In Stadium Towers, Lucy McKenzie appropriates a poster design for the 1980 Moscow Olympic Games (an apex of Cold War tension). Painted in worn-out tones, McKenzie alludes to a forgotten political history, as well as the failure of 20th century ideological art. Superimposed over the festive logo, McKenzie includes two militaristic towers, threatening violence and oppression. McKenzie often works from politically charged subject matter; through personal negotiation of propaganda and media material she reconstitutes the power of images, converting “once real” fear into the sublime resonance of aesthetics.

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