday, September 9, 3:30–11 pm

The Dividing Line: Film and Performance About Border Control and Border Crossing is CAMP’s third exhibition in our 2-year exhibition program Migration Politics. As one European government after another is responding to the biggest refugee and irregular migrant flood ever recorded by tightening border controls and asylum and deportation policies, Europe has become the world’s most dangerous migration route and the Mediterranean sea the world’s most dangerous border crossing, according to IOM (International Organization for Migration). CAMP wants this exhibition to take a deeper look at this situation and provide a lens through which to better understand the complex interplay between human migration and border politics.

CAMP is proud to present a solo exhibition by one of Vietnam’s most respected artists, Tiffany Chung. from the mountains to the valleys, from the deserts to the seas: journeys of historical uncertainty presents a series of recent and new works made especially for CAMP, which explore different aspects of the politics of displacement and flight. The exhibition is the second exhibition in CAMP's 2-year exhibition program Migration Politics.

Camp Life is CAMP’s inaugural exhibition and the first exhibition in the 2-year exhibition program Migration Politics. It zooms in on the refugee camp, the asylum center, and the detention center as the nation-state’s perhaps most extreme responses to human migration. The exhibition shows projects by 9 international contemporary artists and collectives, who examine the politics of detaining refugees and migrants in exceptional spaces. In different ways, their artworks ask what kind of space the ‘camp’ is, which functions it performs, what political-juridical structures have made camps possible, and what living in a camp does to the subjectivity, body, and soul of camp residents.