Works in the Exhibition PROJECT SPACE: FEBRUARY 6 — MARCH 31, 2013 In 1919, Yeats surveyed the damage wrought by a world turned in upon These different historical moments of glitter in the itself, and imagined a second coming. A resurrection called forth by West—World War I, the 1970s, today—seem connected not as rep- Crystal Z. Campbell Carter Mull destruction so complete, it led to the freewheeling abandon of the fol- etition, but as embedded redoubling: what post-structural philoso- On the Way to the Moon We Cadere…Cadaver, 2004 Discovered the Earth, 2012 Chromogenic print Glitter and Folds lowing decade: the cabaret-culture of drag expressivity found in Berlin pher Gilles Deleuze refers to as the fold. A concept that appears Digital video, stereo sound, 9:49 minutes Collection of Richard Desroche & Glenn McMillan, New York during its Weimar heyday. The sensation of this aftermath—its cyclical throughout his writings, most significantly in relation to Leibniz Courtesy of the artist ‘This, too, falls apart’ reoccurrence as well as its almost spiritual potentiality—is conjured by and the baroque, the fold, for Deleuze, is a physical movement or Sumere…Sumptuary, 2004-2005 Field Kallop Chromogenic print the intimate, yet potent, world created through the interplay of the four structure that enables a concretized understanding of both the and upon each stood a siren, Collection of Brian Phillips, New York works exhibited herein. Spiraling creations by four artists with radically movement of time and the functions of memory. Positioned against borne around in its revolution, 2013 distinct positions and practices—intersect these shadow lines of poet- linearity and a strict external/internal divide, folds articulate the 60 minute site-specific performance Maxwell’s Demon with residual traces of diamond dust (Camera Obscura), 2004-2005 ics and philosophy in ways that pull upon different histories, different relationship between our bodies, our selves, and the world that Courtesy of the artist Chromogenic print outlooks, and different desires. All, however, call upon the cultural capi- engulfs us: the way in which histories and identities are formed Collection of Arden Wohl, New York tal of glitter: the way it facilitates a folding of invisible phenomena into by a folding of the world within the individual, what Yeats calls a Jayson Keeling material reality as well as a self-fashioning in and through the world at “gyre” (a vortex, or spiraling form). Through photography, video, and The Marked Man, 2011 Pascal’s Wager (Dream of a Perfect Life), 2004 Video, color, sound, 6:40 minutes Chromogenic print moments of crisis. site-specific installation, the artists in this show coalesce these Courtesy of the artist Collection of Robert Pearlstein, New York To begin, glitter. I think, first, of disco and Jack Smith: a theatre two distinct materials and movements—glitter and folds—to form of the absurd, an avant-garde refraction of glam rock. Gathering cohorts new significations by sidestepping obvious meanings. in apartments scattered throughout a decaying urban core, Smith fash- All images by Aaron Igler/Greenhouse Media ioned spectacular performances of self: positioning fabulosity against Crystal Z. Campbell ICA is grateful to Leonard A. Lauder for his generous sponsorship of the Whitney-Lauder Curato- the depravations of economic and social neglect. For Smith’s theatrical- rial Fellows program. Additional funding has been provided by the Horace W. Goldsmith Founda- ity was born from a New York City at the dawn of neo-liberalism: the city Orbiting the moon in 1968, the crew of Apollo 8 photographed a tion; the Dietrich Foundation, Inc.; the Overseers Board for the Institute of Contemporary Art; open for play and closed for opportunity, communities and individuals crescent earth caught in the shadow of a barren lunar landscape. friends and members of ICA; and the University of Pennsylvania. Free admission to ICA for the public is sponsored by the Amanda (C95) & Glenn (W87/WG88) Fuhrman Fund. General operat- folding back onto themselves as they sought new forms of expression in Seen from this atmospheric distance, on July 13, 1977 the ing support provided, in part, by the Philadelphia Cultural Fund and the Barra Foundation. ICA Turning and turning in the widening gyre uncertain terrain. metropolitan area of New York City plunged into blackness. receives state arts funding support through a grant from the Pennsylvania Council on the Arts, The falcon