Liz Glynn
The Archaeology of Another Possible Future
MASS MoCA
MASS MoCA
Installation view of Liz Glynn: The Archaeology of Another Possible Future, 2017
Liz Glynn
"We’re Getting Crushed, 2017, and American Progress (after John Gast)," 2017
Liz Glynn
"Moore's Law," 2017
Exponential array of stainless steel forklift pallets in stacks of 1, 2, 4, 8, 16, and 32
Courtesy of the artist and Paula Cooper Gallery, New York, photo: Steven Probert
Liz Glynn
Installation view of Liz Glynn: The Archaeology of Another Possible Future, 2017
Courtesy of the artist and Paula Cooper Gallery, New York
Liz Glynn
"Post-industrial Vacationland (After Aldous Huxley)," 2017
Reclaimed cast-iron columns, selections from the “Neverwork“ series (modified stainless steel gurneys and aqua-resin) and the “Desert Future” series (cast stainless steel tumbleweeds), and tanning lamps, dimensions variable
Los Angeles-based artist Liz Glynn presents her most ambitious project to date in MASS MoCA’s signature Building 5 gallery, a sprawling sculptural experience of sight, sensation, sound, and scent stretching nearly a football field in length. The Archaeology of Another Possible Future expands Glynn’s interest in the rise and fall of empires, the assignment of cultural value, and labor and production. This multi-level presentation — which invites viewers to experience the museum’s former factory spaces from catwalks 18 feet above the floor — examines our physical and psychological relationship to our increasingly abstracted world. Glynn is particularly interested in the shift from a material-based economy to one in which technology companies seem to generate billion dollar valuations out of thin air, nanotechnology continues to operate beyond the field of the visually apprehensible, and capital is accumulated as a pure concept. Glynn seeks to reconcile the presence of physical bodies and individual subjectivities within this contemporary state, emphasizing the experience of physical movement in time and space by creating a two-tiered labyrinth. She suggests the sense of ephemeralization through elevated walkways and platforms that host digital printers above while presenting abstract sculptures below that translate abstract data into three-dimensional, nearly tectonic forms and cave-like structures made of shipping pallets that host a number of analog sensory experiences, focusing on touch, sound, and scent.