Doom•oc•ra•cy (dü-ˈmä-krə-sē), n.
1. A form of government in which the supreme power is vested in a tyrant by a terrified general electorate. 2. The esoteric arithmetic that makes the electoral process malleable. 3. A corporate coup d’état in slow motion. 4. Permanent global war waged in the name of freedom. 5. A house of political horrors at the Brooklyn Army Terminal.
Exchanging political fights for political frights, Creative Time and Pedro Reyes take over the Brooklyn Army Terminal this October in an exciting new collaboration. Doomocracy, a major new immersive installation by Reyes, will mark the confluence of two events haunting the American cultural imagination: Halloween and the presidential election.
How much surveillance are we willing to accept? How much pollution? How much corporate malfeasance? Provoking what Reyes calls “political catharsis,” this immersive artwork will distill the horrors of our political landscape into the form of a haunted house, inviting us to navigate a maze of near apocalyptic torments, from climate change to pandemic gun violence to GMOs. Visitors to Doomocracy will work their way through a labyrinth of rooms, exploring the depth and breadth of American political anxieties.
Pedro Reyes (b. 1972, Mexico City) employs sculpture, performance, video, and activism to address pressing social and political issues. His works often promote individual and collective agency by inviting viewers to engage in participation and dialogue. Steeped in notions of structure and pedagogy, Reyes explores the means by which knowledge and empowerment are shared and communicated amongst individuals. By creating spaces for encounter, the artist produces the conditions by which to drive cultural change.
Reyes trained as an architect at the Ibero-American University in Mexico City. He has had solo shows at the Hammer Museum, Los Angeles; the Whitechapel Gallery, London; the Walker Art Center, Minneapolis; and the Guggenheim Museum, New York City, among others. His works have also been featured in group exhibitions such as dOCUMENTA 13 in Kassel, Germany (2012), the Liverpool Biennial in Liverpool, England (2012), and the 50th Venice Biennale (2003). Reyes was a participant in the 2013 Creative Time Summit, “Art, Place & Dislocation in the 21st Century City,” and has twice contributed writing to Creative Time Reports. In 2015, he was a recipient of the U.S. Department of State Medal of Arts in recognition of his “outstanding commitment and contributions to the Art in Embassies program and international cultural exchange.”
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