PRINT October 2005



THIRTY-TWO DOWN, 333 TO GO. Back in 2000, Mike Kelley unveiled Extracurricular Activity Projective Reconstruction #1 (A Domestic Scene), the first installment of an ongoing, gargantuan serial work that will eventually comprise 365 video pieces, each with its own set, or sculptural component. Next month, “Day Is Done,” Kelley’s first solo show at Gagosian Gallery in New York, will assemble an ambitious multiplex of thirty-one videos and associated sculptural “stations” (Extracurricular Activity Projective Reconstructions # 2–32, 2004–2005) that the artist has made since.

The exhibition reactivates Kelley’s career-long investigation into the social mutations of desire and repression. But his earlier concerns with repression production—in the adolescent or in the family as a whole—give way here to the vertiginous “retrieval” and wayward reinvention of mythical community and subcultural

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