1553 N Cahuenga Blvd. Hollywood
February 20 Press Preview & VIP opening
6p – 10p
Invite Only, RSVP required
Open to public: February 21 7-10pm
Exhibition: February 21 – March 30, 2014
Gallery hours: 12p-6p W,TH,F; 11a-5p Sa & Sun.
Closed Mon. & Tues.
Maureen Sullivan, Red Art Projects, PR for Innocents Exhibitions, firstname.lastname@example.org 917.846.4477
moby on Innocents:
nothing happens quickly.
even the things that happen quickly don’t happen quickly.
a volcano or an earthquake might seem spontaneous and violent, but they’re
the result of long and obscure processes.
the apocalypse of 2012 happened in an instant, but it had begun, almost tectonically, ages ago.
when an ocean liner turns, it appears, for all the world, identical to how it appeared before it’s turning. but its new trajectory is a departure from its old, and this
becomes increasingly evident over time.
the apocalypse of 2012 was with us, then it was upon us, and even now it’s both a part of our collective fabric and a representation of something disconcertingly new.
everyone has responded in their own way.
some with an atavistic attachment to what they saw as their pre-apocalyptic, quotidian lives; others with an emblematic representation of the paradoxically subtle and dynamic changes.
‘the cult of the innocents’, of course, fall into the latter category.
they first appeared in the seconds after the apocalypse, when the eschatological dust was still settling, bringing with them their silence and their shame, as represented in sacrifice and concealment.
this was their best response to the changes that they observed and felt but only understood in the most basic and subjective ways.
‘clearly we’ve brought this upon ourselves’, seemed to be their mute proclamation, ‘and we shall stand hidden, as testament to our shame at what we are and what we’ve been.’
it goes without saying that the sacrifices in the hills created and attracted a lot of global media attention. in this show, however, we’ve chosen to underrepresent the more
sensationalistic aspects of the ‘cult of the innocents’, instead focusing on their mute and somber penitence.