Viewers are welcomed by a 100-foot long white curtain; and after
going around it, they discover several stages and altars with signs and objects
of propaganda: the central focus of the show. The artist creates a path based
on sound routes and different points of attention, where different monologues
are spoken out loud and podiums and microphones are guides for the audience.
Hayes uses old album covers to highlight historical issues in American politics
during the 70’s. The installation is contextualized in the ultimate political
rebellion associated with the Occupy movement, and it has its roots in the
queer right struggle that occurred in public spaces during that time. Ms. Hayes
looks at this period from a critical distance.
The artist creates stages, scenarios and stands to congregate,
which can be viewed as an architecture of empowerment and rebellion. However,
despite the contemporary design fair or pavilion aesthetic, Ms. Hayes doesn’t
create a space for appropriation or the participation; she underestimates the
viewer, even though she gives us tools for a new 'revolution’. Viewers
have to behave only as spectators and contemplate in the company of the museum
guards. One cannot approach the stages, touch or photograph the installation,
and finally one is left to wonder: is it possible to create a revolution inside
a museum? In the end, the show must be understood as a call to re-envision new
forms of association, groupings and language for mankind: a universal call to
congregate; pure idealism that is absolutely necessary in these days.
