Revolt of the Swivel Chairs
a continuation of The Barista Who Could See the Future by Adam Turl
Like the DIY zines that sprouted from various political and punk movements in the ‘80s and ‘90s, Revolt is as much a record of our current political state as it is an exchange of thoughts on those observations (you’re even encouraged to take stickers and a zine with you). Embodying a DIY aesthetic, each wall feels as if it were a sheet of newspaper torn from the pages of a post-apocalyptic manifesto, and The Revolt of the Swivel Chairs amazingly materializes the look and feel of those zines, bringing their flattened imagery to life. By trading photocopied images for hand-painted, life-sized renderings, Turl makes his imagination tangible—a papier-mâché canvas fraught with pops of colorful, crust-punk whimsy and vivid satirical chaos. (Leslie Ventura, review from Las Vegas Weekly)
After the great floods most of humanity moved into the Tower. Robots replaced more and more workers. The unemployed were placed in cryogenic suspension in the basement. The wealthy lived on the upper floors of the tower and collected gilded cat turds called Luries. The workers, on the lower floors, lived in fear of being frozen and sent to the basement. Their leaders were corrupt. The Beggar Queen enriched herself at her supporters’ expense. Temporarily Embarrassed Millionaires blamed refugees from the floods and ‘foreigners’ for the hardships inside the Tower. When the police came to take Emily Slubbing, the last human barista, she resisted and was killed in a stand-off. Her martyrdom sparked the Revolt of the Swivel Chairs. But in the middle of the uprising everyone started speaking in tongues. No one could understand each other. All was lost… until a robot sex worker, Rahab, fused the minds of the robots with the sleeping humans…
Part of the Revolt of the Swivel Chairs installation is a big rectangle of stickers from which gallery goers can take sticker(s). The stickers are sourced from a mix of hand-made images, digital images, surreal and historical images, etc., built around the working-class informed mythology of this (and previous) installations/painting series. The above photographs are in chronological order. Click for larger image.