Gol[den] is a remote installation and site for durational performances exploring pleasure and quality of life against the backdrop of growing income inequality and the fading myth of economic mobility. Sited between Los Angeles and Las Vegas, the project will superimpose fragments of Nero’s Golden House, a pleasure palace created by the infamous emperor, onto a suburban house purchased by the artist following the foreclosure crisis. By revisiting Nero’s complex legacy as both a patron of the arts and corrupt tyrant, the project will mine the relationship between power and pleasure, and ask who has the right to the good life today. Guests will be invited for weekend-long events including discursive dinners, renovation-as-performance, and intimate conversations about the tension between quality of life and economic instability.
Liz Glynn creates sculptural objects, large-scale installations, events and participatory performances. Drawing from different historical epochs, architecture, and literature, her work seeks to explore the individual agency within complex superstructures in the face of an increasingly abstract economy. Her practice seeks to embody dynamic cycles of growth and decay by evidencing process, encouraging participation, and inciting future action. Recent solo exhibitions include The Myth of Singularity at LACMA (2015), RANSOM ROOM at Sculpture Center (2014), and On the Possibility of Salvage at Paula Cooper Gallery (2014). Her work has been exhibited at the New Museum (NYC), the Hammer Museum (Los Angeles), and the Petit Palais (Paris). Reviews of her projects have appeared in The New York Times, Artforum, New York Magazine, The Los Angeles Times, The New Yorker, Art Lies, Archaeology Magazine and Frieze. Glynn was born in Boston and lives and works in Los Angeles.