cannot hear the falconer; And now, once again, as in the late 1970s, sparkle seems to Light pollution cleared, leaving the sky brilliantly visible; below, a state agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, a federal agency. ICA thanks La Colombe for providing complimentary coffee at public Things fall apart; the centre cannot hold; be everywhere. What was it about that time, and what is it about the in the streets, windows were broken, stores were emptied, and events. ICA acknowledges Le Méridien Philadelphia as our official Unlock Art™ partner hotel. Mere anarchy is loosed upon the world, present, that demands glitter as response? An atmosphere of political technology was accessed. For as mythologies intimate, this was The blood-dimmed tide is loosed, and everywhere precariousness, perhaps, but also an aggressive expansion of commod- the moment when hip-hop began: the drop-scratch of needles The ceremony of innocence is drowned; ity culture premised on illusion, debt, mirage, and rabbit-hole futures. folding sampled sounds into rhythms woven in the dead of night. The best lack all conviction, while the worst Surfacing in fashion and pop culture, increasingly mobilized as a mate- The soundtrack reverberating through the gallery space codifies Are full of passionate intensity. rial for artists, glitter appears as both diversion (a fantastical material this new beginning, a genre of music, in the drop of a needle; an of pure surface) and critique (what artist Liam Gillick calls a “material elemental sound, it elides into a constant breath or exhalation. Institute of Contemporary Art 118 S. 36th Street, Philadelphia, PA 19104 —William Butler Yeats, The Second Coming, 1919 signifier within the culture”). University of Pennsylvania www.icaphila.org

About the Artists Carter Mull An artist whose work inhabits sonic landscapes of vio- lence—often in connection with the exploration of utopias failed Crystal Z. Campbell (b.1980 Prince Jayson Keeling (b.1966 Brooklyn, lives A series of eight analogue images of sculptures constructed in order to and imagined—Crystal Z. Campbell here recombines archival Georges County, Maryland, lives Brooklyn) creates artworks that provoke Amsterdam) received an MFA from the and dismantle pop iconography and the be photographed, Shifting States was first exhibited in 2005. This early New York Times newspaper images from the ’77 blackout into University of California, San Diego and accepted politics of sex, gender, race, and series draws forth the artist’s continuous re-elaboration of how con- kaleidoscopes of distorted mirrors and orbiting turntables. Projected an MA in Africana Studies from the Uni- religion. His work has been included in temporary society circulates, mediates, and superimposes images as onto a copper screen, which glimmers with the ochre of faded print, versity at Albany-State University of New exhibitions at the Studio Museum in York. Campbell’s work has been exhibited Harlem, El Museo del Barrio, Exit Art, a way of shaping visual knowledge of the world. For let’s remember the the installation recalls another type of blackout prevalent in environ- at Project Row Houses in Houston, Texas; Gavin Brown’s Enterprise at Passerby, years of their creation. 2004: the C.I.A. admits there are no weapons of ments of economic decay: the stripping of commodifiable material de Appel in Amsterdam, Netherlands; and the Bronx Museum in New York, and mass destruction in Iraq, unraveling the justification behind the United from conductor wires found in electric stations and street lamps. An and in the group exhibition, Fore, at the the Andy Warhol Museum in Pittsburgh. States’ preventive invasion in 2003. Meanwhile, in Southern California, increasingly valuable metal, copper is an alchemic substance Studio Museum in Harlem, New York. Keeling has been awarded residencies She is a 2003 graduate of the Skowhegan from the Art Omi International Residency MTV launches Laguna Beach—a heavily fictionalized “reality show” of of infinite malleability used to conduct power and sound. School of Painting & Sculpture and a Program in 2012, the Lower Manhattan glitterati teenagers inhabiting the candy-coated sprawl of development 2010–11 Van Lier Fellow in Studio Art at Cultural Council in 2009 and 2007, as well perfection. Jayson Keeling the Whitney Independent Study Program. as the apexart Outbound Residency to Campbell is currently a second-year Addis Ababa, Ethiopia in 2009. Somehow, in Shifting States, these two