Installation view.
“Still From a Lockheed Martin Promotional Video,” c-print, 8.5” × 11”, 2018.
“A List of Bombs in The American Arsenal,” vinyl adhesive, tarpaulin, 3’ x 5’, 2018.
“A Gift for my Collectors,” cotton, 5’ x 7’, 2018.THE BOMB PARTY, OR
WHAT GOES UP
GRAYSON ALABISO-CAHILLBUNKER 2
Jan 11 — Feb 09
2018
"The Bomb Party, or What Goes Up" explored the relationship between farce and spectacle. By exploring the ways in which war is depicted, disseminated, and aestheticized, the exhibition articulated a resistance to the spectacles of
military and to capitalist art-making.
Looking at farce and rhetoric, “A List of Bombs in The American Arsenal” suggests that the nicknames of bombs are used to hide that they are weapons. Alabiso-Cahill asserts that these rhetorical strategies aim to turn a body count into a laugh track. Both this work and “A Gift For My Collectors,” through their material history, usurp the tapestry as a site for the construction of history and addresses the role between war, privilege, and the construction of narrative.
Grayson Alabiso-Cahill (born 1996, Philadelphia) lives and works in Toronto.
military and to capitalist art-making.
Looking at farce and rhetoric, “A List of Bombs in The American Arsenal” suggests that the nicknames of bombs are used to hide that they are weapons. Alabiso-Cahill asserts that these rhetorical strategies aim to turn a body count into a laugh track. Both this work and “A Gift For My Collectors,” through their material history, usurp the tapestry as a site for the construction of history and addresses the role between war, privilege, and the construction of narrative.
Grayson Alabiso-Cahill (born 1996, Philadelphia) lives and works in Toronto.
In Honour of a Great Nation
by Grayson Alabiso-Cahill
Press:
Samuel Staples, “The fine line between spectacle and violence” Ryersonian, January 24, 2018.