Abstract

Desde la segunda década del siglo XXI podemos encontrar eferencias camp en diversos ámbitos de las industrias culturales y del espectáculo. Desde Eduardo Casanova con su película Pieles y su cuenta personal de Instagram, pasando por John Waters, el diseñador Palomo Spain, el éxito de la serie estadounidense Pose o la temática de la Gala MET de este año. Lo camp se ensambla en una corriente de sensibilidad estética contemporánea que tiene que ver con la remezcla de archivos y enciclopedias propia de la cultura digital hipertextual. Este resurgimiento de lo camp queda documentado en Instagram, donde gracias al poder difusor de la red social, se mantienen y expanden los conceptos de camp, kitsch, así como los imaginarios visuales outsider, poniéndose de moda y penetrando en las prácticas estéticas de los millennials, permitiéndoles conocer y desarrollar nuevas identidades y estéticas que quedan plasmadas de nuevo en la red. Since the last decade we can find references to camp in the culture and entertainment industries. From Eduardo Casanova with his film Pieles and his personal Instagram account, including John Waters, the designer Palomo Spain, the success of the American series Pose or the theme of the MET Gala this year. Camp is in a stream of contemporary aesthetic sensibility that has to do with the remixing of archives and encyclopedias for the digital hypertext culture. This resurgence of camp is documented on Instagram, where thanks to the streaming power of the social network, the concepts of camp, kitsch, as well as the visual imaginaries outsider are still and becoming fashionable and penetrating the aesthetic practices of the millenials, allowing them to know and develop new identities and aesthetics that are reflected through the network again.

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