worlds collide: the artist in residence at the Rijksakademie Harnessing the physical laws of complex harmonic motion, “blingified” culture of reality aversion caught in the gritty fingernails and Jayson Keeling’s The Marked Man is a video documentation of a 2011 van beeldende kunsten in Amsterdam. Carter Mull (b.1977 Atlanta, lives Los Kallop sequentially releases ten handmade pendulums, letting loose discarded hair of Mull’s photographic field. As the heavily saturated— performance that occurred outside Aljira, a Center for Contemporary Angeles) received a BFA in Painting from Field Kallop (b.1982 New York, lives New Rhode Island School of Design in 2000 “nested” circles of diamond dust in a grid formation across the gallery resplendent, repulsive—images themselves resist description, the atten- Art, located in downtown Newark. Commissioned for the third in- York) received an MFA in Painting from and an MFA from the California Institute floor. At first glance, there is something categorical—existential—in tion turns to the aphoristic, elliptical titles of the four works included in stallment of Low Lives, an international festival of live performance- the Rhode Island School of Design in of the Arts in 2006. Mull’s work has been the glittering composites as well as their mode of creation. Residual the exhibition: Cadere…Cadaver, Sumere…Sumpturary, Maxwell’s Demon based works organized by artist and curator Jorge Rojas, Keeling’s 2009 and a BA in Art History from exhibited widely, most recently at the (Camera Obscura), and Pascal’s Wager (Dream of a Perfect Life). action is a response to the specific political, cultural, and economic Princeton University in 2004. An Awards Museum of Modern Art, New York; the patterns recall Schopenhauer’s elaboration of crystal as a corpse-like Program Nominee at the Academy of Arts Walker Art Center, Minneapolis; the trace of life, an inorganic substance with a seeming “will” towards self- space that surrounds Aljira. Positioned against a mirrored skyline of and Letters in New York, her work has Museum of Fine Arts, Houston; formation. Yet moving closer, the substance reveals itself not as crystal Field Kallop Newark’s decayed urban core, the artist’s body silently breathes as recently been exhibited at Allegra LaViola Presentation House, Vancouver; Domaine or glitter but as diamond dust; shards of glass on a concrete floor. splatters of red, white, and brown paint are hurled at him in violent, Gallery, Simon Dickinson Gallery, Mixed départemental de Chamarande, Paris; Greens, and Tompkins Projects in New Vilma Gold, London; Gagosian Gallery, For as much as these four artworks divine the physical In Book X of his Republic, Plato deploys musicality to describe planetary almost whipping gestures. York; Gelman Gallery in Providence; New York; and in the Venice Beach forces that structure the tangible fabric of everyday and experience— rotation, attributing a note to each orbit and harmony to their confluence: A symbolic evocation of blood, milk, and the body, the colors and Boston University. Combining a Biennial, Venice, California. His project revealing breaks in an urban, social, and psychological landscape— “And the spindle turned on the knees of Necessity, and up above on each become coated with glitter—a material of allure and desire. While fascination with chemistry, physics, and intertwines multiple mediums to question astronomy with prosaic—often toxic— the temporality of media that construct they also promise a resurrection: a fashioning of new sound, a cosmo- of the rims of the circles a Siren stood, borne around in its revolution the destructiveness of the artist’s gesture suggests a community materials like bleach and diamond dust, our conception of the world. In turn, the logical second coming. and uttering one sound, one note, and from all the eight there was the turned in upon itself—evocative of preying or self-hatred—the po- Kallop’s work occupies an uneasy site practice recomposes an understanding of concord of a single harmony.” Elsewhere, Plato elaborates five “solids”— sitioning of the work at Aljira, a community-based art organization, between the cosmic and the mundane. our shared social imagination. ­—Jennifer Burris crystalline in form and nature—that make up the four elemental features highlights the complications and tensions inherent in those well- 2011-2013 Whitney–Lauder Curatorial Fellow of the world as well as the universe itself. intended efforts to provide cultural access.