“SuperPACs” addresses and incorporates the history of grievances against war, politics, and capital. Staging its own conflict against the background of the Minnesota State Capitol, six performers, three male on one side and three female on the other, approached one another in costumes of power, utilitarian, and economic symbols. One performer held a large (48” x 40”) print depicting the history of Colonialism in America. The men were on a blind forward march as the women gyred and merged into them. At this juncture, the men were ‘taken down’ by the women, the print “SuperPACs” was captured, and costumes stripped and switched. Triumphant, the women danced away as the men crawled off the field. Afterwards all performers assembled and read a call and response text composed of the Virginia Constitution and an augmented, updated transcription of the 1967 Exorcism of the Pentagon (conducted by Abbie Hoffman during the anti-war protests in DC) calling for the inversion of capital. This was a public, non-permitted performance.
“SuperPACs” is one of the sixteen-part series Universal Capital which combines digitally collaged prints and performance to challenge the authority of historical cartography and contextualize the art object in its ‘unregulated’ role in the economy. Informed by the archive, the work juxtaposes current crises such as #BLM and austerity governance with the colonialist birth of venture capitalism depicted in the 17th century Harmonia Macrocosmica. Universal Capital fuses map-making’s overview with the underview of photojournalism and the gestural to examine territories, symbology, and negotiate propaganda.