ICAR - Capitol Inc.

All pieces are on display in Washington D.C. and Phoenix, AZ.

Capitol, Inc. 

In collaboration with 4th Wall, International Corporate Accountability Roundtable (ICAR) commissioned Capitol, Inc. - an AR app showcasing the work of four artists responding to climate change, broken treaties between indigenous Americans and the federal government, for-profit prisons, and big agribusiness. 

Fifty years ago this year, the Chamber of Commerce was struggling with what it saw as a political and social pendulum swinging against the interests of Corporate America. In 1971, Lewis Powell submitted a now-infamous memo to the Chamber arguing for a set of reforms transforming a relatively weak business interest group into one of the most powerful political forces in the United States and the world. Over the last five decades, that power has been everywhere and has been completely invisible, by design. 

 

The Corporate Accountability movement seeks to grab that pendulum again—now farther in the other direction than Powell and the Chamber of the 1970s could ever imagine—and wrestle it back to serving the people.

We want to build a world where business activities are not built on labor and human rights abuses; where corporations are not emboldened to attack their critics, whether in the courts or on the streets; and where the government is responsive to the people and the public interest, instead of to corporate donors.

This starts with attacking one of the most sinister sources of power for corporate influence: that almost no one can see it happen. Through Capitol, Inc , we are combining art, technology and social justice to reveal this hidden world of corporate power and influence happening all around us! 

ARTISTS BIOS

Alfredo Salazar-Caro is a creator living/working between Mexico City, NYC, and Online. His works are an amalgamation of portraiture, installation/sculpture, documentary, video, and VR/AR. 

 

Salazar-Caro is co-creator and creative director of DiMoDA, The Digital Museum of Digital Art. DiMoDA is a groundbreaking project that functions as a VR institution and exhibition platform dedicated to the development of XR Art.

Learn more about Alfredo's work here.

Stacy Lynn Waddell creates works that structure sites of intersection between both real and imagined aspects of history and culture. With a variety of transformative processes that include heat/laser technology, accumulation, embossing /debossing, interference, and gilding, these points of intersection pose important questions related to authorship, beauty, and the persuasive power of nationalistic ideology. The artist splits her time between North Carolina and New York.

 

Waddell's installation tackles climate change as she throws an emergency blanket over the National Mall Reflecting pool. The emergency blanket takes global warming trends to a new level as it allows the viewer to jump through the history of our planet's destruction. 

Learn more about Stacy's work here.

Diné artist and activist, Emma Robbins, uses her artwork to raise awareness about indigenous issues. She is a community organizer with a passion for empowering Indigenous women. 

 

A powerful element of her artwork details how treaties signed between the US government and indigenous communities have been broken countless times with no respect for the rights of indigenous communities.

Through her artwork, she strives to raise awareness about the lack of clean water on Native Nations and educate viewers about issues such as the Missing and Murdered Indigenous Women crisis, representations and misrepresentations of Native Peoples, and broken treaties. She explores these themes through photography, installation, and through the use of materials foraged from the Navajo Nation and other trips across the U.S. and abroad.

Learn more about Emma's work here.

Keith Calhoun and Chandra McCormick were born and raised in the lower ninth ward of New Orleans, Louisiana. As husband and wife team, they have been documenting Louisiana and its people for more than 25 years.

 

They photograph the traditions of black church services and religious rituals; community rites and celebrations, and the cruel conditions of the Louisiana State Penitentiary at Angola, a former slave-breeding plantation named for the African nation from which “the most profitable” slaves, according to slave owners, were kidnapped.

Their installation serves as a historical record of the cruel conditions of the prison labor system where inmates work on plantations as white officers surveil the prison on horseback.

Learn more about Keith and Chandra's work here.

ABOUT ICAR

Corporate capture of our public institutions is one of the biggest threats to democracy and to the protection of human rights. And it is invisible by design. At ICAR, we’re committed to working with partners and artists to reveal the hidden world of corporate influence-peddling in D.C. Learn more about this initiative here.

Project page available here.  Text from ICAR.

App Developer and creative tech team: Drive Studios

Commissioned by ICAR 

PARTNERS: Public Citizen, Greenpeace, Action Center for Race and the Economy (ACRE), End Citizens United, Center for International Environmental Law, Good Jobs First, and the Institute for Agriculture and Trade Policy

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