đMake America Gavin Againđ
A curated exhibition through competence, cheekbones, and chaos.
đźď¸ Welcome to the âMAGAâ exhibition
Dear Reader,
Welcome to MAKE AMERICA GAVIN AGAINâa satirical but deadly serious tour through the aesthetics, audacity, and alternate realities of modern politics. This is not a history lesson. This is a cultural intervention.
Forget stuffy museums and dusty artefacts. Here, memes hang beside mugshots, TikTok videos play on loop next to economic charts, and leadership is measured in competence, cheekbones, and clapbacks.
You are now entering a space where chaos is curated, truth is framed, and one manâs vibe is another manâs defeat.
On the first wall: Trumpâs mugshot, glaring like heâs auditioning for Goodfellas 2: The Tax Fraud Years. Across from it, Gavin Newsom, looking like a modern version of David, lit like a Renaissance saint who knows his angles.
Already, the contrast makes the tour worth the ticket.
Keep walking. The future is watching. Letâs see what youâre made of.
WING I: THE POWER OF HUMAN CONNECTION
đĽ Exhibit 1: Sudden Subtle Smile (started: Jan 2025 - ongoing multi-media project, Los Angeles, 2025)
Some moments belong in the history books. D-Day. The moon landing. Helmut Brandtâs famous âKniefallâ in Poland. And Melania Trump smiling at Gavin Newsom.
Yes, smiling. Not the polite hostage-smile she reserves for Donald, but an actual, human, âOh look, a man finally as well maintained as myselfâ smile. Gavin leans in with a kiss on the cheek; she beams like she just spotted the last lifeboat on the Titanic. Donald? He earns a public eye roll for being ⌠well, you know ⌠Donald.
One man got a grin, the other got grim.
Curator's Note: "A masterclass in the semiotics of international body language. The subjectâs approach is not one of mere political greeting, but a performance of continental savoir-faireâa calibrated breach of protocol that reads as European sophistication rather than American imposition. The subtle incline of the head, the confident yet respectful placement of the smile, all suggest a fluency in a dialect of power spoken in Milan and Paris, but rarely in Washington.
The reciprocal lean and the genuine crinkling of the eyesâthe hallmark of a Duchenne smile, a remarkably rare artefact in this particular political collectionâsuggest a moment of unguarded recognition. This is not merely an alliance of policy, but a fleeting communion of shared polish; a mutual acknowledgement of curated poise in a world too often defined by its transactional brutishness."
WING II: FAKE MATH & TANTRUMS
đExhibit 2: A VERY Basic Collage on Fiscal Policy in Toenail Colours (Los Angeles, 2025)
One man runs an economy larger than most nations. The other struggles with basic math. For one, "law and order" is the result of competent governance. For the other, it's a slogan to cover the chaos.
Welcome to the simplest collage you'll ever see. Tweets vs. Truth. Rhetoric vs. Reality. This art piece contrasts the political claim that Democrats ruin the economy with economic data: California's world-class GDP.
Curator's Note: "âGovernance vs. Tantrum.â Top: Data-driven policy resulting in the world's 4th-largest economy. Left: Numeric impressionism. Right: Confusion driven by concern. The artist believes the value is in the confidence of the message, not its accuracy."
WING III: ART AS PROVOCATION
đď¸Exhibit 3: The Patriot Shop (Installation, Los Angeles 2025)
In a masterstroke of semiotic jujitsu, the subject of this exhibit did not merely critique his opponent's aestheticâhe weaponised it. He opened a boutique inside the circus and started selling better tickets.
This is not mere merchandise; it is a controlled detonation of the MAGA brand from within. Each item is a perfect, gleaming artefact of post-ironic discourse. The $100 Bible isn't just a Bible; it's a commentary on grift, value, and sacred cows. And - already sold out!!!
The "TRUMP IS NOT HOT" tank top isn't an opinion; it's a public service announcement.
The genius lies in the commerce: using the enemy's platform, their medium, even their font, to sell them a mirror. They bought it. We couldn't stop laughing.
Curator's Note: âAppropriation Art, Capitalist Divisionâ (2025). The artist utilises the very mechanisms of consumerism to critique the consumer, holding a funhouse mirror to a movement until it purchases its own reflection.â
đŚ Exhibit 4: Better Than The Original. (Digital PopArt Collage, Los Angeles 2025)
Letâs be real: every political staffer dreams of the perfect clapback. Most settle for a mid quote in the local paper. Gavin Newsomâs team? They log into Twitter and surgically transplant their bossâs consciousness into Donald Trumpâs brainâand speak out of his own mouth.
