The Highest Grossing Film of 1994: Difference between revisions
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{{Event | {{Event | ||
|Event display name=The Highest Grossing Film of 1994 | |Event display name=The Highest Grossing Film of 1994 | ||
|Date Start=2017-07-28 | |Date Start=2017-07-28 12:00 AM | ||
|Date End=2017-07-28 | |Date End=2017-07-28 12:00 AM | ||
|Event description=Produced alongside the political theatre of 2017, The Highest Grossing Film of 1994 approaches issues of capital, entertainment and collapse. Examining pop-culture fantasies of wealth and decay by isolating a section of time that runs from 60’s gameshows to sci-fi visions of the post-apocalypse, the work in this exhibition attempts to stitch a circular micro-narrative out of this linear timeline by drawing those edges together. | |Event description=Produced alongside the political theatre of 2017, The Highest Grossing Film of 1994 approaches issues of capital, entertainment and collapse. Examining pop-culture fantasies of wealth and decay by isolating a section of time that runs from 60’s gameshows to sci-fi visions of the post-apocalypse, the work in this exhibition attempts to stitch a circular micro-narrative out of this linear timeline by drawing those edges together. | ||
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Alex Lukas investigates vernacular markings as hyper-localized broadcasts, a form of analog communication especially suited to an impending “after,” with the ability to be received across and through time. | Alex Lukas investigates vernacular markings as hyper-localized broadcasts, a form of analog communication especially suited to an impending “after,” with the ability to be received across and through time. | ||
|Presented by=IRL | |Event format=Exhibition | ||
|Event medium=Digital Art; Film; Sculpture | |||
|Associated Program=IRL; Welcome to my Homepage | |||
|Presented by=IRL; Welcome To My Homepage | |||
|Funded by=Cultural Arts Division of the City of Austin Economic Development Department | |Funded by=Cultural Arts Division of the City of Austin Economic Development Department | ||
|Event artist=Lee Webster; Gray Swartzel; Joy Pollard-cruz; Shobun Baile; Alex Lukas; Everest Pipkin | |||
|Event artist=Lee Webster | |Event admission type=Free | ||
| | |Airtable Record ID=recWaAi20u6XxLXCa | ||
| | |Airtable Last Modified=2023-11-25 2:13 PM | ||
|Is public= | |Is public=1 | ||
}} | }} | ||
Latest revision as of 10:07, November 26, 2023
| Date | 07.28.17 |
| Format | |
| Medium | |
| Admission | Free |
| Event artist | |
| Presented by | |
| Funded by | |
| Associated Program | IRL · Welcome to my Homepage |
Produced alongside the political theatre of 2017, The Highest Grossing Film of 1994 approaches issues of capital, entertainment and collapse. Examining pop-culture fantasies of wealth and decay by isolating a section of time that runs from 60’s gameshows to sci-fi visions of the post-apocalypse, the work in this exhibition attempts to stitch a circular micro-narrative out of this linear timeline by drawing those edges together.
It follows a cultural cycle that runs through eras characterized by hope, wealth and opulence, the production of free-use materials, eventual abuse of power, through stagnation and failure. Here, though, that apocalyptic failure returns to (perhaps false) hope through a lens of nostalgia.
Resisting total destruction fantasies, the work instead offers an optimistic breakage of power where failures can become useful tools.
Lee Webster uses the sets of 1960s game shows, emptied of people and indicators of game play, to uncover the framing devices used in television media that set the social coding of the era and capitalist optimism for the rest of that century.
Gray Swartzel works collaboratively with Verónica Vega after meeting through a Craigslist ad where he sought an artist in Manhattan to claim him as her child. The documentation of their constructed relationship investigates biopolitics and the state of global currency in regard to the degradation of the patriarchal order.
Everest Pipkin is working with issues of ownership and capital, specifically through an archive of free 3d models sourced from public online repositories, mostly produced from 1995-2015.
Joy Pollard-Cruz uses civic power structures force-flexed into contemporary poptopian fantasy.
Shobun Baile is creating sound installations based in soon-to-be-unrealized architectural plans and renderings.
Alex Lukas investigates vernacular markings as hyper-localized broadcasts, a form of analog communication especially suited to an impending “after,” with the ability to be received across and through time.
