Julie Becker, Marking Territory (detail), 2004, mixed media on paper, 11 × 17".

Julie Becker

ICA - Institute of Contemporary Arts, London

Julie Becker, Marking Territory (detail), 2004, mixed media on paper, 11 × 17".

DAYDREAMS TRANSFORMING into nightmares, LSD, Danny from The Shining (1980), and feelings of scary and sublime horror are just a few of the mind-bending forces at play in Julie Becker’s art. “I can’t make sense of any of this,” a Hollywood psychic tells the artist in Conversations with Voxx, 1995, a video shown within the sprawling installation Researchers, Residents, A Place to Rest, 1993–96. London’s Institute of Contemporary Arts displayed this massive work alongside nearly forty of Becker’s best known pieces in the careful survey “I must create a Master Piece to pay the Rent.” The psychic’s assessment feels weirdly acute: The exhibition, which was curated by Richard Birkett and Stefan Kalmár, shows Becker mapping otherworldly zones where the ordinary rules of logic melt; her work adds up to a sequence of psychedelic hauntings in which anything can be unsettled, from The Wizard

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