This isnât communication. Itâs possession.
They donât just write bangers; they manufacture vintage Trump tweets, bottled in irony and distilled to X-proof madness. Theyâve mastered the art of the GOP-style threat so completely that they do it better than the GOP. The caps lock? Perfect. The fragile ego disguised as swagger? Impeccable. The weird, off-putting boast? Chefâs kiss.
It's political chess: using your opponent's weight, their momentum, even their own reputation, to mop the floor with them in five moves. And the best part? They do it all with a straight face while holding an actual, functioning government job.
Curator's Note: "Appropriation and Parody in the Post-Truth Era. The artist here re-contextualises the semiotics of a political movement to expose its inherent absurdity. Note the use of capitalist tools to critique capitalism's figurehead. Deeply meta."
Exhibit 5: The Good Leader and The Bad Leader (A Childrenâs Pop-Up Book Replique, Los Angeles 2025)
Children, life is very simple. There are good leaders and bad leaders. Letâs learn the difference!
On the left side, the Good Leader. He reads books. He knows his words. He respects the constitution. And he likes people. See his smile? Yes, kids, you can take an ice cream from this uncle. Good.
On the right side, the Bad Leader. His face is always orange. He shouts. He is always in a bad mood. And he breaks toys he cannot have. And see his smile? Yes, kids donât get too close - this uncle has some weird friends. Bad.
Most stories are easy.
Now you know.
Curatorâs Note: âThis piece replicates the aesthetic and moral simplicity of mid-20th-century childrenâs literatureâa genre designed to distil complex realities into clear ethical binaries. Here, the format is weaponised as satire, contrasting idealised leadership with its antithesis through a lens of childlike clarity. The work evokes the visual language of postwar propaganda, reminding viewers that political storytelling, whether for children or citizens, often relies on archetypes, emotional cues, and the powerful suggestion that some choices are simply, self-evidently⌠bad.â
WING V: GOVERNANCE BY VIRALITY: Likes, Lies, and Liberation
đśExhibit 6: The Algorithmic Aesthetic (Interactive Digital Installation, WorldWideWeb 2025)
In the attention economy, governance is no longer just policyâit's performance. Win the frame, win the game.
This exhibit explores a new form of statecraft: the meme as a diplomatic tool, TikToks as a press conference. Here, the subject understands that to defeat a culture war, you must win the cultural moment. Not with rage, but with rhythm. Not with conspiracy, but with comedy. Skincare routine beats orange spray tan.
đ Click here to see how you troll with style, not screams.
đ Click here to watch a politician out-meme the meme lord. #NotLikeUs
đ Click here to watch Trumpâs poll numbers drop to the Ode to Joy. Because nothing says poetic justice like Beethoven trolling in 4/4 time.
đ Click here to enter Trump Gym â where the only thing getting stretched is the truth, and the biggest clowns lift the heaviest lies.
đ Click here to see California thrivingâno edits needed.
Curator's Note: âThis work reframes the digital public square as both medium and battlefield. The interactivity is not a gimmick; it is central to the thesis. The audience becomes a participant in the very economy of attention being critiqued, mirroring the real-world dynamics of engagement, shareability, and influence. The artist demonstrates that in the 21st century, the most powerful platform might just be the one that meets the audience where they already are: scrolling.â
đ˘ Exhibit 7: Smiles, Schadenfreude and the Sinking Ship
Ladies and gentlemen, youâve reached the last piece of the exhibition.
Forget policy papers. Forget polling data. History wonât remember any of that. What it will remember is a single, silent, spectacular moment: Melania Trump smiling at Gavin Newsom.
That smile didnât need a caption. It was a whole editorial in a glance: one man brings chaos; the other brings competence.
Yes, Democrats need housing, healthcare, and living wages. But first? They need a pulse. An energy. Someone suing by day, trolling by night, and standing at the damn bow of the ship like Leo in Titanicâexcept this time, the iceberg is losing.
So as you exit this exhibition, remember: in a world full of noise, sometimes the loudest statement is a smile. Thanks for visiting. Now go! Be the chaos or the competence â the choice is yours.
